How to Master in a Proper Way Tips & Tricks


To master your track you might need to have the right equipment. Fully equipped with low impedance and as brutal sound as possible. To be able to monitor your track properly. In that use rather gaming headphone, earbud and original studio headphone. As soon as you manage the right level in all you know the distance to your music, and how high you can push sounds out in the master.

I recommend THX soundcards which gains your tracks properties to fully work with certain types of speakers and headphones to even earbuds. Remember that some soundcards don’t play your bad sound levels and even with ultimate distortion your track might sound glorious!

You want the bad sound, but as well as resonance and even know the depth of your track. Then I recommend the THX Sound Blaster SB-1300 with especially Razer Kraken.

Why buy a gamer setup? Well, it’s because this option is exactly for the best possible monitoring. You will struggle 2-3 years and never be fully accepting your own track.

To the mastering of your track. Remember that all instruments have the 3000Hz center which occupies too much in most tracks. A bump of -3dB in the center of 3000Hz most often is a good choice. We do this like this in FL Studio on Master, but you might do that as well for each sound that has to a high level. When you reduce 3000Hz centers you will enable your listening capability to be with more sounds. This is often needed when you have tenfolds of sounds in your track:

This is, by the way, something that claps and snares have a hardish dense color right in the center of 3000Hz+ and therefore some levels though are good as well to reduce for these samples.

Recommended as well is to use on Master:

A1StereoControl: Download link 2MB:

A1StereoControl-x32 at loopswag

While we only adjust 137% Stereo Width for your track it can do miracles for better stereo feel.

As well remember to put on Safe Bass for 224Hz.

Then you can add on your track TDR VOS SlickEQ


Get familiar by adding a -1.7dB to -4.7dB on 224Hz center. It will remove resonance problems for most tracks. But as well opens for more spectrum room for your track. As it auto masters your track in the center of 224Hz. This isn’t a bad idea and can remove the tension of muddiness in the center of 200Hz. That way your track will probably sound lighter and people will most often hear your track slightly better. Sometimes it’s good to have different monitoring equipment to find the perfect spot range. That you, of course, remember to work with. Reducing -3.1dB with SlickEq you don’t actually reduce these levels up to that. Even -12dB does not fully remove the range. But -12dB can be tough removal on the mid-range.

Download TDR 6MB:

TDR VOS SlickEQ – at

While you want to master your kick in your track? Try adding Maximus and do this trick:

By adding PRE gain Green.

You can gain a very powerful level on default preset of Maximus. Remember that all bands are set on on default so sometimes you might need to turn off other bands off if it’s hard clip limiting.

LOW CUT yellow:

You don’t want to cut low frequencies with Maximus that way you will struggle with your kicks and basses. Try never to use LOW CUT on Maximus especially on Master. Since it has a processing problem for the Maximus and often is bad. And it’s to bad for Maximus.

The full blue 

Shows the envelope in Maximus. This envelope can be edited. Into Soft Clip as shown in the red field.

That way you will soft clip your kick and you will then have a more sine wave to the kick at it’s higher frequencies as well as lower. But distortion will not work on this occasion that fully well. Remember what you do if you have distortion on with a sound.

And Maximus on Master?

Here you see the bass and kick is limited at -2dB with this envelope. You don’t need a higher level for kicks as that is the total max you can get for a 0dB track without master channel limiting too much and you get a bumpy kick when there is frequency fight in the wave. And it occurs when there is much in the frequencies fields across the whole frequency specter.

We do recommend that you keep your kick levels to around -6dB from 0-100Hz and lower range from 100Hz+. Do monitor in some equipment maximum lowest, if your system is possible to play a good level of sound at even -6dB, why not stick to -6dB. Some musicians do not tend to overpower their tracks and the beginners often don’t overbalance their track, keeping a maximum minimum in their track and make a breakthrough with their tracks!

For bass? you want to master it at -6dB to the master sometimes even at a lower range of even -9dB would be a good choice. Remember Maximum Minimum!

Here you see in the example that bass is auto-mastered at -6dB. That way your bass stays at -6dB and it’s higher in volume at most. Remember to Equalize your bass after this. A good tip is to equalize before and after the Maximus on bass. But stay at max -6dB with the bass on your tracks. At fully knowing the maximum range of bass it’s often around -6dB to around -9dB. Your bass might play well at even -12dB. But having a higher level than -6dB for bass can be of too high levels.

With the mid?:

Monitor your kick as well on the master with Maximus. You see that it has too high levels from 200-3000Hz. Most often you don’t want the kick to have more than -12dB pressure in the track or even at max -9dB for frequencies around 200-3000Hz. So little edit for the kick was done especially here, remember that levels from 3000Hz to 22000Hz can often as well become too high if you maximize the sound with Maximus.:

Even just a tiny change of Parametric EQ 2 can make miracles like here:

As well as trying to reduce these levels of -6dB to -12dB. It plays well as a kick in total.

