File Name: fl studio 12 mixing and mastering tutorial .zip
The more familiar you are with the mastering process, the more this can help you make good mixing decisions.
- Intro// Mixing and Mastering in FL Studio
- How To Master A Song In FL Studio
- The Complete Guide to FL Studio for Beginners
Intro// Mixing and Mastering in FL Studio
The more familiar you are with the mastering process, the more this can help you make good mixing decisions. Mix balance is king here, and so is maintaining headroom and a good dynamic range. You want to keep your loudest peaks with at least 1dB of headroom below zero, but really you can comfortably aim for greater margins, -3dB below zero would be even better. Some engineers are even printing mixes at dB because they feel there is some sonic benefit. What you want to avoid at all costs are peaks above 0dB.
It is far better to maintain headroom by printing a quieter mix than to squeeze every possible decibel out of it and risk going over before it even gets to mastering.
Dynamic range is the difference between the loudest and quietest moments in your music, and is also essential to preserve. A track with good dynamic range feels musical and exciting, whereas a track with poor dynamic range feels tight and fatiguing. Genres like pop and electronica tend to have less dynamic range than jazz, classical and other acoustic music.
You want to avoid using your limiter to deliver lots of gain at the end of your mastering chain. Ideally you only want to lean on them for a few dB, so make sure your audio file is at a good starting level either by using a gain plugin or, using the clip gain feature in most DAWS. The solution could be as simple as inserting a basic widener and opening it up, fanning the mix out like a deck of cards.
This leads to possibilities for additional surgical processes. If you are boosting or cutting EQ, a great piece of advice from Craig is to push the EQ frequency gain to where your ears want it…then halve your move. If you are boosting 3kHz by 3dB, bring it back to 1. In terms of EQing the mix generally, take time to listen first for the obvious things.
Purposefully listen to the bass, the mid range, upper mid range and the highs. The downside is that it can also destroy a mix by either creating an un-real sense of space or by introducing phase issues and compromising energy levels. Mixes that lack stereo information will be worse for that. Typically you could look at boosting a vocal in the kHz range. Compressors control dynamic range. If the mix is too dynamic or just needs a little more punch, a couple of dB of gain reduction from a compressor can really help stabilise the mix.
Compression can really help in terms of scoring additional headroom and adding gain. If you are not getting the loudness level you want at the limiting stage, go back to your compressor and squeeze it some more rather than digging deeper into your limiter. The final stage is to cash in any remaining headroom and bring the mix level up as high as you can without clipping. Limiters are essentially compressors with super fast attack times and high compression ratios.
You might start by setting the ceiling of a limiter to 0dB and then draw down the threshold to meet the audio peaks. The threshold is tied to an auto gain function, so the more you reduce the headroom and dig into the peaks, the more loudness you get back. However, there is a trade-off here: the more you flatten the peaks, the less dynamic range you end up with.
After all, you would think, if you have a limiter in place, you should be fine right? None shall pass and all that? Well, yes, but there are certain digital processes that are required to smooth audio and in so doing they can add an additional thin layer of gain after the limiter: this could be enough to clip the master buss if your mix is already running right up to the limit.
Over 40 pages, packed with easy to digest explanations, walk-throughs and pro tips for quickly getting up to speed with mastering your own music. Jon Griffin is a UK based freelance Record Producer with over 15 years working at a commercial level.
He finished his Engineering Diploma in and interned at Soul II Soul before embarking on a varied career of music production. He has worked on a number of hit records, produced music for film and TV, Playstation games and some huge sample replays.
He remains very accessible to independent artists so why not check out his work by visiting www. About the double compressors: when I do this on individual tracks I use two different compressors with different settings, does the same apply when used in the mastering process?
Or would you recommend using similar ones with more similar settings, so mostly the workload gets divided, but there will be at little as possible colorization? Hey Robin, The idea of the double compressors in this case is to reduce compression artefacts by halving the load on each device. If your reducing the range overall by 3db, then set each compressor the same to reduce 1. The bottom line is that vocals are so broad in scope that there is nothing I could realistically tell you about how you should compress the vocals you are working on right now.
I can though give you the broader perspective — Good vocals prior to mastering should be sitting where you want them — not above the music, not buried. About this stage — automate — go through the performance and use automation to plant the vocal exactly where you want it. Then perhaps compress a little more, just to housekeep it.
This is a good place to start — provided your not smashing anything or cranking the EQ you should be in decent shape, mastering can lift out vocal detail but you need to get the basics of the mix right first. Was curious to know which wideners you use you mentioned wideners and i really thing my mixes are missing them, would love to know what you use or anyone else uses on here?
Thanks for your positive feedback. Personally I keep wideners simple, I like the Waves S1 — nice and quick — difficult to screw anything up, easy to use. The end result for me is typically conservative, just enough that I miss it if I take it out.
Thanks for your article i have a few problems.. When using a Mix buss compressor on a mixing stage is it possible to apply it again in mastering stage… 3. This would be the same on things like percussion packs or multi-sampled instruments. In terms of pure synths i. What I think your question might be implying though is should a mix buss compressor only be left to mastering? If you have it too wide you will introduce phasing issues which will make the mix sound thin and weird sounding.
Thanks Jon you are a like saver so in terms of panning stereo tracks to make wide in a mixing stage what is your opinion there… So in mastering stage how many GR on a limiter i will take to make my mixer loud as pro mix..
