True Peak Metering: Use this to ensure your mixes are within delivery specs and to also keep your mixes clip-free at later encoding stages.
#SLATE FGX 2 TORRENT PRO#
Two cool features in MasterCheck Pro are:
It includes easy to read Industry standard meters that show loudness and dynamic range of mixes and how mixes compare to your target platform.
MasterCheck Pro makes sure your mix reaches listeners as you intended it to sound.
#SLATE FGX 2 TORRENT DOWNLOAD#
It shows users problem areas ahead of time enabling users to deliver masters perfectly tuned for specific playouts such as streaming services and download stores. MasterCheck Pro is used by countless top audio professionals. There are two very powerful metering plug-ins by Mastering The Mix and Nugen Audio that we at Production Expert really like, both are well worth checking out. If you do not use a quality metering plug-in when mastering your music you are at best shooting in the dark when it comes to getting your mixes set to required loudness specs. Metering plug-ins are an essential mastering tool. Simple, by using mastering plug-ins that can help us polish the tone of our mixes along with well-sorted metering plug-ins to get our music set for streaming standards.
#SLATE FGX 2 TORRENT FULL#
Platforms such as YouTube, Spotify, and Apple Music are considered the norm for listening to music. With this evolution of the Music Industry we see a multitude of different platforms, codecs, deliverables, and loudness standards that are part of our daily mixing and mastering workflows, but how do we go about mixing and mastering for all these new standards whilst maintaining full control over our work and the effects of the various codecs? Music is consumed very differently these days compared to ten years ago.
Instead, let's agree that there are arguments for and against mastering your own material. Over the last few years, more and more plug-ins have emerged that promise great mastering capabilities making "self-mastering" easier than ever before while also providing tools that help us to deliver music to a range of modern-day loudness specs. There's absolutely nothing wrong with that, this article isn't going to open that can of worms. yeah that's where its at.Īnd for many of us here where we do our own faux-mastering by throwing stuff on the master bus of our mixes, it will likely be magic.These days many Music Producers and Recording Artists "self-master" their music. But in that final strap a limiter on stage. Also some way to do the Red-Book layout with Cue sheets, ISRC, CD-TEXT, etc. Noise reducer and crackel, additonal metering, etc. Maybe a saturator and stereo widener and coloring tools for really bad mixes. The mix still needs to be balanced, so you need a good EQ (which is coming from Slate) and a multi-band for some cases. We were also listening to one Slate's slamming mixes too. Basically more open, dimensionality, loudness, transient preserveation magicness, etc. Also I had literally just handed off the master discs for duplication of a project I faux-"mastered." And it solved the constant fight I have with my tools (DBX Quantum II hardware, T-Racks, Ozone, Elephant, Waves L2, Gclip, Liquid Mix, Wavelab 6 Plugs). We A/B'd with an "industry standard ITB limiter" and the difference was astounding. Even in that crazy loud horrible environment, I could still tell a major difference. I am personally really excited about this one.Īt NAMM I got the full on demo treatment.