Mastering A Beat With Fabfilter Plugins
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- Опубліковано 6 сер 2024
- Grab the MIXING GUIDE FOR PRODUCERS at subphotic.com/mixing which is a tailor made guide for producers and beatmakers who also want to make finished, release-ready productions without having to send it to engineers every time.
Also, for an enhanced learning experience, DOWNLOAD THE BEAT WITH STEMS and master the beat yourself as you watch the video: content.app-sources.com/s/483...
Massive shout outs @fnk86 for the idea to this video! Keep those requests coming in the comments, it’s pure gold🥇
In this video I'm mastering a beat from start to finish, using Fabfilter plugins only. I've exported the beat directly from my MPC with all its imperfections. The video aims to inspire and empower you to master your own beats so that they'll be as loud and good-sounding as the other beats on Beatstars, Airbit, Soundcloud, Bandcamp, UA-cam or any other streaming platform out there. And maybe they'll even stand out! I hope you find this helpful.
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Watch next:
13 Mastering Tips: • 13 🦾 Tips On MASTERING...
How To Use Reference Tracks When Mixing & Mastering: Coming soon
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0:00 Intro
0:56 Preparing the track for mastering
3:40 EQ
8:51 Compression
12:23 Coloring
13:31 Stereo Width
15:25 Space
18:04 Frequency control
19:46 Gain staging
20:19 Loudness
25:10 Final checks and DITHERING
26:33 Bounce
This is just amazing ❤
yoo that beat is sweet! cheers
Thanks man! I'm pretty sure this is the most detailed and thoroughly explained mastering guide I've seen on this platform yet.
Wow, that’s awesome to hear😀🙏 Are there any topics/ problems/ challenges you would like addressed in a future video? Salute to you🙌
Just wanted to say this is wildly informative and I appreciate you sharing!
So nice to hear🙏🤩 Can you think of some other music prod topics you’d like to see a video about? I’d love to know😀 All the best🌟
Never tried to use a whole entire HPF for the sides. I’ve always just used a low shelf somewhere around 225-250 using my ears and cutting 3-6 db. That HPF sounded just fine tho. It didn’t make it too thin like it thought it might.
Granted, I do use a lot of HPF in the beat itself as I go along, and everything that is neither the kick or a bass is fair game. Not ALL of them ALWAYS? But enough. Just keep dragging a ProQ along so you can see if there’s significant but quiet build up. Then grab the HPF on the channel if it’s useable. If not, let that ProQ get it! 👍🏽 it’s actually my favorite utility for that purpose.
Just wish it was like the slate infinitEq ow whatever it’s called where you can adjust HOW wide or HOW close in the stereo amount is for each node, and I wish THAT eq had a dynamic function, and I wish ProQ had attack and release and ratio controls for its dynamic functionality. Like, maybe if ProQ4 would come with two iterations. The normal one like the 3, and a “mastering” one that had more dynamic controls?
Didn’t know about that function in the Infinity eq, had the Slate bundle some time ago but you know, all those paid subscriptions really add up. More controls in the dyn eq on ff pro q is something I absolutely wish for
To get that -8, go back and search for more problematic frequencies. I instantiate another ProQ3 later in the chain. Personally, I leave A LOT to my mastering process after making and mixing a beat in Maschine. I use studio one to master and that’s for color and buss compression first. An embarrassing number of compressors doing a SMIDGE each, VMR, etc. but then the last three are proQ for any problematic freqs that may have been CREATED what with virtual tape, virtual mix rack, before the second to last insert being a whole entire instance of Ozone (but no maximizer) and then adjust the output to get it juuuuust right for FG-X 2. But that last ProQ3? It can save you some headaches before the “polishing” stage inasmuch as headroom.
What I’m hearing when you try to go from 9.1 to 8 lufs is, only CERTAIN freqs in one of the four regions (usually the lows or low mids) are overworking the ProL threshold. Fix those, and you likely will be fine.
However, I only have ever mastered my own beats, and this is because it’s not my job, it’s a hobby, and I mean, I got the rig, so….
(SoundCloud: same name as on here. I’ve made a ton of mistakes, but SOME of my stuff is pretty dope. I can get it loud and dynamic at least. I just be doin too much. Like, I have too many plugin toys 🤷🏽♂️🤣). But yeah. Subtractive EQ with your ProQ3? At different stages before any comp or limiter or MB? Yeah. Just make sure you use natural or linear, depending on which range you are subtracting from.
