To master your song with not just one suite of mastering as you would only do, as you would try to use perhaps Izotope Ozone for your track; there are different ways how to master your song. It’s not easy since you might need to think unlogic and even do the process with as much as ten to twenty different plugins; all will suit their purpose on their own.
Though you might want to hear what this significant process does to a track, as it is available as listening down on this page, you might listen to the difference of the track. The track, though, was 128kbps that we put through our process, thus giving as well higher frequency enhancement by all our operations on how to master the track more perfect. Though you need to understand that process is to increase certain levels as well as professional way, and each process is though different from each of the tracks you will do and that by not always one process might work on your track.
But first, if you do want to make MP3 more lossless, we provide as well the specific capability of this through something like enhancement by Excitement of your track of the higher frequencies. This process isn’t easy and should only be done through authentic sound processing. After all, some frequencies might be much noisier and attain a higher load in this process. So making it perfect will need thorough handling of all plugins as well to be able to listen to the product not just once but as well with right studio monitors, headphones, and even earbuds. Earbuds would suit best for knowing what is wrong with the higher frequencies. As well earbuds aren’t efficient in identifying more about your bass frequencies.
So having, first of all, just different setup will enhance the probability of mastering your track more perfectly. It’s not only by our means essential to tell about indeed the most authentic system of SoundBlaster SB-1300, which consists of two different processors, one THX or SBX, and the other is Recon3D. First of all, it’s 100% authentic sound-processing of THX, and with Recon3D, you get your tracks sound balanced, which means it will create a higher level of low sounding levels, not in case what THX does.
So in case you want something to have a reference by using both of the setups, you will make sure that both buttons on the soundcard will sound genuinely different, and at the end of your mastering, you need it to sound 95% equal. If it does not, your processing in THX requires lower sound levels of specific frequencies, often from 100-5000Hz, but as well check by applying Parametric EQ 2 and bump random places down, to find the spots which create an irritable noise. Usually even higher frequencies. You will need to balance the levels towards being equal in sounding and therefore lowering levels to minimum-maximum level.
By then, to start off doing your track, you will surely need to split your track into three different bands. That is undoubtedly a hell doing, and the process is for those who don’t know how to do that. We explain it easy here:
First, remember to send to 3 different other inserts in the mixer: And then by having the master channel send from the track, you need to turn it off. Therefore the track isn’t sent to master.
So by having your track sent to 3 different channels, we first add Maximus in all of them.
We turn offthe LOW CUT in all of them that which is on the bottom right side of the plugin; it’s crucial to turn off 20Hz lower-level processing of the track since it even is enabled to around 40Hz cut of the sound. This 20Hz cut is wrong with Maximus.
You might above see that now we have it on the bass channel in the mixer. We changed the ON button to COMP OFF! That way, we process the sound through. And we do that to each of the bands that represent LOW MID and HIGH. To as well to avoid any hard clipping that might happen by the Maximus.
On Bass, we keep it that way. But the last important thing is as well MASTER do turn your ON button to as well COMP OFF.
Then following Remember to set the LOW channel “Bass” “to the MID channel”
We didn’t do that much, but for mid and high, we do as follow the same for them, LOW and HIGH muted on MID. Then LOW and MID off with MUTED on High channel.
It’s simply by passing through bands to the channels, and mute other channels, so single band will play on it’s on.
Then we have proceedings to split all channels, but remember to turn off the Master on all mixer units to COMP OFF if you, though, do have limiting that will cause a HARD clip to your product. Often a track plays beyond 0dB, but that is seldom for all tracks. Especially by the means, not all bands play single more than 0dB.
So then we have the track playing as it was on the master, that process is as well unique to reduce resonance:
Why did we add TDR VOS SlickEQ? Well, we want to reduce resonance levels without keeping the sound terrible, and then by lowering 224Hz center or 200Hz center to around -2.7dB with the track to be measured the highest level of -6dB. This reduction is needed to become to our sound better in the processing, to reduce as well as specific noise that for us would become high enough.
With TDR VOS SlickEQ you can reduce center 3000Hz with enabling HIGH on the panel to reduce -2.7dB levels in the center of 3000Hz. Thus no need to use Parametric EQ 2 on that process.
