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If the main output is too hot, though, consider using Fader Groups, VCAs or the Gain plug-in to attenuate the mix level rather than simply pulling down the Master fader, which has limited merit as a post-fade attenuator.Īs well as headroom, you’ll also want to start considering the mix’s loudness, using Logic’s dedicated Loudness meter. If you’ve observed good gain structure (and maybe mixed to an ‘average’ of -12dBFs rather than 0dBFs) there should still be a decibel or two on the main mix buss. Opinion varies as to how much headroom you should leave in your final bounce – either in respect to the mastering engineer working with the file, or your own self mastering – but at the very least, you should ensure the stereo buss isn’t clipping. The seeds of effective mastering start from decisions you make at the tail-end of mixing – namely in relation to headroom and the loudness of the track you’re mixing. In this tutorial, we’ll look at the latter stages of mixing and how the issues of mastering start to impact on your mixing decisions. Rather than just explore mastering as a distinct and separate exercise, though, we want to explore its practical impact on the later stages of production – from loudness considerations and headroom in mixing, through to ‘quick fix’ reference mastering and a more detailed approach to file delivery. In this two-part Logic workshop, therefore, we want to take an in-depth and practical look at the state of mastering and how it fits into your Logic workflow. Likewise, the so-called Loudness Wars seem to have passed, but have we really moved to an era of wide dynamic range, or do musicians still have a desire to push their music to the limits?
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In the lifetime of MusicTech, we’ve seen the fading out of the disc format and the rise of streaming and unexpected rebirth of vinyl, all largely in the last decade. The reasons behind these fundamental shifts can be explained in two ways – an evolution in music formats and more intriguingly, changes in peoples’ taste in respect to the perceived ‘sound’ of recorded music. Thanks but is total flatness really that important? if you're taking your sonic cues from great-sounding, balanced commercial recordings (your reference tracks) does it really matter if your headphones aren't that flat? In other words, you don't need your headphones to be flat in order to make the tonal balance of your mix the same as that of a brilliant reference track.More than any other part of the music-production workflow, the art and science of mastering seems to evolve and adapt dramatically over time. They're so neutral they sound uninteresting, which is what you want for good mixing and mastering. I also have the Beyers DT770 and they're not as flat as the Sennheiser HD600. I have a pair and I use them for referencing my mixes. Probably the flattest headphone out there. Then you need a very flat and neutral headphone: With the 80 ohm headphones, will I be losing any clarity, dynamic range, frequency response or anything else in any of these applications? I want the headphones to be usable across all three applications but most importantly, I want high quality audio for detailed mixing when I'm in my studio using my Apogee Duet. In this case I'd be plugging the headphones into the phone. Checking mixes that are being played from my phone. In this case I'd be plugging the headphones directly into the Macbook.ģ. Mixing, producing, arranging on the go where it's too cumbersome or impractical to be setting up the Apogee Duet. This would be the most important application of the headphones for me.Ģ. Mixing and mastering to a high quality level but all in-the-box using a 2018 Macbook Pro and an Apogee Duet 2 interface.
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Here are the situations I'll be using the headphones in :ġ. I'm considering buying the Beyerdynamic DT 770 Pro 80 Ohm headphones but I'm not sure if the impedance is right for my purposes.