Professional Analog Mastering.
Professional Analog Mastering.
222K+ subscribers
Before I introduce compression or start amplifying too much, let’s control the frequency response and stereo image simultaneously with a mid-side EQ.
This ZL equalizer is similar to the FF-Pro Q3, but it uses zero-latency filters instead of multiple-phase options.
Every mix is different, but I’ve noticed a pattern of cutting out the side image’s lows with an HP on the side image, boosting some mid Hz range on the side image with a bell, and expanding the air’s width with a high shelf.
For the stereo image, dipping a little of roughly 250Hz helps reduce masking significantly.
Then, on the mid image, a little dip in the mids helps balance out the vocal’s aggressive mid resonances, while a slight boost around 3kHz amplifies the vocal’s 3rd formant, increasing clarity.
Let’s take a listen to the EQ being enabled. How you adjust these filters will differ and depend on the song, but pay attention to how the effect subtly enhances what we want more of and controls what is out of balance.
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This EQ is really easy to use in a mastering session. Increase the masked frequencies dial toward reveal, and the plugin will adjust the response to increase clarity.
Notice that the amount adjusted is subtle - you don’t want to overuse this effect since it would likely cause your Hz response to become unbalanced.
Let’s check it out and notice how the master becomes clearer.
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I’m well aware that this plugin looks ridiculous. If someone told me to use this on a master, I’d think there’s something wrong with them, but hear me out.
This plugin introduces the most significant even-order harmonics of any plugin I’ve used and measured.
Even order harmonics are likelier to be in key with a song since they’re perfect octaves of the original fundamental note.
Additionally, creating them requires asymmetrical waveshaping, which, for some reason, is not common with saturator plugins—meaning it’s hard to find a plugin that introduces even-order harmonics.
The effect is very aggressive - keep the drive at 0dB since it’s already working without more drive.
Then, lower the mix and the output until you have a good balance between the original signal and harmonics.
Watch the video to learn more >
This plugin is a 1:1 of the Sonnox Oxford inflator, with the same behavior and functions.
When set to a positive value, more maximization or amplification of nquieter details occurs.
Additionally, the plugin introduces some moderate odd-order harmonics, which will complement the strong even-order harmonics we achieved with the previous processor.
Use a moderate amount of the effect, again keeping the curve value positive, and then lower the output to compensate.
Let’s take a listen.
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Use this plugin subtly on a master - the effect is very aggressive, so not much is needed to make significant changes.
The two air bands will add harmonics to the highs and amplify the ranges with eq filters - making this a very effective way to increase clarity.
Let’s take a listen to the effect.
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This is a cool method that really helps brighten and condense the high mids to highs of a master.
From the channel strip, use a bus to set up a parallel signal - set the send to unity or 0dB so that the parallel signal’s level is identical to the original.
Then, use a linear phase EQ and isolate the high mids to highs. A stock linear phase EQ plugin will work. I also like to boost the vocal’s 3rd formant to help the vocal cut through a little as well.
Then, I’ll use this Mcompressor with a soft knee, higher ratio, lower threshold, quick attack and long release to create a highly compressed version of the high mids and highs. Compress by about 10dB, then use makeup gain to compensate, and bring up quieter parts of the range.
Next, Fresh Air will add some harmonics and needed brightness to the parallel compressed signal.
Once I’ve adjusted the filters, compression settings, and fresh air bands to a sound I enjoy, I’ll blend the overall signal with the original via the aux track’s channel fader.
I’ve noticed between -30dB and -20dB to be a good peak level for this signal and a good indication I have a good ratio between the original and processed parallel track; however, you’ll have to use your ears and make sure you don’t overdo the effect.
Let’s listen to the before and after of this track being enabled.
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Both the original channel and our aux channel or parallel compressed track combine on the stereo output.
This is a good opportunity to use some final EQ to adjust anything that needs some final shaping.
I’ve boosted the lows a bit and dipped the low mids a bit to emphasize the bass and kick while reducing masking. These filters are subtle, about 1dB of change each.
Then, I’ve subtly expanded the mid-frequency range and highs with side image filters.
Nothing too complex here, just some final shaping to balance the spectrum and highlight the best attributes of the song.
Watch the video to learn more >
At the end of the chain I’m using 2 plugins - first is free clip to increase the gain and protect the signal from unwanted overs.
Then, I’m using GoodHertz Loudness to measure the LUFS.
With the clipper disabled, the LUFS is -15, so to get it to roughly -10, I’ll need to add 5dB of gain.
You don’t need to aim for exactly -10 LUFS, but I’ve found this to be a good loudness for anything normalized while streaming. It’s high enough to push everything forward, sounding louder even after normalization, without completely squashing the dynamics.
Additionally, we’ve controlled the dynamics of the track enough with saturation and maximization to only cause about 3dB of attenuation from the clipper - nothing too substantial or noticeable.
Free clipper has some good oversampling options as well - after listening closely, 4x seems to result in the most clarity.
No oversampling will result in aliasing that attenuates high frequencies via phase cancellation. Too much oversampling can negatively impact transients since it requires linear phase LP filtering.
Let’s take a listen to the snippet of the mix being looped - I’ll enable each processor 1-by-1 so that you can hear how they work together to create the final master.