normally i just throw in a ozone preset and call it a day but ive been getting pretty efficient on making a clean ass mix now adays with little effort.
I would like to see how well Fl studio's stock plugins go as for mastering. does anyone have any experience with certain stuff? and / or have any reference material they can link me
lel
Seq, I kind of do but I'm THE WORST at mixing/mastering. SkyeWint wpuld kmow :)
I throw maximus and sometimes a basic limiter on the finished track.
Hope this helped a bit. Happy mixing :]
Maximus is decent as long as the volume levels in the mix are perfect. I compress low, mid, and high separately and then raise the track volume. I would like to know if there's a better way to master in FL because maximus, to my knowledge, isn't good at separating the different frequency ranges.
I use maximum for all my songs, but this is the last electronic song I made with it.
Unpublished Submission
I used to use (strange) Maximus and a brickwall limiter.
In maximus i make low end mono and give some stereo to other bands.
I dont use compression on the Master band.
And i dont always compress every bands either, everything depends of the material.
You can combine soft clipping and slight saturation sometimes.
Also i tend to enable the linear phase mode (adds latency but since it is just before limiter, it doesnt matter), i like the results better in general, again it depends of your track and preferences.
I dont compress much anyways.
For the limiter, I put the ceiling at -0.3, curve type to 1 and ahead at 2ms. I dont tweak any other parameter, the limiter is just here as last line of defense.
Or i just throw soundgoodizerZ /jk
I have used the parametric EQ, compressor and stereo imaging build to work on live rock performance recordings.
It works nicely to cut "undesired frequencies" and balance the sounds, as well as countering heavy panning.
No reference available. : (
Musicians make music , producers make products. * drops mic :D
when im on a friend computer with nothing but stock stuff, a good starting point is choosing the "clear master" preset in maximus and then lowering the gain .
Kind of cheating from the thread, but afterwards you can take the rendered audio and master it with izotope stuff on a computer that has it. I like using the individual modules over the actual ozone thing though
quiet some resonant frequencies on their respective insert tracks and send it out to be mastered.
The worth of a man can be measured by the length of his reverb, and the girth of his waveform
Thees waveforme iz veri dangerous. Ve must deal vit it. squash
Not sure what is stock since i've had producer edition for a long time.
I usually use a parametric or two on damn near every channel with maximus on the master, Lately trying to leave master channel untouched but this can be very time consuming if you like to automate your soundscape by hand a lot (Something I did a lot in 09'), I usually keep limiter on the master until I'm done mapping out the base and i'm done doing risky business in the vst's/dxi (to save your headphone drivers).
that being said, I really suck at mastering.
Sometimes I use Fruity parametric EQ 2 and link some tokens to Fruity peak controller. (Yes, I do my own compressor. :P)
Since I don't trust my ears that much, it's easier to see where the kick plays in the spectrum and make a sidechain on the low freqs exactly where the kick takes place. Rarely touch Maximus, though, except using it as a limiter on each channel. Just use default preset, set ranges, and pre-gain for each one.
I don't master.
Hell this year I just learned that multiband compression exists.
Awesome thread.
So I've been using Maximus a lot, with Antares Modern Limiter after it.
I too, like to use the linear phase filters eq, it's nice for the low end. It can change the mix a lot especially if you're using stereo imaging tools. So use with caution.
Sometimes I'll play with the Master mid mode, but usually don't like it. I turn on oversampling, but can't really hear it. Clearly, I can be trusted. xD
I'll merge my lower channel to mono, and add some separation to the mid / highs. I'll use some compression on the bands when needed, but mostly to top off a few dB on a kick/snare, round off a sub.
An awesome trick for a punchy snare is to do upwards compression with the mids using a narrow mid-band, so that it only gets the snare to pop out of the mix. I actually forgot that trick until now lol.
I've done some awesome mixes with maximus and then into a limiter to make everything louder.
I can tell you it's made a huge difference on my mixes to get Studio Monitors though.
But then one day earlier this year, I went into an old project that I liked the sound of, and wham....soundgoodizer on the master.
So I was like fuck, this isn't bad. It IS bad, but still has a real nice sizzle in the highs. So a couple tracks I threw soundgoodizer on, and said, yeah I like what it does to the highs. But it can really screw everything else up. Completely buries a snare. So now I have been trying out using just the smallest amount of soundgoodizer on the master. I should probably just make a percussion subgroup and put a tiny bit of soundgoodizer on that, but I'm lazy and it also brings the highs out of the synths, and glues them into the overall mix, so I don't know where I am with that, yet.