By reducing with TDR VOS SlickEQ, you might not always need the reduction, but it will sound quite better from around 2.7 to 4.7dB reduction. For most tracks, you really would reduce the levels in center 3000Hz, so a TDR VOS SlickEQ might make the levels just little though reduced with about -2.7db, but you can make this process even as high as 3.7dB or even 4.7.dB. This reduction is dependant on how many different instruments that are playing in the track; the cut is a need sometimes.
Now that we want to work on the bass levels, there are different ways to do it exceptionally. But you now we added Fruity Waveshaper to add distortion to these levels:
There are ways to apply distortion, not always it would be pleasant, especially if you don’t know how to apply distortion. But we did this process on the track we are representing for this remaster process.
There are a thousand ways to tho make the bass levels more enhanced, somehow different ways of distortion will make the bass and the kick more enhanced. But we don’t need to worry about creating higher levels of the bass, but somehow there are different ways to proceed further on the way you reduce the levels in total after this. But Waveshaper might have different distortion, especially on a trap track we would like to increase the curve from starting the distortion from the bottom of waveshaper like here:
So it’s really up to you how you do it, this high distortion will create higher frequencies, means the bass will be sounding more on phones or other setups, therefore creating more frequencies in total for the LOW frequencies. It’s often a good thing for especially making drums and the bass in a higher fixture.
So our next process as using the above distortion which causes more spindle of higher frequencies:
We reduce most around -6dB of our frequencies with Parametric EQ from 100-300Hz with EQ and reducing these levels more.
You can on that above reduction, apply TDR SlickVOS by the same reduction, to about -6dB as well, that will reduce the noise and resonance and not lower the levels like Parametric EQ 2.
Then we add for bass frequencies several different suites of processors, like ModernAnaloguer, ModernExpander, and even Mhorse P3.
To increase levels of the process of bass with more higher levels even cooler as with New York compression, and as well tweaking ModernExpander of Knee, Range, and Threshold.
We as well increase ModernAnaloguer at Color and Level, we as well increase the New York compression to level 3 and add Mellow, Punch, Body, and Shine on the Mhorse P3.
TIP: MHorse3p is powerful but Bass Enhacement, it is really though process. And requires resonance type of headphones with high powerful level bass at levels it has more bass to us. Then we can add lesser bass levels, since you want them at -9dB. And then keep the kick at -6dB. With dominant kick, and powerful bass enough for our levels. And you should use monitoring of Maximus all the time, what each new plugin does.
You might want to check out MhorseP3:
Donate! It’s 15$ for a whole set of downloads. You would want it!:
You might sometimes overpower your bass if you are trying to perform a level of 8 with New York. But the process truly is remarkable for small adjustments.
By adjusting the ModernExpander right, honestly, we don’t know all the features of it, but by increasing or reducing many of the knobs to the left, we can, in the end, have a more dominant kick.
Though here we add ModernDeepPurple at the end of it we also add another, we are then adjusting in this one Q1 which is a range to lowest possible, and F1 to 60Hz and gain is only 10 points up:
Though your levels of bass might become in higher volume, then often this isn’t the right choice to pick, you can even use then TDR Slick Vos EQ on master we will remove the addition of resonance bass remember the middle curve of the light here as well “that reduces the center, not the range”:
By the addition of our last ModernDeepPurple and then at the end new TDR VOS SLickEQ:
Now our setup is more like a good looking option and has more mastered levels, though each setup is different, and the processing needs tweaking once more time on Parametric EQ 2 to reduce more levels.
Recommended then is as well to tweak once again the Fruity Waveshaper, and as well even Reduce in total the LOW levels once more with the last Maximus we have on, at last, to have Bass at a level reduced with PRE option to around -6dB kick and especially -9dB bass. Having too high levels of this would be wrong. After changing the Waveshaper, we need to level the volume at the end of the Maximus.
So our last adjustment reduced the lower frequencies to a lower level, thus giving us distortion but as well heightening kick levels different. But as well, it sounded in total better for our track. It does not mean that this will work for you, but you can edit your bass levels more thoroughly as well, enhancing them more, even making them less resonant and sound much better.
