by Jett Galindo, iZotope Contributor June 29, 2020
Today’s innovations in music technology have empowered everyday creators to explore more complex production techniques. One thing, however, has remained a seemingly intimidating task for many: mastering. To the non-mastering engineer, it’s a discipline still shrouded in mystery, with many “how-to” resources overwhelming the everyday reader with technical jargon and difficult-to-digest techniques. And within the fast-growing DIY community, there still lies the challenge of not having easy access to state-of-the-art listening environments or professional mastering studios.
‘[3 Tips for Mastering Indie Rock](https://www.izotope.com/en/learn/3-tips-for-mastering-indie-rock.html)’
by Jett Galindo, iZotope Contributor May 28, 2020
Rock music has stood the test of time, making it one of the most enduring genres of the modern era. With today’s production tools becoming more and more advanced—and more accessible to a wider audience—one particular rock subgenre is thriving more than ever. In this article, we’ll take a look at some tips and tools for mastering indie rock and nailing the indie rock aesthetic.
Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1
Set Automation Select Tool
The performance part of mixing, mastering, and editing sound. Just as sound occurs over time the changes of the sounds do as well. Being able to copy or move automation is just as important as being able to copy a chorus or a verse. There is value in reproducible “movement”.
I’m just reminding myself that automation is my friend and I should remember to use it as a mixing tool. I don’t always have to create a region to make some simple fader moves.
After you create automation points and curves, you can easily change things to meet your needs. You can copy automation within a track or between tracks and can move automation within a track. When moving regions, you can choose whether or not to move any existing automation with it.
⇧ SHIFT – ⌃ CONTROL – ⌥ OPTION – ⌘ COMMAND
by Ian Stewart, iZotope Contributor October 9, 2019
With the arrival of Ozone 9, the powerful Vintage modules—previously only available in Advanced versions—are now part of Standard. Whether these modules are brand new to you, or you’ve had them in your back pocket for a while, but have been unsure about how and when to use them, this article is for you!
by Nick Messitte, iZotope Contributor February 7, 2018
Maybe you’re a singer songwriter who has mixed a song and wants to release it quickly. Or perhaps you’re an EDM producer working at a fast clip, and you don’t want to shell out the money to bring every new track to a competitive level. Maybe still you’re a mixing engineer looking to give a client a pseudo-master—not just any pseudo master, but one that sounds better than the average limiter-slam.
by Ian Shepherd, Mastering Engineer September 4, 2019
Mastering metal is tough.
In fact, I’d probably go so far as to say it’s one of the most challenging genres to get truly great results in. It is certainly possible though.
by Oscar Zambrano, iZotope Contributor July 10, 2019
Ozone 8 is a great starting environment to build a mastering signal chain.
If you’re an iZotope blog regular, you’ve probably read a lot of mastering tips and tricks for EQs, compressors, limiters, imagers, and every other processor around. But what about choosing an order for these things? While signal chain composition isn’t discussed much, it’s an integral step in mastering.
by Jett Galindo, iZotope Contributor July 3, 2019
Recording, mixing, and mastering classical music requires different techniques than most modern productions.
Classical music is known for its nuanced sonics—from the wide dynamics all the way to its vast range in the frequency spectrum. With that comes a unique set of challenges for sound engineers when recording, mixing, and mastering classical music.
Loudness control is an essential part of the mastering process, but it can also be a handy ‘quick fix’ means of ensuring your rough mixes stand up to commercial recordings…
By Mark Cousins
Automation isn’t just for mixing engineers. Neither is automation strictly limited to volume rides. Whether you’re working in the analog or digital world—or relying on a hybrid audio mastering setup—there are a handful of circumstances where time-based adjustments on your mastering chain can help you achieve your desired results. Let’s look into a few practical examples of automation being used in recent mastering sessions.
Referencing is a critical part of mixing. It allows you to compare your song against well-mixed music in a similar style. In addition to giving you a reality check and ideas for treating various mix elements, it helps mitigate the acoustical issues often found in untreated studios, by providing you with a baseline to compare your mix with. There’s a lot to discuss about this subject, and Fab Dupont covers it thoroughly in the pureMix video, “How to Listen-Reference Mixes.” The full video is available to pureMix Pro Members, but in this free excerpt, Fab talks about using plug-ins that are specifically designed to help you reference more effectively.
We all have favorite music; songs that move us emotionally, melodies that get stuck in our heads, songs that make us want to dance. When you mix music for a living like I do, you listen for something different. Not that music doesn’t make me want to dance, but I like to listen to certain tracks before mixing as a sort of calibration process for my ears
Here are five examples of recent mastering sessions where iZotope RX took on a more creative audio mastering role. Featured in this article is GRAMMY-winning mastering engineer Glenn Schick (Future, Ludacris, The Weeknd) and iZotope’s very own Education Director Jonathan Wyner (David Bowie, Howie Day) to also share some key insights on how they’ve used RX in their mastering workflow.
First, make sure something isn’t actually amiss with your gear. Many are the times where it hasn’t actually been my ears. With a panoply of hardware pieces and software abounding, it’s easy to see where something might mangle the proceedings in the chain.
Let me hear…route the audio through T-Racks One, Sonarworks, Ozone 8, and out through Sonarworks. Where did all that sub-50 information come from 😉
In Episode 6, learn how EQ in mastering can help correct and restore the clarity and intelligibility of a track, why you should prep before applying EQ, why filter shapes matter, and how to make thoughtful subtractive and additive EQ decisions. Practice your skills at home by downloading a free trial of Ozone, iZotope’s mastering software!