Get Your Shine On

Jun 1, 2008 12:00 PM, By Mo Volans

MODERN MUSIC PRODUCTION CAN BE A ROCKY QUARRY OF JARGON AND NEW TECHNOLOGY. FOLLOWING THESE 10 TIPS CAN HELP TRANSFORM YOUR TRACKS FROM DULL CARVINGS TO PROFESSIONALLY POLISHED GEMS

TIP 6

MASTERING M/S PROCESSING

On the subject of mastering, there are many processes that are well documented. For instance, it is easy to find information on brickwall limiting or bus compression, but some other techniques are not so widely discussed. M/S processing is one of those more obscure techniques. Basically put, M/S processing involves treating the mono section of music separately from the stereo. To do that, the processor has to decode the incoming signal into its mono and stereo parts.

One of the main uses of the M/S method is in mastering so you can separately equalize and change levels of the mono and stereo elements in a mix. That means you can much more accurately turn up reverbs, overheads and chorus effects, while independently changing the level of kick drums and bass parts simultaneously.

One of the only companies making M/S processing plug-ins is German-based Brainworx (www.brainworx-music.de). Its BX_Digital comprises several processors in one plug-in and is capable of astounding control at the mastering stage. Once you start using it, you may find it hard to master without it. BX_Digital varies in price from 348 to 715 Euros (approx. $548 to $1,125), depending on whether you get the native or TDM version as a download or boxed bundle. The company also makes several other processors all specializing in M/S processing.

TIP 7

INVEST IN DSP-BASED EFFECTS

Professional-quality results in the studio have become much easier to achieve — even on relatively low budgets — due to the fact that most recording and mixing is now done “in the box.” Obviously, there are huge advantages of working in this way, such as instant recall using automation, massive track counts and the ability to run large numbers of plug-ins.

Even with very fast computers, all those processes happening at once can take their toll on your CPU. To increase workflow and complete mixes that surpass the power of our computers, many of us resort to bouncing our processed tracks, which destructively imprints effects onto the audio tracks. However, that's not ideal because you may want to change a sound or effect later.

The only real answer to track bouncing is to run the processors within your mix “live.” That usually takes large amounts of CPU — in most cases, more than a computer can handle. The solution comes in the form of DSP-based effects systems — essentially software processors running on external hardware. A couple advantages to external DSP are that the plug-ins or instruments they run have no affect on your computer's CPU load and that, more often than not, the processors supplied with DSP systems are far superior to their native counterparts.

Universal Audio (www.uaudio.com) makes one of the great tried-and-tested DSP systems: its UAD series of PCI cards and Xpander ExpressCard DSP boxes ranging from $499 to $2,599. UA's drivers are mature, its hardware is robust and its range of plug-ins is nothing short of stunning. TC Electronic, SSL and Focusrite also make notable external DSP hosts. While often expensive, DSP systems are worth the investment if you can afford one.

TIP 8

USE HIGH-QUALITY SAMPLES

There is nothing worse than producing a track and feeling that it falls short of your original concept. There are a lot of reasons why that can happen, but oftentimes the original performances or source materials are to blame.

Constructing a song using poor-quality samples or audio recordings is like using substandard materials to build a house. Without good foundations, any construction will fail; therefore, it is important to get things right from the start and ensure that your sample library is made up of high-quality audio.

In addition to using samples of high-resolution, uncompressed audio (for example, 24-bit/96 kHz WAV) use sample libraries from reputable companies. As one example, the up-and-coming company Loopmasters (www.loopmasters.com) supplies some excellent titles, covering an extremely diverse range of musical genres and styles.

Of course, you may be using a large library compiled of your own samples, and in that situation it is equally important to maintain quality control. Achieve it by careful preprocessing and selection of the samples before placing them in your arrangement.

TIP 9

GET HANDS-ON CONTROL

Often the world of virtual synthesizers and mixers lacks one thing: an old-fashioned tactile, hands-on control. Although you can control every parameter in your DAW from a mouse or keyboard, the lack of knobs and faders can take some of the “performance” out of the mixing process. So install some kind of control surface. For such a straightforward piece of equipment, the improvement in workflow can be dramatic. With the huge variety of products in this area, shop around to find the device that best matches your style of working. And remember, if you use a lot of automation and want instant recall of all the controls on your device, you may have to invest a little more money for a controller with motorized faders.

TIP 10

LISTEN TO YOUR MIX, NOT YOUR ROOM

When you have finished your final mixdown, try playing it back in another studio, on your stereo system or in your car. It may sound completely different. In the mastering industry, that's known as bad translation.

Having “good translation” simply means that your song will sound good on as many different systems as possible. That's the aim of any good mastering engineer, and in a perfectly treated room with the best monitors money can buy, it's a realistic goal. But in a room that was never designed to be a studio and with slightly cheaper hardware, it can certainly be a challenge.

Although your room's acoustics and monitor positioning can be obstacles to achieving acceptable translation in your mixes, there are things you can do to level the playing field. The most affordable and probably the most important remedy is to acoustically treat your room. This will soften the room's acoustic signature and ensure you are hearing more of your mix and less of the room's walls. Also, you may want to try using a room-correction system. Companies such as IK Multimedia (ARC System; www.ikmultimedia.com) and KRK (ERGO; www.krksys.com) are putting them on the market at a very realistic price, and they can work wonders with a difficult room — giving you better translation in your music.

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