Otherwise, for my mastering chain it’s: compressor -> mid-side EQ -> (sometimes another compressor, sometimes not) -> Ozone. These are just general numbers here, obviously you’ll have to suit it to your mix.
Then I usually scale back the stereo image on the lows to around -30%, -25% low-mids, 12% highs, 15% past that. Then, you can expand the stereo image in the highs. Most orchestral mixes have a lot of phasing issues around in the fundamental frequencies (lows and low mids), so you’ll want to narrow those bands–otherwise, your masters will sound kinda squishy and won’t have a good center. Now, another huge (bigger than the mid-side EQ stuff) effect that can add depth is a quality stereo imager, like the one in Ozone. It’s well worth the money and this technique can also be used on piano tracks. I like Native Instruments Passive EQ for this. I generally crisp up the sides with a 1db boost around 5k with a narrow band, then boosting everything past 16k. 5db–in the low mids in the center and very subtle cuts in the highs, coupled with boosting the highs in the sides and cutting the low mids can add an incredible depth to your master. VERY subtle boosting–we’re talking around. Mid-side EQ is exactly what it sounds like: One set of controls EQ’s the middle of the stereo image, while the other set controls the extreme sides of the stereo field. I also like to brighten it up with broad shallow boosts around 6k-7k.įor mastering, a really big secret is mid-side EQ. A little bit of compression wouldn’t hurt, although I’ll admit I rarely use it. Just be careful that it doesn’t get muddy. Generally, for cinematic stuff, you want a warmer sound–some subtle low-mid boosting helps.
#Mastering with logic pro x free#
This can free up some much needed frequency bandwidth in your mixes.Īs for piano in particular, you should be able to get plenty of depth with Alicia’s Keys. I usually tend to do wide, shallow cuts in the highs, and high pass filters (i.e. That way I can create some space in my EQ spectrum and it doesn’t get too cluttered/phasey. Before each instance of my reverb (which is East West Spaces–well worth the money, and the best convolution reverb out there IMO) I have an instance of Ozone. I have one verb send for each section in the orchestra–brass, woodwinds, strings, and percussion.
Space Designer is really quite good, but you have to work with it. And no, DON’T get rid of your reverb…bad idea. In any case, that “depth” you are talking about is often achieved by subtle boosts to your lows and highs. Obviously, that’s not an AJ marketplace piece
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