In the end I know that none of this touches Ozone, so I'm trying to 'acquire' ozone somehow. Or not, I take pride in having a small stereo field, knowing I didn't use Ozone....at least that's what I tell myself before I start crying while listening to newcomers and am blown away, and just have a feeling that they're using ozone. I know it's possible without ozone. My buddy makes some of the best mixes, and I don't think he uses anything on the master. Hell, I can send off a track for mastering and I'm sure that person will use Ozone on top of it all if I'm doing a professional release. I've never done a pro release though.
Another note is I do NOT like fruity limiter, or fruity parametric EQ2. Loses quality when put on a channel. So I use Antares ModernConsoleEQ, ModernBlackDragon, and ModernDeepPurple for EQing as well as the mini eq that's built into each channel of FL. I'm a huge fan of the Antares Modern plugins, for being transparent, freeware, and low CPU.
I'll never forget the thread here where one guy was asked how he did his master mix, and he was like; "I just put like 5 soundgoodizers on the master" I recall it sounding pretty damn good. Soundgoodizer is underrated.
Also, would love to hear what your preferences are for compressors/expanders and harmonic exciters. I think I need to try new stuff out. Please shoot me a message if you reply here, cuz I'll probly forget to check back in this thread.
Sorry this post is all over the place. I hope you can take something out of it.
-squidfurnace
hi
Honestly, yeah I've used Maximus a lot, but looking at my last track, I only used ModernConsoleEQ on the master, and I tried to use a touch of soundgoodizer on it like I said, but ended up turning it off before exporting. I just did an A-B comparison of it exported with soundgoodizer off, and on. The track is clipping without soundgoodizer on, but when exported the version with soundgoodizer off sounds better.
I really overthought this post, but my final conclusion is that I haven't been using maximus anymore. In fact I think maximus lowers the quality when thrown on a channel, just like other FL EQs. Yet, you can use it to touch up the mix, with said linear phase filters, and saturation.
I think I will try to use it again and reform my opinion.
I'm curious as to whether my idea that the FL stock plugins make it lower quality is due to latency or something, and won't be lower quality when exported. I need to test this out, but I've spent too much time here and have to do something else now.
Just use your ears! Turn the plugin on, and off. Does it sound better? Export two versions, then forget about them for a month and come back to them. Which one do you like?
hi
At 12/23/15 04:43 AM, Daydream-Anatomy wrote: I don't master.
Hell this year I just learned that multiband compression exists.
mix*
Parametric EQ 2 and Equo
soundgoodizer on drums if you are extra lazy
Hello thar ;)
Mix down your track properly so you get it to sound exactly how you want it to sound with nothing on the master. You can have a bus with all your leads for example and use Maximus as the 'glue'. You can do this with every individual element like the pads, bass, drums, FX...
Then after everything sounds nice with no or minimal clipping, throw a Maximus onto the master to compete in the loudness war.
p.s. ur gay
On the subject of MBcomp, what settings do you use in general for attack/release times per band? Do you have any general recommendation? (of course nothing set in stone)
I usually use slow attack and medium release for the low range, i try not to mess to much with it.
It seems to me that higher frequencies bands handle faster attack times better.
At 12/29/15 09:56 AM, Daru925 wrote: On the subject of MBcomp, what settings do you use in general for attack/release times per band?
Depends on the sound. A crash cymbal or clap with a load of reverb, long attack/release times. Processing your snare to go DOOF in your Dubstep track, short attack/release times.
p.s. ur gay
Hej what's wrong with Ozone? I use it (though I don't use presets, I only used those at first, ages ago, to get an idea on how it all worked).
If you have Ozone, just fiddle around with that.
For example, you don't need to use the stereo enhancer to get a wide mix. In mid/side mix settings, have you tried adding some tube excitation to the mid-highs and highs to the /side? BAM wide mix, no stereo phasing.
Rocker, Composer and World Ambassador for Foxes! Veteran REAPER user. Ready to rock! :)
At 12/23/15 03:41 AM, Noisysundae wrote: Sometimes I use Fruity parametric EQ 2 and link some tokens to Fruity peak controller. (Yes, I do my own compressor. :P)
Since I don't trust my ears that much, it's easier to see where the kick plays in the spectrum and make a sidechain on the low freqs exactly where the kick takes place. Rarely touch Maximus, though, except using it as a limiter on each channel. Just use default preset, set ranges, and pre-gain for each one.
Peak controller is god. Something I always forget to do is to record the automation it produces rather than linking them across mixer channels in a big web, which brings every channel involved down to one thread. Sorry, Sequenced.