And we are the small studio producers its hard to achieve a width, height and Depth in our mixers so what can you advice us as new producers.. Thanks im sorry to ask alot at the same time. Mastering — Limiting can be a dangerous tool as it can appear to make everything leaner and meaner the more you use, early on the chances are your going to ruin some mixes until you get your ear in.
What you have to understand is that during the mix you want to get the dynamics loud to quiet scale much as you want it. Ideally without killing the vibes, when those dynamics are right, it will already sound loud when you turn it up. Strange choice of words? Meaning i have to compress each instrument while i mix maybe taking 3dB of GR will help?
Really difficult to advise you on your particular mix, every one is so different, but to clarify I do mean compressing in the mix and possibly even while tracking if you feel confident, otherwise you should be able to achieve what you need within the mix.
Thanks for a lesson Jon the last think i like which plugins you prefer starting from EQ to Limiter because im looking to buy something that mostly used by pro ME i dont like to use stock plugins thanks. Do you want my honest thoughts on this? I have been exactly where you are and I have amassed over the years plenty of plugs I have paid for and I now feel confident in the view I have.
I could live without the majority of additional software I have bought with next to no real problem, however, I do like certain plugins more than others. If anything I think, because of the design of the interface more so than the sound. I would recommend to you though the Fabfilter Compressor, which as well as being a versatile plug, is also brilliant for giving someone who is not sure what compression is doing lots of visual feedback.
I also can really recommend Fabfilters Pro Q, which again is high quality but also offers really informative feedback for identifying the right frequencies to treat. I think these are excellent plugins that will grow with you. Question : Roughly, what settings would be good for each compressor? I like the idea of using 2 subtley and raising the overall level, but what would be a good overall setting range to avoid artefacts like pumping etc….
I would say that compression certainly when mastering used knowledgeably really only alters the end result in the most subtle but important of ways, this is essential to appreciate because otherwise I think a lot of us might believe that this process will transform our mixes, making them powerful, correcting all our other technique and making it…loud.
Truthfully its just another way of achieving a similar result. When mastering a track I would say your listening for a point at which what your doing pulls the track together as optimally as you can, beyond that point you begin to degrade with compression.
Your task is to find that point. For pop and rock mixes ratio should do the job with db gain reduction. Slow attacks — say 30ms is probably safe, releases of around ms likewise. Perhaps try higher ratios and much higher gain reduction than this — like 18db or more if only so you can hear the attack and release phases by exaggerating them, listen for the rhythm of the compression, use the attack and release settings to find a rhythm of compression you like, that compliments the music, then back it all the way down until your at something like with the db GR.
Its about right when the rhythm of the compression is set and you perhaps can no longer hear the difference until you bypass it. If then you still want to try the dual compressor idea, set up 2 compressors exactly the same using the settings from the above approach.
From here you can choose how you split the load, you could for example share the db reduction, so instead of one compressor reducing by 3db you have them both taking 1. You might even use two different types of compressor, where each brings a different quality.
Unwanted pumping is usually the result of release times that fall outside of your tracks natural ebb and flow. Hope that helps.
In terms of adding a Reverb when mastering which reverbs are good for mastering or its just a hardware only that works great? In programs like Nuendo and Cubase, they give you a trim pot on each channel, but this is no different to clip gaining. Use clip gain to get the track so it is not clipping the buss and that you still have a few db to play with.
Hi Jon, Excellent article, I have been wondering for a year, after changing genre, I am creating psychedelic Trance music and the mastering is been quiet a pain, which plugins would be the best for my music.
I wonder if you have any experience in mastering electronic music, I would like to know the best plugins for such a music. I hope you can help me, thank you so much. Mastering chains do not have to change especially just because the genre is different, I mean, they may well do and for sure there are mastering facilities that specialise, but the rules stay within the same ball park of controlling dynamics without crushing the life out of it and eqing to fix things missed in the mix phase..
I am sure that if you follow the article here, this is pretty much universal. Hello Jon. My DAW is Ableton 9 with an insane amount of plugins.
Like I said, not knowing what to use or how to chain them together, I relied on suggestions I read online.
How To Master A Song In FL Studio
You can master your track within your DAW and even with the stock plugins. From the beginning, I want to establish that this article applies to my preferences. Surely you know other ways to master your tracks, so do not expect an exact recipe. Export your finished track , make sure you export it in Wav format. This way it will be higher quality than mp3. Add a Compressor Fruity Compressor plug-in. This is to improve the dynamics of the whole track.
With a little editing, you can turn up the volume and master the perfect sound. Adobe Audition Single App Creative Cloud All Apps Adobe Audition is a software developed by Adobe to create and edit digital audio aimed at the professional world: recording podcasts and radio programs, as well as the sound of audiovisual productions, among others. The program contains advanced tools that enable mixing, recording and editing with the highest quality results. Your email address will not be published. NEW: The latest release of Audition is here … excl.
I have a page board bylaws document that needs to be retyped in Microsoft Word. Somehow we have mis-placed the original and all I am stuck with is a PDF that is a mess when converted to text. So thinking it needs to start from scratch. I want to make an application with the programming language flutter the details : 1- The application will be in Arabic The application contains an opening screen with the application logo 3- The application is a platform with a login for students and a login for supervisors 4- Books are added, pdf books and audio files are uploaded with the books as well students can watch and read these books I have a 22 page board bylaws document that needs to be retyped in Microsoft Word. Looking forward to your messages!
The Complete Guide to FL Studio for Beginners
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Mastering a track is a fine art that requires plenty of patience and practice. In this course, join Maxim as he demonstrates the basics of mastering in FL Studio He will help.
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