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Loudness is a contentious topic in mastering, as it has been the subject of abuse for many years now. Remember how the human ear identifies louder sounds as subjectively better? Well, mastering engineers or more accurately the record labels that hired them learned how to use this to their advantage by using a limiter to make finished tracks louder and louder. This resulted in something called the Loudness War, which ended up sacrificing the beauty in music and its dynamic range in favour of overly compressed or squashed tracks that appeared louder.

Loudness is still an issue in contemporary music, though it has been stamped down by new limitations enforced by streaming and broadcast companies. All the way, seeking to retain the nuance and dynamic range that makes music music. Tricky, huh? We are going to do some more comparison to our reference tracks here; load the MultiMeter onto the Stereo Output, and listen to the loudest section of your reference tracks one by one.

Note down the value it will change over time so find an average value or note down a range e. Do this for all 3 reference tracks and compare the values, this will give you an indication as to how much squash or compression is acceptable for the genre you are working in, and what the loudness level of your master should look like.

For example, heavy rock tracks will typically feature a lot more compression and therefore be a lot louder , than say, a 20 minute free form jazz odyssey,. Phase shift is a natural by-product of EQ and is something you can get away with on individual tracks, but it can cause problems for the master.

Not only does the Linear EQ look great in black, it has a higher resolution than the standard EQ, giving you the ability to make finer adjustments — important in mastering. You should use the Linear EQ to make small adjustments based on your notes, but try not to boost or cut any more than 3dB. If you need to make more severe adjustments, you should consider going back to the mix.

This is especially the case when the frequency you want to tame is quite dynamic. For example, certain notes on a bass guitar might create unwanted boosts in the low end, but only when that note is played. If you are finding the mix has too much dynamic range, that is, certain sections are much louder or softer than others, you may wish to apply a little compression to the track. Of course, let your ears be the judge here, but these are some pretty universal guidelines for using compression in mastering.

Applying compression to the mix can help tighten up the dynamics of your track, allowing you to employ more limiting to bring up the loudness in your mix.

Multi band compressors are exactly what they sound like, compressors that operate in several bands, split across the frequency spectrum. Whilst traditional compressors apply compressors across the entire frequency range, multi band compressors allow you to isolate particular areas of the range that are particularly dynamic. For example, you might have an overly dynamic mid-range, where guitars, vocals, and keys are all fighting for the same space, and as they come together, they make the mid-range honky, nasal, and fatiguing.

The Multipressor has 4 bands, which you can tweak as desired by dragging the lines that designate the band boundaries.

This is because we have an overly dynamic low end, where certain bass notes, when combined with the kick drum, are pushing through louder than others. As with a regular compressor, you have access to controls such as ratio, threshold, attack and release, to fine-tune the compression to your needs.

You also have the ability to solo or bypass a band, so you can hear it in isolation and listen to the applied compression. At the top of the GUI, you will see a blue band moving as the compressor works. This demonstrates the gain reduction applied by the compressor. The first thing we are going to do is set the Output Ceiling to This gives us a little bit of a safety net.

When it comes to digital audio, overloads are something you want to avoid like the plague. Whereas analog gear can overload and create a subtle distortion that is often desirable, digital distortion sounds like fingernails on a chalkboard. Or rubbing polystyrene together. Or a poorly played violin. Or, a polystyrene violin scraping across a chalkboard. We do this because although plugins are extremely quick, they are never infinitely quick.

Even computers need time to process. So, to be extra safe from overloads, give yourself a little safety net. This basically filters out anything below 20Hz, which is below our hearing range anyway, and prevents anything weird from happening to your speakers. The auto gain automatically compensates for changes or perceived loudness. The switchable EQ non-linearity and output stage with four saturation models can give your mixes and masters subtle character, personality, and texture.

A1StereoControl comes with a vector-based design. That said, this plugin is kind of magical in what it does. Overall, users found this stereo utility plugin to be efficient, stable, and versatile. And with so many similar stereo imaging plugins available, many still turn to this one. That said, you can use extreme settings to achieve dirty and dense distortion effects on individual tracks too. IVGI reacts dynamically to the input signal, and stereo tracks can benefit from its modeled crosstalk behavior.

You can easily dial in your favorite sounds using the drive, output, ASYM mix, and response dials, as well as the VU-mode, trim, and X-talk controls.

Many producers feel Klanghelm is among one of the best developers of plugins, and we find it hard to argue with that. Give IVGI a try! Download: Klanghelm. Mastering software varies from analyzers to de-essers. But what are the key effects used at mastering stage? Which ones should you make sure you have access to? Here are some of the most used effects at the mastering stage this is not a comprehensive list.

Chances are you will be doing a lot of touchup work — notching out the frequencies that are a little much, and maybe bringing out the frequencies that need some extra help.

Compression is another obvious choice at the mastering phase. But again, what matters most is in how you use it. You will often see them using compression because of the unique character it provides to a track, or maybe to smooth out some of the transients.

The limiter. This is a crucial piece of kit for getting the levels and loudness right. That said, this is not the only way to use a limiter. De-essers often come before compression in the signal chain and are generally used to treat unruly frequencies and of course, sibilance.