Audio mastering logic pro x free
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How to Master Pop Music with Logic’s Stock Plugins — Sage Audio |
Free mixing template for Logic Pro and how to use it.
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Unlock a bundle of free resources to help you create and release your music. Music Production. Many get lost though. Perhaps you can relate! Table of Contents 1. How To Prepare Your Mix es 2. Calibrate Your Mastering Level 3. Gain Stage Your Reference Track s 4. Set The Ceiling 5. Find Loudness 6. Problem Solving 7. How To Prepare Your Mix es There are many articles and cheat sheets out there that tell you things in absolutes like needing 6 dB of headroom and such.
If you are confident in the sound of the mix then just bounce it down to a 24 bit wav file. Then master the wav mix in a brand new session another day with fresh ears.
Give your brain time to forget about it for a bit! Just make sure there is an appropriate amount of dynamics in the music. Calibrate Your Mastering Level This bit is huge. Gain Stage Your Reference Track s Now that you have set up your monitoring level , you may also choose to use a reference track in the mastering session. There is only one tip you need to know about using reference tracks… Turn them down or up to your mastering level!
After you load the Limiter plugin into your project, insert the Loudness Meter afterward so you can see your audio volume in Lufs. Basically speaking, it is the kind of metering used by streaming services and audio platforms to standardize levels.
What each platform does is automatically turn down the gain of any song that is louder than a certain value , so as to create a better experience for the listener.
This value will vary depending on the service. Spotify , for example, normalizes everything to Lufs. The first thing to do after you load the plugin is to set the Out Ceiling value to -1dB. This is a safety measure to ensure better playback of your song through different systems without clipping.
Now, put the Loudness Meter side-to-side with your Limiter window and adjust the Gain knob until your audio is at to Lufs. What dithering does is apply low-level noise to your sound, avoiding any data or quality loss. This is a tip that will also apply for mixing. Be sure to bounce different versions of your track and test how they sound across different listening systems. For example headphones , earbuds , small speakers , and the car stereo. One of the major goals in mastering and mixing is to make sure your track sounds good across a wide variety of equipment and environments.
Sure, it is impossible to achieve a perfect result, but if you feel like your master is not sounding as impactful in your car stereo as it is in the studio , take a moment to adjust your parameters until you find a common ground. Even though Logic Pro will offer you a complete set of plugins , you can find some great additional free ones to aid you both in the production process and to take your masters to the next level.
Here is our selection:. Channel-strip plugin with built-in equalizer, compressor, tape saturation, and limiter sections. An all-in-one solution. A simple monitor speaker simulation tool. Great especially for those mastering with headphones. Isol8 gives you a wide range of monitoring options. You can, for example, solo or mute a group of frequencies or see how your songs are sounding in mono. These were our tips on how to master in Logic Pro X.
Since each track is a different case, producers should train their ears and skills extensively to achieve a professional final result on their masters: it is all about how many hours you put into the practice. Soundtrap by Spotify, is hands down the best online daw with built in autotune.
Sign up for free, and make music faster. What is Logic Pro X? Typical Mastering Chain in Logic. Tape Delay — The Character section can add tape saturation to your sound. Stereo Spreader. Adaptive Limiter. Loudness Meter.
Audio mastering logic pro x free. How to Master Pop Music with Logic’s Stock Plugins
How to Master in Logic Pro X (Step by Step Guide).
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I always work on 48 kHz because I want to have a little headroom. So I have to constantly change the sample rate settings from the project settings section before I start working.
I have this in my template, so I always have a quick look at the sample rate of my project, and I can always change it quickly, which I use a lot. I always want to see the tempo and the key of the song. Because I change them a lot, and I forget them after a while. Also, you should set your tempo so your reverb and delay effects can work based on your tempo. I always want to see the CPU usage so that I can be careful about my plugin usage.
Some plugins can drain your CPU, so you have to keep an eye on this. If it gets worse, I try to freeze my channels to keep adding big plugins to the project. Sometimes I have to figure out something, so I open a piano plugin to play with the song, and once in a while, I record extra back vocals. You can do this when Low Latency Mode is on. This one also saves lives. Sometimes I decide if there are any needs for a pad synth or some extra sub frequencies from a synthesizer. And the last thing that I want is to forget what I just found.
This setting continuously records what you play on your MIDI, so you can always find the best part of your improvisation. I discovered this one later, but I love it. Because it helps a lot to see the timing on the ruler with the bars. It was a habit when I was using Pro Tools, and I was missing that feature. I always think of the channels in groups because it helps to understand the song. For example, when you download a channels multitrack file and import it to your mixing project, it can be scary at first.
Also, you can process the same kind of sounds together if you use those bus groups. For example, I always tend to compress the drums together to get the most energy out of them. Therefore, I have to route all of them to a bus group.
Having that group from the beginning is perfect for me. The bus routings are on the second page of the buses, so your primary bus names can stay the same. You can see it below:. Set the bus groups from the beginning of a mix project, and delete the unnecessary ones.
So this is why I put a VCA type compressor on the drum bus group. You can always tweak it to your liking, and I encourage you to do so because every song is different. But if you want energetic drums, this compressor will help you a lot. You can easily notice this by looking at your master channel dB meter. We advise you to have your track peaking at about dB to -8dB. If your mix is too above or below that range, you can simply insert the gain plugin on your master channel and trim it.
The next step is choosing the right audio format. Now that you have your file bounced and ready , take a minute to search for one or two reference songs. You should pick something in the same style and genre as your music and, above all, that you like the sound of. This step is important and professional sound engineers do it all the time. You can also take a moment to compare your reference with your own track, using tools such as the Multimeter to see how it performs on the technical side and to analyze the frequencies of each of the files.
Once you have your track loaded up in Logic Pro, it is time to think about using a compressor to further control your dynamics and glue everything together. The Vintage VCA is an emulation of the famous Solid State Logic compressor present in the SSL Series channel strip, and it is famous for its ability to glue everything together and give your music extra analog mojo.
The standard Platinum Digital is an all-around workhorse, but if you feel like your track is sounding too digital or harsh , it may benefit from the subtle coloration of the Vintage VCA. The Threshold will define when your compressor will start working. For example: at dB, it will only be engaged when your audio is above that level. Now it is time to set the Attack and the Release.
For mastering purposes, try keeping the Attack anywhere from 30ms to ms depending on your song. Shorter settings will smack the transients harder but longer ones may give your mix a little extra impact. The Release setting is gonna determine how early or late the compressor will stop working. Start with a setting of ms to ms and work your way up. A great tip is to pay attention to kick and the snare when setting the release since they are the instruments that will impact the transients the most.
It is worth noting that the most important thing when setting your master compressor is using your ears. Here is a video from In The Mix to help you hear the subtle nuances of compression , both in mixing and mastering:.
You can also use the Multipressor for even more control over your sound. The plugin allows you to use different settings of compression for different frequencies. The plugin is very simple to use. It is divided into four sections and you can tune the frequency using the main upper panel.
Below that, you will see the same controls that you would find in a standard compressor. Just as with the compressor, you should use the equalizer very subtly when mastering. The Channel EQ is parametric and more surgical. It will give you more control over your frequencies. However, the added functionalities make overdoing it much easier so be careful.
The Vintage EQ Collection semi-parametric plugins are modeled after famous real units. The benefit of using them is that they add a little bit of analog color to your sound and the stripped-down style makes them less prone to exaggeration — perfect for mastering.
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