ModernBeats.com Tutorial: How to Master with T-RackS
Article: “Mastering Audio: Essential Techniques” July 20, 2009
Straight from the T-RackS 3 mastering tutorial on Hit-Talk, ModernBeats.com, a community for producers:"Here's a tutorial illustrating what we consider a sound approach to mastering your final mix. These are steps you can follow with any comprehensive software or hardware mastering set-up, and for this tip, we're using IK Multimedia's most praiseworthy T-RackS 3 Deluxe Mixing and Mastering suite.""T-RackS 3 Linear Phase EQ Settings:No matter what gear you're using to master your final mix, always start with the EQ. The first link in our signal chain is the new, and exceptionally transparent T-RackS Linear Phase EQ. Since we have multiple processors running, we're going to bypass the other two and then pull back on the EQ's output. Now we're ready to audition the changes we're about to make to your final mix's frequency response. Now, you may wonder "Why start with an EQ instead of a compressor?" It's not an arbitrary decision. You start with the EQ because you're going to be processing the signal with a lowcut filter. You thereby reduce the compressor load drastically, thus yielding a hotter signal coming out of the compressor. Above, you can see that the lowcut filter starts to roll off at 38Hz. Now, while you might think twice about shaving off those precious bass frequencies, there's a balance to be struck between bangin' bass and hot, punchy compression. How hot do you want the overall mix, and how heavy do you want the bass? You can't have both. Typically 37-38 Hz is a good compromise between cutoff frequency and compressor output. Heavier production styles, like what you hear from Timbaland or Lil Jon, often have plenty of heavy bass elements, like 808-style kicks and deep analog bass timbres. In those cases 38Hz might be too much, so you have to be careful. Again, tri-monitoring is a must. Listen carefully with your subwoofer to strike that perfect balance.""Another factor to pay attention to while you're tweaking your lowcut filter is the slope of rolloff. The rolloff slope is illustrated above at the left side of the EQ's display. If you're using T-RackS 3, try using a range of 35Hz up to 41Hz, as we've done in the above illustration. However, if you're using a different EQ, think of that range as a guideline, mainly because your rolloff slope could be greater. A steeper rolloff means a more abrupt decibel drop below the cutoff frequency, so a 38Hz lowcut filter on another EQ could make a much more drastic difference than in the T-RackS Linear Phase EQ.""Outside of using the EQ's lowcut, and as long as you have a good mix, the EQ should need little if any tweaking. When we master our demo tracks, we rely on our mixing skills to create a balanced frequency spectrum. If one demo needs it, we boost the treble range by small increments (between .5dB and 4dB) with a high-pass filter (see above). If you absolutely have to boost low or mid frequencies, make sure the linear phase EQ is set to 'Linear Phase', to keep EQ coloration to a minimum. As with any mastering process, you want this one to be completely transparent.""Transparent Master Compression:Whenever mastering a main mix, compress using a slow attack, and a fast release. A fast attack will give you an artificially snappy sound. If you've mixed correctly, you'll want to bring out the original snap and dynamics - all the good stuff you accomplished while mixing. If you go too slow on the attack (say, above 56ms) then the compressor just won't react. The T-RackS Opto Compressor's longest attack setting is 50ms, and usually we don't pull it below 45ms, because the dynamics of the mix start to gain that artificial snap.""Sometimes you have to use a fast attack while mastering to manage distortion and overdrive. If you're hearing a lot of out of control peaks, often quickening the attack can clean them up. Again, listen carefully and trust your ears. To achieve a transparent master compression, use a release time range of 84-105 ms. A longer release than that means that you'll hear the compressor working. If you're a trance/goa producer, and you're not averse to obnoxious clichees, then by all means use a long release, and savor the "boom-woaah-boom-woaah". But if you're producing urban and hip hop, keep your compression respectably clean and transparent. If you go too tight on the release, you'll hear distortion in the bass frequencies. It'll start to crackle. If you go too high, the compressor will not recover and you'll hear that pumping and breathing doing funny things to your mix. We usually keep the compression