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Mastering in Logic Pro X : The Basics - Master or Disaster? 3 Things You Need To Nail First |
Pro logic x mastering free
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Pro logic x mastering free. LOGIC PRO X MASTERING TEMPLATE
MSED -- Voxengo. Konsol — Analog Obsession. Frontier — D16 Audio Group. Overtone GEQ — Voxengo. Loudmax — Thomas Mundt. This can be a costly process, but fortunately, great and completely free plugins are being released almost every week that can be used to create fantastic-sounding masters.
The plugins listed here range from eq, dynamics, distortion, and just as importantly metering. Some emulate analog processing while others offer a clean and transparent sound.
Regardless of the type of mastering you do or the genre you work in, these plugins will be useful. Keep in mind that these plugins are in no particular order.
MSED by Voxengo is a powerful tool for any mastering engineer looking to both monitor and affect their stereo image with one tool. MSED is an encoder and decoder that can sum channels, separate stereo signals into Mid and Side, swap channels, invert phases, and a lot more. A mid-gain function allows you to increase the gain of your mid-channel, in turn making your mix or master more centered. The side-gain function allows you to increase the gain of your side image, in turn making your mix or master wide.
Like all Voxengo plugins, an A B comparison tool allows the user to compare two sets of settings. If you want to learn more about mid-side processing and stereo imaging, check out our blog post and video that covers this topic:. The bands include Low frequency, low mid-frequency, mid-frequency, high-mid frequency, and high frequency — all of which can be controlled by altering the 4 cross-band rotaries at the top.
These bands can quickly be soloed or muted, and multiple bands can be chosen at once if needed. The monitor section allows you to solo your left, right, mid and side channels. Lastly, a dim and an output knob allow the user to adjust the level of the signal, or to quickly attenuate it if needed. The display is unique in that it shows a spectrogram from variable and controllable angles.
By clicking and dragging the display, you can alter the angle, in turn getting a new perspective on the frequency range and amplitude of your mix or master. The window can be adjusted to 3 sizes, and three modes can be engaged that alter the display between frequency, time, and a point-based display that seems to take both into account.
The speed alters the rate the lines refresh whereas the density alters the number of lines displayed. Lastly, the scale alters how exaggerated the lines respond to the amplitude of the signal.
Although I personally found this plugin to be a lot more aesthetically pleasing than a typical frequency analyzer, I did notice that it can negatively impact the sound of a master by causing jitter.
That said, be sure to remove this plugin from your inserts prior to export your mix or master. An input rotary introduces up to 24dB of gain, as does the output rotary. With these two functions, you can easily create saturation and harmonic generation by increasing the input and decrease the output.
The plugin also 3 various model modes including Grey, which is the cleanest option, Blue which creates high order harmonics for a crisp and bright sound, and black which creates mid to high order harmonics for a full sound. The XFMR mode enables 1 transformer emulation when the plugin is in track mode and 2 transformer emulations when the plugin is in bus mode. Lastly, two equalization knobs control which harmonics are more prominent, with the low rotary increasing the amplitude of low order harmonics, and the high rotary increasing the gain of high order harmonics.
Beyond the aesthetics, the plugin offers a lot of functionality and a great sound. The threshold enables an auto make up gain function that increases the overall amplitude of the signal whereas the output rotary serves as the ceiling. The release is input dependent but with 3 chasuble modes, fast, medium, and slow.
The input can be controlled between the left, right, and mid channels. When the mid mode is selected, the width of your image will be affected. Lastly, a soft clip function allows for gentle to significant harmonic distortion that pleasantly amplifies your signal. Try the Frontier plugin as a parallel compressor or as a maximizer on your output channel.
One thing to keep in mind when using this plugin is that the plugins default setting has the threshold set to dB, meaning the makeup gain will automatically be pretty significant. The rotary in the middle of the plugin allows you to easily shift between a smooth, transient reduced sound, or an aggressive, transient accented sound.
The fast, medium and slow settings on the left allow you to alter the attack time of the plugins dynamic functions, whereas the period slider under the main rotary allows you to change the duration for which the transient shaping lasts.
The link icon allows for automatic gain attenuation or makeup based on the settings, but this can be disengaged. The mode slider alters the incoming signal between mid and side, just mid, and just side. Just as important is the tube-based harmonic generation this plugin provides. The very act of using the plugin or inserting it on your signal introduces complex harmonic generation that makes your signal fuller and more nuanced. The default setting is a great start, but changing your routing to mid and side stereo gives you advanced control over both your frequency response and the stereo image of your signal.
However, this plugin does much more than display phase information. The Width and Pan sliders allow you to check mono compatibility, centre stereo information and increase the width, with a dedicated phase meter that will let you know if you are in danger of over-widening material.
How wide is too wide? This plugin will help you tell the difference. These really expensive equalisers are as flexible as they are sweet-sounding. Of course, many pro mastering engineers favour software and there is no shortage of software equivalents to these big-ticket hardware equalisers.
This parallel dynamic EQ can cover tasks from surgical EQ for homing in on very specific resonances, through dynamic EQ, only cutting frequencies when they exceed a certain level, through to multiband or even wideband compression. The separate Drive control allows you to drive a virtual valve for harmonic colour, if needed, too. When it comes to compression, for mastering the lazy optical compressor or the edgy FET design you might favour for mixing, might not be the best choice.
For this, we return to TDR and their Kotelnikov compressor. Limited Z is a free limiter that includes a scrolling waveform display with gain-reduction history of the kind you might find in FabFilter plugins.
The only fly in the ointment is a limited range of three preset ceiling levels, all of which are very hot for material that is going to pass through lossy compression algorithms. To get a fully variable ceiling control you need the paid-for version. Loudness measurement is no longer something that only people working in post-production need to worry about. The major streaming platforms are all on board with loudness normalisation and if your track is too loud it will be attenuated to meet the loudness specs of that particular streaming platform.
You can only accurately judge how your track will translate onto streaming platforms if you have a loudness meter, something DAWs have been slow to include as a stock plugin. The scrolling display tracks integrated measurements and if you regularly upload to streaming platforms the paid-for Pro version offers presets for streaming platforms like Spotify, YouTube, Apple Music and Tidal. Mastering is about doing only what is necessary and making good decisions based on accurate monitoring and a fresh perspective.
Great gear helps but as this list shows, there are options out there for every budget, including no budget!
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