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When working on a track or remix on the road or on the day of a gig, there’s often little time to get a song professional mastered printed cardboard boxes before playing out. Today, Mad Zach shares his tried and true “schmastering” technique, using a solid reference track and a few tools to bring the mastering on a track to a point where it can be tested on a real system while still sounding great! printed cardboard boxes
Obviously the best tip are all wrapped into the video above, but if you need a guide to refer to after the fact, here’s the basic steps (and the critical free download!): Export your finished song Grab a second printed cardboard boxes song for reference (use something that has a professional mastering job on it and that is at least vaguely in a similar genre or style as your track) Use a simple EQ Eight to eliminate bass below ~50hz, roll off the very high end (>11kHz), and dip the EQ slightly printed cardboard boxes where the speaker crossover would be (~320Hz) printed cardboard boxes Download + Install the free Yohng W1 Limiter plug-in ( Mac + PC compatible ) Watch your levels visually and adjust the limiter threshold and release Continue to actively compare with the reference track and adjust and play with the values
ProTip : If you spend too much time tweaking and referencing, you’ll lose your ability to know what’s good anymore. Take twenty minutes to an hour, walk away from the track and computer, and come back with a fresh head and set of ears to try again. printed cardboard boxes
1. Bounce the mix at 24bit .wav (No Dither) with -4db headroom 2. Open a new project / Import track. - Turn off warping, printed cardboard boxes and HiQ in Clip View 3. Add Glue Solid Bus Compressor on the master out 4. Add EQ Eight (Change to High Quality Settings) - Roll low end off at 30hz - Roll high end off at 15khz 5. Add Limiter with -0.3db headroom
Zach, these are usefull guidelines :) But first and foremost is always to leave enough headroom before mastering. If you’ve got headroom after the mixdown the adjustments in mastering stage will be much easier and transparent.
Eek, DON’T cut below 50Hz and above 11kHz, that’s terrible advice. Everyone has different ways of working, but next time maybe ask a professional mastering engineer for some quick tips. There’s no reason what so ever to generically cut high frequencies in your tracks (urban myth as far as I’m concerned), I spend a lot of time trying to fix songs where the musician did that and loose all sense of space and ‘air’ in a mix.
I think on this board we might be loosing a little traction on the fact that this is a quick and dirty way to “Schmaster” a mix. It is not an intricate in-depth guide to all the in’s and out’s of mastering. It doesn’t make sense to hold this video up against a detailed review of mastering techniques. And as far as the HP filter on the low end, yes you can hear those frequencies but for many club oriented tracks that part of the bass is what might be called rumble frequency, only really necessary if you are sound designing an explosion for a movie score or something. You can cut it around 40 and still have plenty of low ‘under the floor’ bass and then you have more headroom for volume if that’s your thing.
