Regardless, a high quality limiter plugin is essential to have in your music production arsenal.It can be used to address sibilance, as well as percussion that needs taming.
Learn about the latest Ozone and its powerful new features like Master Rebalance, Low End Focus, and improved Tonal Balance Control by clicking here. But what about choosing an order for these things While signal chain composition isnt discussed much, its an integral step in mastering. Each signal process alters the signal for the next process in the chain, and so on. If you dont think through the signal chain, youll likely need to add extra processing to compensate and fight against the chains upstream processing. Why fight it when all you might need to do is change the order a little. The processing you choose to use, and the order of your chain, should reflect the material youre working with. We can easily fall into a routine where we wind up using the same things in the same order all the time, so its important to think about the type of signal we are feeding into the device or module. Best Limiter For Mastering How To Approach MasteringIt also helps change your perspective on how to approach mastering a song. Lets dive into a few common mastering signal chain questions. If the track has frequencies standing out that need to be cleaned, its better to EQ the signal first, before compression. Using corrective EQ here will feed a more balanced signal into the compressor, helping to avoid any potential unwanted pumping. Trying to fix this by adding extra processing will not always work, so switch up your compressor and EQ placement to help mitigate this effect. This thought process can also be applied when using midside EQ and compression. However, use stereo imaging with caution You can easily create phase problems and unwanted balance changes. A common mistake is to widen the image too much, which causes the image to lack center, and lose punch. If youre using stereo imaging just to add some extra shine, it is probably a good idea to add it towards the end of the chain, with a sound that is more to your liking. Here is an example of how I used stereo imaging in a recent session. After listening to the track several times, I realized the signal below 100 Hz was pretty wide, resulting in a lack of punch. To fix this, I added Ozones Stereo Imager, and closed the stereo field below 100 Hz. Since I dealt with the low end before hitting the compressor, I had a little more room to play around in, without the risk of pumping. However, I still thought it needed a little more top end, so I added a second EQ to do that. Since I was happy with how the track was sounding, a transparent limiter was all I needed. The result here is a well balanced mix with punch and clarity. Each processor did very little, but the specific combination and order helped achieve the sound I was looking for in a simple and efficient way.
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