Mastering Pro Tools effects : getting the most out of Pro Tools effects processors
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Contents:
This plug-in can also applied for the purpose of new music material mastering. Applications: enhancing stereophonic space while recording, mixing, mastering and re-mastering single or multiple stereo tracks and mixes. Features: wide range of effects from subtle to extreme, visualization of mono compatibility, sample rates up to kHz supported, enclosed presets library.
This plug-in allows for removing basic errors such as: reverse signal phase or change of channels. It can also be used for effecting subtle changes into the stereo image. PSP StereoController is particularly helpful whilst mastering tracks performed in poor monitoring conditions. Applications : eliminating stereo errors during mastering and re-mastering stereo tracks.
CURRICULUM
Features : independent control of differential signal level, traditional channel balance, changing stability of left and right without moving center channel position, adjusting center position without changing entire stereo image, swapping and changing phase of channels.
This processor does not break tonal balance and mono compability. Sample rates up to kHz supported.
Description : PSP StereoAnalyser is used for measuring and estimating the correctness of the stereo signal. Apart from mean and peak measurement of L R or M S signal levels it allows for oscilloscope observation of stereo sound which reveals phase errors and lack of channel balance. Applications : analyzing of stereo image properties while recording, mixing, mastering and re-mastering of stereo tracks.
Think about headroom early. Keep a final goal in mind as you balance all of your tracks. This will give you a rough idea of how each track will eventually fit together.
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Processing will smooth out your rough ideas. So what is panning? Panning helps you control the width of a mix. Panning allows for sounds to be placed in your mix properly. Either to the left, or the right of the stereo center. Keep your heavier or lower sounds near the centre. This means the bass or the kick. Use them as a centring force that you can work around. If everything is panned centrally, your mix will sound flat or crowded. The meat of your mix can be broken down into three basic areas.
EQ , Compression and Reverb. They are the donkey work of mixing. Perfect these 3 areas and everything else will come naturally.
About This Item We aim to show you accurate product information. By using our insight and experience in the industry, Bristol Courses prepare our students for a successful career in the music business. Here you can experiment with exciters brought to you by iZotope such as Ozone , Neutron , or Trash for downright distortion , or an outboard piece of equipment. What I can say is the actual processing we use to treat vocals is relatively simple. I approach the technique as follows: Dip the offending frequencies with a colorless, surgical EQ. Sharan Moses — Audio Academy Alumni.
Every sound is made of frequencies. Frequency is measured with Hertz Hz. Equalizing is the art of boosting, cutting and balancing all the frequencies in a mix to get the sound you want. Bass instruments have a very low-heavy, boomy sound. Their output is mostly low in the frequency spectrum. Alternately, a snare or a high-hat are often a lot more tinny, so they will typically appear in the mid or high frequencies.
Even though we can place these sounds in the general high and low categories, all sounds will have important information in both the highs and the lows. Use filters. They clean your frequencies up with surgical precision. The best place to start with corrective EQ tools are high-pass and low-pass filters. The rest is left behind. Remember that every track will need special attention. For instance a tom drum is going to need an entirely different EQ treatment than a Rhodes piano. Listen to learn.
Figure out what adjustments you need to make with your ears. Carving EQ may seem similar to corrective EQ. Only in this step you are correcting your frequency with the other tracks in mind. Everything will start to fit a bit better in this step. The pieces start to interact. This might sound crazy but good carving EQ sometimes means taking good parts of a frequency out.
Do it so that all your tracks will mesh better.
The Complete Guide to Mixing Vocals
No worries. This is because you carved your tracks down with the other tracks in mind. Think of your song like a novel. There have to be some other characters to fill out the story. Carving puts your characters in order. You might have two elements battling each other in the same frequency.
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Like vocals and synth. Carve a space for each by cutting the frequencies on one while boosting the same range on the other. This is the final, and most creative stage in your equalizer journey. Dress them up. There's an equalizer for just about everything. Now is the time to make your vocals jump out of the speaker. Or make your kick bash and your snare explode. Or make those synth lines extra heartbreaking. Try several different EQ plugins.
Put 2 or 3 different EQs in a row.
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Some EQs will be good at one thing, and not another. So get the best of everything by stringing them together. There is no wrong way to do it. The only thing you can do wrong is hold yourself back from experimenting. Dynamics refer to the space between the loudest parts of a sound to the quietest part. The space between each part is typically referred to as the dynamic range. This definition can be applied to an entire song, or to a specific sound. Dynamic sounds have a wide range between the quietest part of the sound and the loudest. For example, picture a snare hit.
This means it has a wide dynamic range. A real flash in the pan. When recording audio for use in a video track or for release on a digital platform, your output is likely to use a 48 kHz sample rate.