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In this article:
Incorporating External
Mastering Your Album In Logic
Hardware Logic Notes & Techniques Buy PDF
The First Stages DAW Tips from SOS
Published in SOS January 2006
Logic News Technique : Logic Notes 100s of great articles!
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Processing Tips Digital Performer
Mastering The Art We look at how to combine hardware and software Live
Current Versions processing within Logic for mastering purposes. Logic
Pro Tools
Mac OS X: Apple Logic Pro Paul White Reaper
v7.1.1 Reason
Mac OS 9: Emagic Logic Pro Since the demise of Digidesign's Sound Designer II as a mainstream editing Sonar
v6.4.2 platform, I've ended up doing virtually all my mastering within Apple Logic Pro,
PC: Emagic Logic Audio compiling and processing individual tracks before switching to Roxio's Jam to
Platinum v5.5.1 compile my album master. Although I've tried a whole range of mastering plug-ins,
including the System 6000-inspired TC Electronic Powercore ones, the Waves suite,
and independent products such as the PSP Vintage Warmer, I'm constantly amazed
that my Drawmer DC2476 Masterflow hardware box still beats the pants off them all.
I don't know why, but it sounds more 'analogue' than any other digital processor I've

Incorporating External Hardware
Accessing the DC2476, or any other external hardware processor for that matter, within Logic can be neatly achieved using
the I/O plug-in (available from the Helper plug-in submenu), provided that you have at least two spare inputs and outputs on
your interface. The plug-in lets you select a physical output to use as an insert send, and a physical input to use as your
insert return. For mastering, you'll obviously need the stereo version, and if you're digitally connecting external hardware,
you'll either need to set the unit to external sync or else run everything in your system from a master clock generator.

It's probably worth mentioning here, though, that the current version of Logic seems to have a bug that prevents the I/O plug-
in working properly when inserted into the main stereo output Audio object. One workaround for this is to route all the tracks
and busses to another Output object (3+4 for example), and then send to your external hardware from that, returning the
externally processed audio via an Aux Audio object set to unity gain. The Aux object can then feed the main stereo outputs.

The First Stages
However, even if this bug did not exist, there is still an advantage in inserting your mastering processing into a normal stereo
Track Audio object. That's because, when you're mastering the different tracks that will comprise an album, it helps to pick
one track, optimise that, and then use it as a yardstick for the other tracks you need to work on. As a rule, I work on the
loudest track first, optimise it using whatever processing is required, then bounce it to a new 24-bit interleaved AIFF file. Note
that it can help to open your bounced files in the Sample Editor, so that you can trim any excess 'dead air' from around the
song or fade out the thumps and bangs that are occasionally introduced at the start of the file by certain plug-ins. However,
do leave at margin of at least a half a second at the start of each track for the benefit of those CD players that are a bit slow
at cuing tracks — you can always make this truly silent by using the Silence command in the Sample Editor window's
Functions menu.

Once I'm happy with the first track, I drop it onto a spare stereo track in the Arrange
window, where it can be played for direct comparison with the next track while I am
fine-tuning plug-in and processor settings, the aim being to get the second track to
sound as if it belongs to the same album as the first. Obviously it's important to make
sure that the faders of both Track Audio objects are initially at unity gain so that
there's no level mismatch between them, but you may find that you need to increase
the second track's limiter gain to achieve similar subjective levels.
The I/O plug-in is the key to accessing
I usually start work with tracks that have similar instrumentation and style. I also external processing, such as the multi-
favour working on all the heavier songs first, before working down to the ballads if band tube emulation of the Drawmer
the album is that varied. Working from loudest to quietest helps you match the DC2476, while mastering in Logic.
subjective levels of the different tracks making up the album with less risk of running
out of headroom. You can make final level adjustments in your CD burning program, but if you turn down a track that has
already been limited, you're wasting headroom that might have been better utilised by limiting less in the first place. After all,
limiting very rarely makes anything sound better, it just makes it sound louder, so there's no point in limiting the quieter tracks
more than you have to.