Wow, thanks so much for your reflections! Agree with you on the notion of applying subtractive eq later in the chain, ie taking away the unwanted harmonics created by analog emulations etc, and also the concept of serial compression. The art is to the balance. I’ve had many battles with myself not to use all the sweet tools in my rig😆 Shadow Hills and Ampex are sweeeet, but not always appropriate, though they’re wonderful tools. All the best!
❤
Yeeeeees!!!!
🙏🙏🙏 Hope you like it🤩
Thnk u
Hey, so glad you liked it
@@subphotic do you uv a break down of that mix?
@@TheFY-cb6eb this beat was made on the mpc and bounced out as a stereo file, so it’s basically unmixed. The challenge was to see how good it could become only processing the stereo track. However, in my two latest videos I first mix a song: Mixing a Rap Song From Start to Finish (Vocals and a 2-track)
ua-cam.com/video/COFOFk-qDIU/v-deo.html and then master it: Mastering A Song From Start To Finish
ua-cam.com/video/Csnh98EL930/v-deo.html
24 bit audio is ok to upload on streaming sites now. CDs require 16 bit. Dithering will only decrease the noise floor and make it less dynamic. Either way, you can't hear the extra dBs of the dynamics unless you compress again after dithering. 48 khz 24 bit is also used in the film industries, so if you want the music to sound impeccable there, don't go lower than that.
Also, nice video! L/R trick was very well executed. 😊
Thanks so much for adding🙏😀 You’re technically and actually truthfully right. However, I’d much more prefer to have done the downsizing myself than trusting the streaming services’ auto processors. Some, like Tidal, offers uncompressed music, so in that case reducing the bitrate would be a waste. But again, it depends. If you don’t hear the loss of dynamic, I’d much rather take my chances🤪. One love bro! And thanks for commenting, really appreciate it❤️
Please make video how to master Hip Hop drill beat with fab filter plugins
Hey, that’s a great idea💯 Thanks! I’ll definately consider it. Drill is not my specialty as a producer, but I love the sound and have some friends who make those bangers. I’ll do my best, cheers🙌
@@subphotic 🥂
Great techniques and I really liked your point about dither, a lot of people don't know about the quirks!
I recommend utilizing linear phase EQ sometimes or oversampling when working with digital plugins in parallel like a reverb or adjusting mid side information - particularly in mastering. DMG Audio Equilibrium 32/64k buffer sounds noticeably better than Pro-Q3 but lacks dynamic processing. The L/R EQ process was honestly not a great call, that's going to create a sense of 'space' but will compromise your transients' clarity and correlation. Subtle dynamic side information expansion with Pro-Q3 on a bell or hi shelf filter can do that nicely in conjunction with some tonal EQ adjustment of the sides.
Here's a good video about correlation, removing side information in the low end actually decreases headroom most of the time!
ua-cam.com/video/8hNtxXu0rOY/v-deo.html
Hey, thanks for the insightful comment and feedback. Yeah, as one of the others pointed out, the high pass filter can actually do the opposite pf what you want. Here, it gave me a .5db of additional headroom, however after some experimentation I discovered that with some altering of slopes the opposite would also happen, as you suggest. I’m going to make another video demonstating these discoveries. I’ll check out the video and demo the DMG, thanks again and much love🙏🙌
Nice vid and beat, but why are you turning down your peaks/transients early in the video? Those transients aren't "extreme"-- they sound like the music has life to it. Doesn't L2 tame transients superbly, without having to manually adjust anything beforehand? 24:14 - "Better that it sounds good and the dynamics are present..." Exactly.
Hey, thanks for watching and commenting! Yeah, I guess I felt that there were some sharp high freq transients that needed some taming. It’s often push and pull. I do one thing initially, and as I move closer to completion I may go back and do adjustments. But sure, I might have been a bit heavy handed starting out😀 Thanks again🙏🙌
6:29 "Now we've just created more headroom, both here and here": No, you didn't. The track was peaking at -7dB before you added any nodes. Along the way, while adjusting each node, peak level went all over the place, up and down. With both nodes decided and switched on, you saw a peak of -7.2dB: a negligible difference. If headroom was being recovered, you would expect a significant difference but that's not what the filter does. The only reason the peak changes at all is because of the IR of the filter interacting with the music's waveform, and peak can also go up as a result of this interaction in most modes. "I removed some 'energy' and therefore there is more headroom now" is a complete misconception.
Hey, thanks for taking the time to watch and write back and constructively pointing towards possible inaccuracies in my content. I'm always gonna be a learner, and the notion about headroom and EQ-filters has for a long time stood as an obvious "truth" to me. I'm going to update myself on how impulse response affects EQ filters, and take your insights into consideration moving forwards. I salute you .