You should try using peak controller on a kick making it chops like this. Therefore you can use this to sidechain your bass with the kick. Change the decay more up to right in the peak controller as you reduce the peak strength.

The whole Sidechain tutorial is here:

How to Sidechain? Your bass with kick!


Try adding this to a bass: “use the preset 40Hz cut and drag it to 200Hz with your middle mouse wheel.

Link the volume to the peak controller by the link to the controller.

Choose then Peak ctrl – Peak and accept.

Then you will need to edit the bass ms time for bass to be perfectly matching the sidechain and the kick.

Set your time accordingly to open bass frequencies in the Maximus you see in Master. Don’t let the kick play at the same time as the bass. And by adding 4 ms or 6 up to 8 ms to the bass will be more at the place without conflicting with the kick. The blue color in the above picture shows the timing and it’s often 8ms for basses. To have your track automated by delay compensation is a good option, then you don’t need to change ms for the kick. But in newer versions of FL 20, your kick should then stay -8ms without automatic compensation. But you should put it to -8. Yes, minus level.

Set your Decay and Vol accordingly to this, you don’t want to have many sidechains going on and most often when used as this short decay kick you can hear the kick as well the bass. To hard sidechain is not good. And often cause a major problem to a track

Another thing. On the master mixer, you can use this option to make -12dB high levels for frequencies above 3000Hz. Having higher than -12dB high frequencies is not recommended for a track. And why is that? Since some equipment plays badly the higher the levels are especially earbuds. Even on phones and Android to iPhone.

On Master, you should monitor your high frequencies. If you have to much yellow in the upper field. Means your track has too much higher frequencies: As in with Edison you can turn on view Spectrum. You need to record with Edison in order to visualize the wave.

Here is a look of a more proper track it’s though less hard and has a less yellow color to the higher frequencies. Remember that some sounds might reveal to bad levels in the higher frequencies:

You can see this track has dense yellow on the bottom. Means bass is running high levels. In fact, a better level would be purple to orange color. In many tracks from the mainstream, these levels often don’t get to yellow color.

For your comfort. If you feel you can hear your tracks properties, you might not need to overbalance your track by pushing it to limit. Sometimes a good track can sound good for others if you keep levels more down than up. And if it sounds good it probably is for most times. Remember to not use Gucci headphones or anything that makes all tracks in the globe sound good therefore your quality will be ill bad.

Here you see a properly mastered track. Where there is no conflict of too high levels. And mastering is done through mixing the sounds properly for the master.

You don’t want or need to master your track professionally if you do know how to EQ and put into some effort to equalize each instrument in your track.

Recommended is to turn equalization on each instrument by solo playing your sound.

You can solo play any sound by right-clicking on each mixer unit’s green led button.

Recommended use on Master is often 3000Hz cut and 200Hz cut. of around -1dB.

You might need to turn the bass of the kick at maximums to master for this application of master mastering with Parametric EQ 2.

It’s not always recommended but as an end mastering, you might be hardly hard possible to edit all sounds that in total end up on Master Channel. So an edit just of frequencies that are in particular dense would be a signal of overpowered frequencies. So lowering these values would indeed be a good choice.

Recommended for the kicks is as well to use Transient Compressor:

The ATTACK is to add snap, or the first frequencies of a kick to be gained.

The release is to add in more boom or hard feel at the end of the kick.

You might remember this put on Master:

Do you see the curved envelope? That is to add distortion to the higher frequencies and glue them together. Test that out on your track, and it can really bring a miracle to your track or tracks. Gluing all the higher frequencies together with distorted frequencies.

And for the master, your track will play 0dB if you don’t push bass to hard out and your higher frequencies higher as well.

A track is written in frequencies and one wave consists of waves of the track. In another matter, you need to see that bass plays high frequencies together while playing the wave of sound. The wave is often sine but looks like a wave and consists of fast waves and short waves. But frequencies stay in between while having to hard bass can overturn all other frequencies making a limiting of a track a possibility while spectrum fights for frequencies. Don’t then overpower your track!

Maximus Master Channel can be set with the envelope to +1dB and with a curve to do the type of analog edit to the limiting of up to 0dB.

Maximus has a +1dB problem, but limits at 0dB to little. So your track becomes -1dB in overall if you have a lot of limiting on the master channel.

If you followed these examples your track most likely will play 0dB. So remember using Maximum Lowest on your track as that is the more right thing to do with a track. To hard levels aren’t always best.

Remember that you can use another limiter at the Master channel than the Master channel limiter in Maximus. A recommended collection is at plugin called ModernLimiter that you just can put into master.

Download the full toolset of plugins here, since they don’t any longer offer a download:

Download: ModernFullPack at 47MB




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