Mastering can be an elusive subject, but it doesn’t have to be. The streaming age has declared war on the loudness war itself with new LUFS standards, allowing you to maximise the dynamic range of your masters without compromising the size and punch of your mixes in order to stay competitive. In this Mastering Case Study, Grammy Award Winning Engineer, Fab Dupont, masters a single for the artist “Effee”, and shows you how to get the most from your masters.
In this video we feature an over “punchy” drum mix example that’s all crack with little in the way of body, tone and sustain. There’s a cool way to use Waves Smack Attack which involves some parallel processing using Smack Attack’s mix dial. Listen to how we blend back in some of the original unprocessed “crack” which gives this example a nice rhythmical vibe.
Mastering Sounds "Overproduced"? - How Wide Is The Bottom End In Your Mix? PureMix and Brian Lucey Might Have The Answer.
Apogee Electronics has announced a new 2x6 Special Edition AD/DA module for their Symphony I/O Mk II series. It has been designed specifically for mastering engineers, whose critical work demands very high sonic performance, and Apogee claim that the Symphony I/O Mk II 2x6 SE offers the highest quality AD/DA conversion of any Apogee converter ever.
10 years ago this year Russ Hughes started the AIR Users blog, which morphed into Pro Tools Expert in 2012. To kick off our year of celebrations we are running a competition with a Pro Audio gear and software prize pot worth over $28,000. Enter The Pro Tools Expert 10th Anniversary Competition to be in with the chance of winning the Nugen Audio Post Production Pack worth $859, which includes VisLM-H 2, LM-Correct 2, ISL 2, Stereoizer, Monofilter, Stereoplacer, Visualizer, SEQ-S, and the DynApt extension for LM-Correct.
With more and more music tracks being delivered on services that now use loudness normalisation, we no longer need to compress the life out of a song to make it louder than any other track, because tracks that are too loud will just get turned down. We can now enjoy tracks with some dynamic range. In loudness workflows there is a new measurement Loudness Range. Tom Frampton a mastering engineer from Mastering The Mix explains what Loudness Range is and how to use it to help produce tracks with an appropriate amount of dynamic range.
We have had a lot of new stories come in recently and so we have grouped them together into a roundup story. In this edition, we learn about a new EQ plug-in from Kilohearts, a coherence meter from HoRNet, Gatekeeper from Polyverse Music and Infected Mushroom and a new high order bundle of Ambisonics plug-ins from Noise Makers.
The mastering assistant in Ozone 8 is creating a lot of interest and Dan Gonzalez, Product Manager at iZotope has taken the time to explain why iZotope created the Mastering Assistant and what it can and can't do.
This shootout featured five songs mastered by each mastering A.I. We asked the Pro Tools Expert Community to blind listen to each of the tests and vote for the masters they liked the most. Over 1,000 votes were submitted. The results are in...
In this mastering shootout, we take the human element out of the equation and pit two online A.I. mastering applications (LANDR & CloudBounce) against iZotope's latest A.I. Mastering Assistant feature in the Ozone 8 plug-in.
This shootout featured three songs mastered two audio professionals and LANDR. We asked the Pro Tools Expert Community to blind listen to each test and vote for the masters they liked the most. Each test received an average of 700 votes.
iZotope has today announced the release of Ozone 8, Neutron 2, and Music Production Suite. The Advanced versions of Ozone 8 and Neutron 2 feature ground-breaking technology, including the ability to communicate with each other through the new Tonal Balance Control plug-in.