Well isn’t a djtt article a proper release? P: just sayin’, it’s way better to just gather up your visual feedback from the waveform and process everything by layers, it’ll take you about 10-15 minutes max to adjust your compression/gating parameters and listen, and I/O your steps til you’re done than use a plug-in… I mean it doesn’t matter how ‘serious’ your release is… printed cardboard boxes mastering isn’t an ‘artsy’ thing, it’s just a ‘pro’ thing, either you do it right, or you do it wrong… and to play an unpro release at a dancefloor printed cardboard boxes isn’t cool anyway… So just stick to your pro material lol…
i think some people
Blog Popular Topics Gear Reviews Traktor Tutorials Ableton Tutorials Business of DJing Advanced DJ Tips Beginner DJ Lessons Handy Links Breaking News Become a Writer! Suggest an Article Subscribe to DJTT Advertise on DJTT Shop Controllers Accessories Headphones & Speakers Soundcards & Mixers Soundpacks & Tutorials B-Stock & Clearance All Products
Chroma Caps
TMA Studio Headphones
Pioneer DJM-900 Nexus
The Midi Fighter Spectra
View all 87 items in this category Midimaps Popular Mappings Traktor Ableton Live Serato Scratch Live NI Traktor Kontrol S2 NI Traktor Kontrol S4 DJTT MIDI Fighter Spectra DJTT MIDI Fighter 3D TouchOSC Handy Links Mapping Forum Sign In Sign Up Forum Popular printed cardboard boxes Forums General Discussion Buy and Sell Reviews Mixes and Productions Music Production Show your Setup Off Topic Handy Links New Posts Private Messages Register Search Search Blog Shop Midi Maps Forum
When working on a track or remix on the road or on the day of a gig, there’s often little time to get a song professional mastered printed cardboard boxes before playing out. Today, Mad Zach shares his tried and true “schmastering” technique, using a solid reference track and a few tools to bring the mastering on a track to a point where it can be tested on a real system while still sounding great! printed cardboard boxes
Obviously the best tip are all wrapped into the video above, but if you need a guide to refer to after the fact, here’s the basic steps (and the critical free download!): Export your finished song Grab a second printed cardboard boxes song for reference (use something that has a professional mastering job on it and that is at least vaguely in a similar genre or style as your track) Use a simple EQ Eight to eliminate bass below ~50hz, roll off the very high end (>11kHz), and dip the EQ slightly printed cardboard boxes where the speaker crossover would be (~320Hz) printed cardboard boxes Download + Install the free Yohng W1 Limiter plug-in ( Mac + PC compatible ) Watch your levels visually and adjust the limiter threshold and release Continue to actively compare with the reference track and adjust and play with the values
ProTip : If you spend too much time tweaking and referencing, you’ll lose your ability to know what’s good anymore. Take twenty minutes to an hour, walk away from the track and computer, and come back with a fresh head and set of ears to try again. printed cardboard boxes
1. Bounce the mix at 24bit .wav (No Dither) with -4db headroom 2. Open a new project / Import track. - Turn off warping, printed cardboard boxes and HiQ in Clip View 3. Add Glue Solid Bus Compressor on the master out 4. Add EQ Eight (Change to High Quality Settings) - Roll low end off at 30hz - Roll high end off at 15khz 5. Add Limiter with -0.3db headroom
Zach, these are usefull guidelines :) But first and foremost is always to leave enough headroom before mastering. If you’ve got headroom after the mixdown the adjustments in mastering stage will be much easier and transparent.
Eek, DON’T cut below 50Hz and above 11kHz, that’s terrible advice. Everyone has different ways of working, but next time maybe ask a professional mastering engineer for some quick tips. There’s no reason what so ever to generically cut high frequencies in your tracks (urban myth as far as I’m concerned), I spend a lot of time trying to fix songs where the musician did that and loose all sense of space and ‘air’ in a mix.
I think on this board we might be loosing a little traction on the fact that this is a quick and dirty way to “Schmaster” a mix. It is not an intricate in-depth guide to all the in’s and out’s of mastering. It doesn’t make sense to hold this video up against a detailed review of mastering techniques. And as far as the HP filter on the low end, yes you can hear those frequencies but for many club oriented tracks that part of the bass is what might be called rumble frequency, only really necessary if you are sound designing an explosion for a movie score or something. You can cut it around 40 and still have plenty of low ‘under the floor’ bass and then you have more headroom for volume if that’s your thing.
Well isn’t a djtt article a proper release? P: just sayin’, it’s way better to just gather up your visual feedback from the waveform and process everything by layers, it’ll take you about 10-15 minutes max to adjust your compression/gating parameters and listen, and I/O your steps til you’re done than use a plug-in… I mean it doesn’t matter how ‘serious’ your release is… printed cardboard boxes mastering isn’t an ‘artsy’ thing, it’s just a ‘pro’ thing, either you do it right, or you do it wrong… and to play an unpro release at a dancefloor printed cardboard boxes isn’t cool anyway… So just stick to your pro material lol…
i think some people
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