Now that we finished doing LOW frequencies, we go over the ground to enhance some of the MID frequencies:
So we added simply CS12:
We edited in above blue colored left DBL to increase it to around 0.2 points up, you can somehow extend the doubling even more, but we don’t recommend oversizing the effect. Once then, we increase the SIDE-VOL to around +2; you can, though, increase to also +4. But for mids, we have chosen around +3 as for higher HIGH channel; we add +2.
You can, though, reduce your MID-VOL as well; this will, of course, reduce the levels of your reverb. So if your track has already reverb of too much, you need to minimize the SIDE-VOL.
Then for MID, we add more vocals, by simple adjustment of DeepPurple to add more vocal presence:
DeepPurple has by Q2 “range” a better solution for a gain if the range is small. Thus for lowering sound you might want to use high range.
We find the best possible frequency of vocals by tweaking F2 and adjust the Q2 to a lower level as that is the range, and increase around 12 points up. So by adjusting this, you will get higher and better volume vocals.
Here are the mid frequencies you can do by adding different plugins and even famous ones, but we did a separate proceeding:
We added Fruity Reverb here. Still, all our plugins, even a Chorus, would proceed this different and enhancing nearly just only the vocals, and therefore increasing something into a different fresh level. As often, this can improve the tracks properties that usually by extreme are at a high level. Still, usually, this creates a right standard since our Mix level colored the blue on the left processor in the mix of the mixer unit in “left blue,” therefore, giving just a 25% increased level of use of the plugin.
So by this, you might then have even different ways to add various plugins here to enhance the mid-levels differently? Well, it’s up to you to also add a guitar plugin here to improve a guitar, thus then making perhaps Jimi Hendrix – Hey Joe with even cooler guitar or making it less chubby?
But then for HIGH frequencies:
You might want to reduce certain levels, but try to have your higher frequencies to a level of -12dB at highest, we explain the essential levels of a dynamic track here:
How would professionals do mixing and mastering? It’s all about Dynamics!
Then by enhancing the HIGh frequencies more as perhaps, you have Mp3 with yourself as improving the levels of higher rates as well, making the excitement of them. To make mp3’s to sound much better?:
We chose to pick three types: ModernApophis, CS-12, and CS4:
This will though by AERO, and MAKEUP enhance the levels to increase the levels of higher frequencies. Still, as well, you see the MP3 sometimes plays higher frequencies and often the sounds that often need higher sound levels to become more enhanced as even the hi-hat sounds much better, and also, the vocals sound more chill. Still, this process needs though reduction, in the end, on the master, you will have to reduce these levels just a little more:
To not remove too much too small, the higher frequencies become, though more increased by the above suite we use to process the higher frequencies more.
Even then our vocals are enhanced, but they often have a higher level of s and t letters which often and eventually need reduction, so we lastly put a SPITFISH on the master:
As well in this track, we edited our s and f letters become higher volume than the hi-hat and other sounds, so we used Maximus master plugin to as well increase the last process as well to reduce the deessing to a reasonable level for the vocals; thus compression suited well for that proceeding as you see a curve that is not hard-clipping is set to -12dB
So in total, our track became more enhanced. Still, though this process, we create a higher level of processing, and thus giving us a better sound in full, it isn’t always possible to follow up on the same way on your own by this tutorial but here is a difference of the track we made, before and after.
So we are back to this tutorial. After all the proceedings we add Bass enhancement. If all our levels are ok but need more bass? Well, we use MHorseP3 by Terry West. That is the last file you ever wanted, but we are not giving it to all. Those who want need to search it other places like perhaps google.com and then they find MhorseP3 by Terry West if you have to pay you gotta pay. Since maybe that isn’t as free as it is.
Terry West page, buy his stuff!
Our version plays at the end:
It’s a 320kbps mp3 of 644kb.
Here are the downloads to all the plugins we used:
CS4 & CS12M at loopswag.com
CS12 at loopswag.com
ModernFullPack at loopswag.com
TDR VOS SlickEQ – at loopswag.com
MHORSE at LoopSwag
SPITFISH: Google SPITFISH.