The following is a Simon V special: To approach theįinal volume of the mastered track, I use a combination ofīass equalizing and saturation. Please note, this plugin is veeery subtle. Is switched to "High-Quality" and Linear-phase mode, so I use my favourite 12AX7A tube as it adds the right harmonicsįor bass and smoothes out hard attacks. This cute littleĮmulates several tubes and their characteristic behaviour. Stereo plugins as they can cause phase-problems, but sometimes Vocal reverb and stereo room of the drums. Since it boosts the volume +1.2db like the original hardware.įor this tune I widened about 130% to bring out the
Switching in this plugin can be deceiving, Since this plugins also upsamples internally to 192khz, the Neve 88RS phase changeĭownload Neve 88RS phase WAV UAD Pultec EQP-1AĪs the last tonal-shaping step, I boost the super-low (20hzĪnd above) and high frequencies (12khz) with a broad bandwith The file below is created with a normal and phase-inverted signal to highlight the 88RS processing - very low volume, as it's only the changed signal. This channel strip adds a phase shift in the lower frequencies, it "warms up" anything you pass it through. There also were some resonant peaks around 5khz that I've reduced because of harshness. The UAD Neve 88RS is a "Formant Spectrum EQ" (UAD manual) that is just the right tool for midrange vocal adjustments. I only use the mid-range EQ controls to bring out the signal broadly at 1khz to enhance the vocal. Upsamples internally to achieve it's smooth response along with the The high-endīoost is also one of the best in the plugin world, as the whole EQ Phase-shift that makes the signal come alive. Often leave the cut-Filters engaged, as they add a tiny little Midrange at around 1.6k and using the high-end boost at 12khz. UAD Harrison 32C Channel EQĪdding a little bass around the kickdrum, pushing the lower That might sound like a lot of equalizing - I just use the advantages and special touches each EQ has. I use 3 equalizers in a row for tonal shaping. Much as I can without losing any important fundamentals of the sub-bass.įor this track I highpassed at around 30hz. Synthesizer wobble (LFO modulations for instance). Vinyl rumble (from sampling), DC offset problems (crazy vst plugins) and I like to cut all frequencies below 20hz, as there's usually On the left you can see the plugin chain used to master this tune.įor demonstration purposes I made a loop from the trackĪnd switched on each plugin during every cycle. To demonstrate my method I chose a recent track of mine called "Supernatural II". The method to your own VST plugin choices. The audio plugins mentioned below are my favourites for each task, just translate I'm using Steinberg Cubase as mastering software. Also, if a client wants corrections, the whole Since most dance music is produced in-the-box these days, I prefer to use digital mastering. Mastering approach Clean up > Equalize > Stereo > Color > Saturate > , that way most digital mixers sound fine.
You're done mixing, the final master bus should peak around -6db Using a digital mixer is to start with all faders at -12db. Make sure the mixdown has enough headroom and isn't clipping,īecause what is lost, can't be restored. Super-high frequencies and rumble below 20hz. The ear: No clipped square waves, stereo-phase problems, My method works great for VinylĪnd Digital file formats, since what’s good for Vinyl is good for That’s difficult to achieve and it took me about 10 years toįigure out the best way to do it. Want the music to sound loud and alive with special attention to theīass. Increase the intensity, especially when it comes to Drum & Bass. IntroĮvery mastering engineer has got his own style. I wrote this tutorial in 2009 - the methods are the same, but the tools have improved. Mastering tutorial for dance music Simon V - Supernatural II
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