ratio at about 3:1. If you're trying to compress, not limit, a 3:1 ratio keeps the compression clean.""Next up is "input level," ("input drive" in the T-RackS Classic Compressor.) You have to make sure your compression isn't squashing your signal, and, in T-RackS, the best way to monitor the level of your compressor is by using the VU meter. While you're playing back your song, look to see if the black VU meter averages around -5 dB. Generally, it shouldn't dip down to -10. Watch it for a few seconds and get a visual idea of the signal's average (RMS) level.""Beyond those settings, there isn't too much to worry about in a main master. You may decide to use the Classic Compressor instead, which gives you a stereo enhancement option. Your best bet though is to set both compressor modules to equivalent settings and get an idea of which one suits your mix better. Regardless of the module you're using try following our guidelines above, and if your mix is good, your final master will make it shine all the brighter.""T-RackS 3 Clipper Settings:You can't really mess with the clipper until you've finished the steps above. If you go decide you need to tweak your EQ or compressor, shut the clipper off and restart. Our approach to the clipper is simple, and follows the logic of setting your gain and volume on a mixer board channel strip. First, turn the saturation knob hard left. This lets you work with the gain knob. Basically you're optimizing your gain level. With the saturation knob all the way to the left, bring the gain knob up as high as you can without triggering the saturation. Once you find the optimum gain, which should be fairly low because the compression gain will already be quite high, now turn the slope knob up until you find a timbre you prefer. Putting the slope knob right in the middle, at about a -6 setting should yield a nice, smooth saturation."Some Final Bass Mastering Tips Now that you have tweaked, pruned and polished the relevant parts of your mastering chain, take another look at the EQ. In the picture at left, we've taken the hi cut (or lowpass) filter and swept it all the way down to 250Hz. Now, don't panic, we're not suggesting you wipe out all of the mid/treble frequencies in your mix. You're sweeping to 250Hz so that you can hear the bass frequencies in isolation. Hearing those bass frequencies on their own allows you to monitor for crackle. If the bass is crackling, then the output of the EQ is too high. You can't hear those rumbles and crackles if you've got guitars vocals and synths blaring over the top of them. You can allow a little crackle, once you lift that hi-cut, you can afford a little bit of crackle, but too much of it can sap your mix's tone. If, after sweeping the hi-cut to a low frequency cutoff, you do hear plenty of bass crackle, simply turn the output knob of the EQ down until the crackle becomes negligible. Like we said, you can afford some bass crackle it doesn't affect your tone, and if it is completely masked by the rest of the mix, but again, be careful and use good monitoring to make it perfect.""Experiment with Mixing and Mastering With these guidelines, you can take your mixes from a dull shine to a glittering shimmer. Again, you need all the elements of a catchy, well-mixed beat; properly managed frequencies, expansive stereo image, good composition, good arrangement, etc.., no amount of mastering will ever replace mixing skill and musical creativity.""Our final advice to you with regard to mixing is, simply, experiment. Like any of our advice, use it as a guideline, then take it in your own unique direction. For example, now that T-RackS 3 can be downloaded as a suite of independent VST plugins, you can create your own hybrid mastering process using any other set of mastering plugins. If you really want a distinguished sound, you might decide to route your final master through a hardware graphic, EQ to shave off your bass frequencies, then back into your DAW for the final mastering stages. It's up to you.""T-RackS 3 provides a convenient all-in-one suite incorporating the very best digital models of classic vintage mastering tools, one of the many reasons we used it for this tip. No matter what your mastering tools, if you've been looking for a fatter, fuller sound, a proper mastering regimen like the one we've outlined above is an essential technique for you to have ready for battle."
Check out the whole T-RackS 3 tutorial on ModernBeats.com
Learn more about the individual processors of T-RackS 3 Singles . Learn more about T-RackS 3 Deluxe Mastering and Mixing Suite.
2009-07-28
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