Mastering with Plugins Featuring: Warren Sokol - Produce like a Pro - Warren Huart

all right so now we're going to master that same song using just plugins a loop made here the jump over there go so I want to see how this works instead I wasn't liking how the kilohertz or the Hertz versions sounded on there so let's check out the harmonics that this gives us my people me living in the struggle no money no honey it's what they say don't you [Music] got to and that is definitely sounding a lot better it's once again this is harmonics over the entire frequency spectrum instead of just the high end or just the lows and mids I'm putting it on the 3-band version so it's doing different harmonics for low mid and high but it's taking the whole song and the whole frequency bandwidth into consideration and myself I'm liking this a lot better right go back and add that FGX the slate FGX plugin it's again got to clear out all these things that 0 themselves out every time so these are just some generic things that I'll start with and sometimes I'll go and change this guy out I always go in and bypass the compressor on this I'm not a big fan of it my people have been in the struggle got no money no honey it's what they say don't look at me [Music] Romer Dow got knowing as if I'm ready to give it all back Jack all right so that's one song done with both the analog and a plug-in only mastering approach once again not doing it to try to make it as loud as possible but making it sound good so we have two more songs that we're going to do as you can see on the screen we have one of them that is already very loud and another one that is not very loud sometimes people will clip the output of a digital or analog mix and when you zoom in like this if it's been you know made as large as it can go and you start zooming in on it when I get to a level like this I can see that there's still peaks and valleys to these waveforms if these Peaks come up and just go flat across and then down and then flat across that means it's been clipped I can tell this has gone through a peak limiter and it isn't just clipped because when i zoom in on it I can still see waveforms next thing I'm going to add in there is another little correctional thing and actually this might be better in front of the stereo with but we're going to try it out in back of it first and that is a little bit of de-essing there's two different ways to accomplish it in the mastering world and that is a shelf de-esser or a bandwidth Gesser a shelf means that it looks like an EQ it's going to shelf up and control all of the high ends or a certain bandwidth of the high end the splds errs are a very wide bandwidth and I can't control the center frequency of it but what it does is use phase cancellation as opposed to compression and dynamics to do the de-essing so it tends to be very very subtle and then what it does and I think we can get some of the harshness off the high end by doing this [Music] way so the harshness I'm trying to clean up I can hear really good right here in the snare drum and that snare buildup I've got it bypassed right now so here's without just as it gets to the end and come on baby comes back in I can hear the snare drum distorting once again with this already banging through a limiter most things we're going to do to it in an all plugin realm are just going to make things harsher so I've done a little bit of clean up EQ we made it just a little bit wider and giving it some space between the sounds and pretty much put the level back to where it was maybe just a tick louder this particular track it's a good mix we're going to do this one with all plugins as well it's a really good mix oh there isn't a whole lot of going and correcting things they gave me a nice dynamic mix and it's a hip-hop track so we're going to make it nice and loud okay so I'm gonna add in the ozone dynamics compressor here by default I know I said I was just going to master this one but there's always something to explain by default this thing opens up as a four band multiband compressor these little plus or minus buttons here are going to allow me to make it a standard single band compressor and then I'm going to go in here and I'm going to make a high pass on the sidechain when we get to that I'll explain what's going on there and what that is those of you that aren't familiar with it those sound great [Music] one freeze we are having fun so hot baby hot wait you wanna go we shot baby I gonna just grab my hand and try to the price every closest enterprise I just want to take them never meet a guy like major fly like man same time baby tonic which is all good god I'm trying to around with your up down down up down out of town with the corn another groundhog crowd little brown alright so what I'm doing with that what this parameter lets me set up notice it's taking all the bass out and I'm going to leave that control set basically what we're doing here when I hit this s its soloing the sidechain of the compressor and this filter is on the side chain of the compressor and what it's doing is cutting the bass out of what the compressor hears so there's the compression and then there's the sidechain and the compressor and the sidechain listens to the input and tells it how to adjust the gate how to do the gain reduction with the amplifier in a mix in a mastering situation the energy of the bass is generally more powerful than the energy of the mid-range and high high frequency kind of put together and I'm sure somebody's going to snap at that statement but it's a bit too broad statement not trying to get too technical the I what I'm trying to explain is that the sidechain of the compressor if I cut the bass out of it it's not every time the bass hits it's not going to compress everything I just made this a single band compressor so no matter what happens the entire frequency range is going to be compressed because the bass takes up it's such a large amount of the frequency range whenever that base hits it's going to suck everything down so this filter on the side train is going to cut the bass out of what the compressor hears I don't want to do too much of it because I want certain notes to still be to be triggering compression but I don't want that kick at boom-boom I don't want to suck in the entire mix down every time so I'm going to set up a sidechain filter here to where that kick is no longer triggering the compressor and I'll show you what it does after we get it all set up having fun put a five baby shot wait you wanna go but we shot baby I just grabbed my hand and put it right through the process of focusing just when I got man and trying to pry I just wanna say you'll never meet a guy like me a guy like me saying I'm like dad one of atomic who's gonna hold for the time but you stopped your guy trying to around with you brought this down them down how to town for another crowd okay so now that I've got some compression happening there and I can hear it tightening things up when take that side chain off and listen to how the command you can even see in the waveform this is showing me the constant gain reduction I have a pretty low are I'm sorry a slow attack and slow release on there so it's kind of maintaining a compression level the whole time watch what happens to that level of compression when I take this sidechain filter out long shot ea1 big or j1 status history in the big I can hear it show it you can see the compression happening every time that base hits now boom boom boom and when I take that filter and put it back in listen to how the music live-ins up that voltage it's open up the second the second you hit that filter on the entire mix opens up and that vocal goes back to sounding alive again so the more compression you have the more the effect that you'll hear on that mastering is always the details it's tiny small movements that all add up into a bigger things

Channel: Produce Like A Pro

Views: 49,992

Keywords: warren huart, produce like a pro, home studio, home recording, recording, audio, music production, record producer, recording studio

Id: kWwGxgeVXv4

Length: 10min 32sec (632 seconds)

Published: Sun Jul 30 2017