Cubase Le 10 Manual5/9/2021
We want 50-100ms of silence at the beginning of the mix, so trim it down if theres more than this (add silence in step 8 otherwise).And the multi-instrumentalist continues to make and perform music with relentless zeal.As a new boxset brings together his varied solo works, he reflects on his decades exploring new frontiers.
Having expanded his creative palette into co-writing and performing with Nadine, Ben tells us how he works with some of pops most innovative talents and professes his love for the unpredictable sounds of the EMS VCS3. But Cubase itself is far from incapable when it comes to giving mixes a final polish. ![]() However, its often preferable to approach mastering from the point of view of a whole album or montage of mixes, which allows that montage to be honed into a cohesive whole as opposed to a bunch of mismatched individual mixes. Generally, you would put all of the mixes onto the same track, but if creating a montage from a small number of mixes, there can be some advantages to giving each its own trackchannel in Cubase (for reasons that should become apparent in a moment). This is also a good opportunity to play around with the running order and flow of your montage. Its common to use specialised processors from third-party developers for performing this mastering processing and these can bring a certain depth and character to the table, but Cubases built-in processors are more than capable of creating excellent results without you needing to splash out on expensive models of boutique hardware. And if you happen to have a nice hardware compressor, EQ or whatever in your studio, you can set these up as external plug-ins that can then be included in your mastering processing chain. This bouncing can be done using an internal auxiliary audio bus if your sound hardware provides such, playing from the unmastered track whilst recording on the mastered track. Alternatively, if your hardware doesnt provide internal audio busses, you can simply export each mix to a new mastered version and then reimport this to a mastered track. This is the stage where you may encounter the biggest drawback with this approach: it prevents you from easily tweaking the mastering processor setup for any individual mix. This matters because, as you work through your montages mixes, you may decide that settings used on an earlier mix need to be modified in view of the mix youre currently mastering, but the processor settings you used are likely lost. ![]() All that remains is to perform a final export of the montage, either as individual files (one for each component of the montage) or, for montages where the components flow into each other, as a single monolithic file. Create a new folder for your mastering project, and create three subfolders within it named unmastered, mastered and release. Open the Project Setup panel (Project - Project Setup) and set the project sample rate and bit depth to match that of your unmastered mixes. Ensure the track is set to use a linear time base (track inspector will show a clock face). Drag your unmastered mixes onto the UnmasteredSource track, opting not to copy the files to the working directory. Enabling Shuffle snapping mode can help a little here, as it creates and removes gaps in the timeline when you move things around; disable snapping when making fine position adjustments, though.
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