The CORRECT Order for Effects in Your Mastering Chain (…and Mix Bus)
Is there a “right order” for processing and effects in mastering? Justin Colletti says yes. He unveils his own chain for mastering, sharing how and where he places his limiter, EQ, compressor and more.
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#CORRECT #Order #Effects #Mastering #Chain #…and #Mix #Bus
Originally posted by UCqEKv3KIZoZrjv2LymD3iMg at https://www.youtube.com/watch?v=VzPLwUxKseo
What do your mastering and mix bus chains look like?
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I came for mastering tips..I subcribed because of your honesty and humility.
Thank you a ton! Absolutely great and sharp content!
Thank you!
⚔️????????????⚔️
Please as many details on limiters as possible????????
This man made a podcast teaching people golden tips for free. Trust me I’m still learning daily cuz I need mastering help for sure!! Thank you Justin, I copped your course it was so worth it. Something I will need to revisit MANY times over the next few years all for $200 for both courses. Wow so happy it’s also a tax write off!!????????❤
Great video
Great stuff. All plugins? No outboard gear?
GREAT VIDEO & INFORMATION. THANKS.
GREAT video fam ????????
thanks so much!
Sonnox True peak Limiter is my favorite Limiter.
I need a link to the RELABS MLA-4 I don't see the plugin you are showing us. The content is great but this plugin is the one I need that I just can't find.
???? Key points for quick navigation:
00:01 ????️ Introduction: Justin Colle discusses mastering and mix bus effects order, noting its broad application across audio processing.
00:29 ????️ Dynamic Chains: Justin explains that his mastering chain changes per session but follows specific operational principles.
00:57 ???? Unusual Approach: The last effect is added first in his chain setup, contrary to its operational sequence.
03:01 ???? Consistent Listening Levels: Gain staging and consistent playback levels (around 83 dB SPL) are foundational for mastering precision.
03:58 ???? Importance of Gain Staging: Correct input level ensures effective decision-making and consistent monitoring results.
05:08 ???? Limiter First: The limiter is always the first processor in the chain, ensuring appropriate listening levels and identifying mix issues.
06:18 ⭐ Favorite Limiters: Justin's go-to limiters include BX Limiter True Peak (smooth and thick), FabFilter Pro-L2 (tight and bright), and iZotope Ozone Maximizer.
09:02 ???? Limiter's Dual Role: A limiter often enhances mixes but can also exacerbate existing problems, highlighting necessary adjustments.
09:40 ????️ EQ Follows Limiter: EQ adjustments typically come after the limiter to address tonal imbalances revealed during limiting.
10:08 ????️ Sound Characteristics: Attack and release settings influence a limiter's sound, with BX Limiter sounding smooth and FabFilter Pro-L2 sounding tight.
20:40 ????️ Compression selection is based on genre needs, with SSL-style bus compressors like Brainworx Townhouse often used for tonal character and gentle dynamic control.
22:36 ????️ Shadow Hills compressors are favored for adding tonal focus and midrange texture, especially the original green-light version for a more organic feel.
23:44 ✨ SPL Iron compressor provides a subtle "scoopy smiley face" tonal character, emphasizing brightness and dynamic control.
25:09 ???? Ozone 10 Dynamics allows for versatile single-band and multiband compression with dual compressors, enabling both peak control and transient enhancement.
26:33 ???? Serial compression combines fast and slow attack compressors to balance dynamic consistency while enhancing transients for punch and impact.
28:10 ????️ Tape emulation tools like Studer A800, Ampex, and Ozone Tape Simulator add warmth and glue, with various speeds (e.g., 15 ips for rock) tailoring tonal results.
30:00 ???? Slower tape speeds soften high frequencies and tame harshness, especially useful for rock records or overly bright digital productions.
30:52 ???? Ozone Tape Simulator's 7.5 ips mode darkens and smooths the top end, ideal for digitally produced tracks needing warmth but may require post-brightening adjustments.
41:53 ???? *Modern productions often widen low frequencies, including sub-bass, depending on the musical aesthetic, while older styles center them.*
43:01 ????️ *Widener placement after most processing, just before the limiter, ensures stereo expansion without affecting prior tonal adjustments.*
44:11 ???? *Experimenting with order, wideners often follow saturators to retain tonal clarity, though no fixed rule exists.*
45:06 ????️ *Multi-band compressors like FabFilter MB Pro, Ozone, or MLA 4 help solve tonal issues early in the mastering chain.*
46:01 ???? *Dynamic EQ is increasingly preferred over multi-band compression for precise low-end control and transient shaping.*
46:57 ⚡ *Dynamic EQ adjustments, like upward expansion on kick hits, prevent overall low-end energy loss while refining balance.*
48:06 ???? *High-frequency dynamic EQ is used to reduce harshness in specific instruments like shakers or cymbals before compression.*
49:46 ???? *Early dynamic processing ensures accurate compression by eliminating unwanted frequency triggers before EQ and tonal shaping.*
50:28 ???? *Multi-band compressors can serve as tonal reshaping tools late in the chain, adding color rather than strict compression.*
51:10 ???? *Usual mastering order: multi-band processing > EQ > compression > saturators > wideners > limiter.*
51:52 ???? *In mixing, dsers work best after heavy vocal compression to manage sibilance more effectively post-dynamic gain adjustments.*
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So simple in words . now ?how do you know when you need it .?that’s when experience comes: ????
Everything makes sense now. Great video! May I just ask; at the very end you mention Limiter last.. but only on the Master right? Im working on House music EDM and presume I dont want to limit on my mixbus – just leave that for mastering?
????Excellent information here.
Awesome, Man…Thank You! ????
Awesome
Whats your thoughts on the Vari Mu? Use it much these days? Used to be pretty common for Mastering.
thank you so much for this great vid dude – u are awesome!!!
I have discovered that you can actually process past the limiter to make sure you're not completely killing off your dynamic range. Putting limiting as the actual last step always has ended up crashing the absolute peak of acceptable loudness and led to a raw distortion from my experience.
The Relab MLA-4 is still not released right ? Thanks for the video, great approaches !
after oversampling-everything-blindly for years, i recently learned to hear the difference & stopped oversampling all dynamics processors with a quick release, including final limiter. and the transients sound so much clearer and sharper. d-oh!
Dang that MLA-4 isn't even out
Did you show an unreleased relay plugin of the Masselec multi band limiter? Can't find it anywhere