Multiband Dynamics can help you avoid this, and give you better-regulated mixes.

Live’s multi-band dynamics device comes into its own with busy mixes, where more dominant sounds will trigger the compressor and override the rest of the mix. At the other end, Utility can enhance the stereo width of the high frequencies by up to 400 per cent. Being able to mono the lower part of a mix with the turn of a knob is satisfying, and is something that’s easy to hear and understand. As you switch between them, you’ll see them overlaid in the frequency display. Use EQ Eight’s Mode switch to select M/S, then use the Edit switch below it to select either mid or side mode. Should a deeper level of repairs be required, make use of EQ Eight’s mid/side processing – separating the common mono elements present in both channels from the unique stereo sounds present in the left/right channels, so you can EQ them separately. You’ll most likely be trying to bring a set of songs into line, rather than overly cutting or boosting frequencies, though that’s part of it too. Remember, however, to rely on your ears, as every track is different. Apart from limiting, mastering usually involves equalisation, stereo imaging and compression, usually in that order.ĮQ can be visualised by looking at Live’s EQ Eight Frequency Display, which pops out into a convenient full-screen view. That’s where working with reference tracks can come in handy you can see and hear how your tunes are matching up. Mastering modern rock and dance music typically involves squashing – losing some dynamics but increasing overall loudness. It definitely helps to have a vision, an opinion about how much you aim to compress or limit your audio.

The technique of mixing and processing group tracks earlier in the process helps minimise the work required at the mastering stage. It’s how we like to do things if working on self-created material. After that, the most important thing is to remember to turn off warping. It is possible to master your tracks in Live using nothing but the Utility device, as described in the following tutorial. The final mixdownĪs a technical process, mastering needn’t be difficult. Mastering is especially important if the product in question is an album, EP or any collection of songs that might have to be brought into line so that they flow smoothly and without any unpleasant surprises or changes along the way. Mastering gives you a clean slate and more or less removes the temptation to keep tinkering with the individual elements of the mix. Mastering should take place in a separate project from the clips, plug-ins and other material that comprise the song. Mastering comes after the mix is finished and exported as a stereo file, and provides a producer’s last chance to process and optimise the overall mix. Surely with everything set, that’s enough? Not quite. You might wonder why there’s a separate stage after the mixing. Mixing is the process of finishing individual tracks and then adjusting equalisation, effects and levels to make the final product sound as good as possible. Having covered mixing songs in Ableton Live in last month’s tutorial, we’re now moving onto mastering.

Mix stereo master in garage band