![]() Then I expand the average so it's not absolute. I have a semi-automated method for this where Waves Vocal Rider creates automation and then I average the sections using a script in Reaper. Since I don't use a lot of compression or limiting I'm finding that sometimes my songs have more volume variation than I want, within the song, so lately I'm starting to automate level changes on a per-section basis. Simply put, there are no extreme peaks and no extreme valleys - no extremes to get over-emphasized by the unique signature of any headphone or speakers. Again, this is the magic to produce a master that translates to any speaker or headphones. TEOTE gently pulls and pushes my EQ toward a flat balance, but it doesn't do a lot because I've already targetted that with my mix balance. And it's not an easy one like ThirtyOne is. I use it in a subtle way with slow attack and release. Particularly - if you believe in "the Voxengo Way" of roughly targetting a flat EQ across a -4.5 slope, it will further push your EQ toward that. But it's a bigger risk to use - you really have to dial in the correct settings for this one or it can upset your mix balance, but if you actually learn the tool and use it in moderation it can be a very powerful finalizer. The second one, which I use more often, is Voxengo TEOTE. If you set it to 50% strength with 4 second integration time in continuous mode - I believe you'll like what it does. There are two that I recommend to "help your mix." The easy-to-use one is Hornet ThirtyOne. I also like Waves L1 Ultramaximizer+ anniversary edition, since they added TruePeak, but Elephant is my favorite.Īuto-EQ technology is really coming along. I always finalize the mix with compression & limiting, though, because otherwise your levels can change.įor limiting - my favorite limiter by far is Voxengo Elephant. ![]() ![]() I add the compressor and limiter after I set my rough mix levels. ![]() On occasion I use something like Waves Puigchild 670 or some other compressor if my standards aren't doing it for me. Sometimes I use the Waves SSL G Bus Compressor. Voxengo Marquis has a "glue" compression preset that is really excellent for the master bus. (No more than +1, just a tiny bit.) I also like the low/high filter and presence control. It has nice compression & EQ, and sometimes I automate a HINT of width increase during choruses. I'm a big fan of Waves Abbey Road TG Mastering Chain. Then I use a variety of compressors (but only 1 at a time) on the master bus depending on what the song calls for. I do compression on the busses - typically using Waves SSL Channel (or SSL Compressor if I don't need any EQ on the bus.) Instead, when I see a peak too high or a valley too low - I deal with it at the track or bus level, most often with simple volume changes. Not at all! My EQ curve is natural to the song - but the levels of those natural peaks are approximately straight across. This doesn't mean I use an EQ to artificially force everything toward a flat EQ curve. I've discovered if your mix balance is roughly straight across with a slope pf -4.5db per octave - while tapering the lows and highs - it's going to translate well. I use Voxengo SPAN to give eyes to my ears. I think -14 LUFs/-1dBTP is a good balance between loudness and punchiness. I know everyone here says "Don't do that!" but almost everyone here also squashes their music, so I'm careful who I listen to when it comes to audio advice. I don't believe in squashing music so I do target -14 LUFs integrated with -1dB TruePeak. I'm an independent musician, and I do my own "mastering." Like my music or not, I figured out how to make my mixes translate well on any speakers. If you're up for a very specific and detailed answer, this is how I work: It's really not much work at all, we are still relatively small-sized. But we do have a very comprehensive set of automoderator filters, which catches comments and posts that require manual approval. Unlike some other subreddits, this one has very few user reports (ie: maybe once a month).
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