If you’re already hitting -14 LUFS, then you’re maybe mixing too hot. Look at the Integrated Loudness level and make your judgement based on the style of music you’re working with. We’ll come back to Loudness at various points, but at this stage, you’re mainly seeking to ensure that the mix isn’t over-compressed on a channel-by-channel basis. If the main output is too hot, though, consider using Fader Groups, VCAs or the Gain plug-in to attenuate the mix level rather than simply pulling down the Master fader, which has limited merit as a post-fade attenuator.Īs well as headroom, you’ll also want to start considering the mix’s loudness, using Logic’s dedicated Loudness meter. If you’ve observed good gain structure (and maybe mixed to an ‘average’ of -12dBFs rather than 0dBFs) there should still be a decibel or two on the main mix buss.
Opinion varies as to how much headroom you should leave in your final bounce – either in respect to the mastering engineer working with the file, or your own self mastering – but at the very least, you should ensure the stereo buss isn’t clipping. The seeds of effective mastering start from decisions you make at the tail-end of mixing – namely in relation to headroom and the loudness of the track you’re mixing. In this tutorial, we’ll look at the latter stages of mixing and how the issues of mastering start to impact on your mixing decisions. Rather than just explore mastering as a distinct and separate exercise, though, we want to explore its practical impact on the later stages of production – from loudness considerations and headroom in mixing, through to ‘quick fix’ reference mastering and a more detailed approach to file delivery. In this two-part Logic workshop, therefore, we want to take an in-depth and practical look at the state of mastering and how it fits into your Logic workflow. Likewise, the so-called Loudness Wars seem to have passed, but have we really moved to an era of wide dynamic range, or do musicians still have a desire to push their music to the limits? In the lifetime of MusicTech, we’ve seen the fading out of the disc format and the rise of streaming and unexpected rebirth of vinyl, all largely in the last decade. The reasons behind these fundamental shifts can be explained in two ways – an evolution in music formats and more intriguingly, changes in peoples’ taste in respect to the perceived ‘sound’ of recorded music. Paperback (Portuguese) (August 12th, 2011): $48.More than any other part of the music-production workflow, the art and science of mastering seems to evolve and adapt dramatically over time.He currently writes for Pro Sound News Europe, has contributed to Sound On Sound magazine, and has written many titles for Focal Press. Russ currently lectures part-time for York St John University and Barnsley College Online and has taught extensively in higher education at British institutions including Leeds College of Music, London College of Music, and Rose Bruford College. Through MOTTOsound (Russ works freelance in the industry as a mastering engineer, a producer, writer, and consultant.
MASTERING LOGIC PRO 9 PROFESSIONAL
He is a member of the Association of Professional Recording Services and the Audio Engineering Society a Fellow of the Institute For Learning (U.K.) and a board member of the Music Producer's Guild. Russ Hepworth-Sawyer is a sound engineer and producer with extensive experience in all things audio. He has also had works performed by the Royal Philharmonic Orchestra, the East of England Orchestra, City of Prague Philharmonic Orchestra and the Brighton Festival Chorus, as well as having mixed several orchestral albums for BMG Zomba.
His professional work includes composing music for some of the world's largest production music companies - including Universal Publishing Production Music - with broadcaster credits including BBC1, BBC2, ITV, Channel 4, Five, BBC World and Sky One, among others. Mark Cousins works as a composer, programmer and engineer, as well as being senior writer for Music Tech Magazine.
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