Logic News
There have been a couple of Logic-related upgrades recently. The Mac OS X Waveburner utility has reached version 1.1.2 and is
now almost up to the feature and performance levels of its OS 9 counterpart. It's definitely more stable now, the undo feature
finally works as expected, and plug-ins no longer crash or lose their parameter settings. Speaking of plug-ins, Waveburner can
use all of your third-party AU effects plug-ins as well as Logic's own, but with the strange exception of the Space Designer
Apple's latest Pro Application Support 3.1 update is also recommended if you are running Logic, although it often doesn't show
up in Software Update unless you've installed Final Cut Pro as well. Another well-hidden Apple item is the availability of a free
trial of Logic Express downloadable from www.apple.com/logicexpress/trial. It's a 30-day time-limited version, and a perfect way
to dip your toes into the choppy waters of Logic, even if you're thinking of going for Logic Pro in the end.

Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The one I find most annoying revolves around the use of Universal Audio's UAD1 plug-ins and. is expressly forbidden without the prior written consent of the Publishers. One workaround seems to be to reorganise Logic's memory by double-clicking the memory value below the tempo display in the Transport — although this doesn't always work for me. tutorials. which renders the feature almost useless in a lot of cases. Bar Hill. This can be tricky when working on songs recorded in different studios. More problems with Logic's half-hearted plug-in delay compensation (PDC) are appearing as users start to put it through its paces. A useful tip. UK edition My Private Messages My Downloads Cambridge. Apple really need to get PDC sorted out properly in the next release of Logic. Dynamic EQ can apply cut or boost whenever the signal exceeds a certain threshold in a particular frequency range. has only appeared since v7. This has the added advantage of making sure Logic realises that both CPUs are actually being used on a dual-processor Mac. The views expressed are those of the contributors and not necessarily those of the publishers. Most times I'll add only a little 80-100Hz boost to beef up a weak bass. where I'll be looking at how to get the best from Logic's built-in plug-ins in this context. but the DC2476 sounds a lot more analogue. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part. as far as I can tell. Reviews Company number: 3015516 VAT number: GB 638 5307 26 Podcasts Technique SOS TV Information Sound Advice Watch exhibition videos. Another tip is to start and stop Logic's transport.1. Web site designed & maintained by PB Associates | SOS | Relative Media . Trafalgar Way. or when assembling compilation albums. After that the album also gets checked on several other sound systems to ensure that it 'travels' well. so you don't get CPU overload errors. Plus. Mastering The Art That's all for now. Some digital equalisers seem to need lots of cut or boost to get the necessary tonal change. if you have access to it. Often the bass end will need a little equalising to compensate for deficiencies in the original monitoring environment. It's often helped me to get a Song that's started to complain running again. but stay tuned for more mastering tips in next month's workshop. I'll be revealing how to get track levels and inter-song gaps just right. There is no fairy dust setting that works on everything. in theory. CB23 8SQ. On a side note. the memory reorganisation tip I mentioned above is often useful when you're having spurious memory-related or CPU problems. Published in SOS January 2006 Home | Search | News | Current Issue | Digital Editions | Articles | Forum | Subscribe | Shop | Readers Ads Advertise | Information | Links | Privacy Policy | Support Current Magazine News Forum My SOS eSub Edition Today's Hot Topics Change Password Email: Contact SOS Buy PDF articles Search Forum Channel List Change My Email Telephone: +44 (0)1954 789888 Magazine Feedback New Search Forum Search Change My Address Fax: +44 (0)1954 789895 Forum Search My Forum Home My Subscription Digital Editions Search Tips My Forum Settings My eNewsletters Registered Office: Media House. the process of mastering is about making the songs on an album sound as good as they possibly can. About SOS Competitions People interviews. only the UAD1 plug-in inserted into the first slot will have its latency compensated for. USA digital edition Articles Forum Rules & Etiquette My Goodies Sound On Sound Ltd is registered in England and Wales. is to try dynamic EQ to add punch to bass notes in situations where you don't want to affect the tonality in the spaces between the bass notes. but it should be subtle. good equaliser. If you insert a UAD1 plug-in into a track or buss and have PDC set to All. but this may be teamed with an additional filter to roll off very low frequencies that might otherwise compromise the bass end and make it unmanageable when played over smaller speakers. every mastering job is of course different. Stephen Bennett Processing Tips To me. the sound will become better focused. However. so you can. and often a decibel here and there is all that's needed. but at the same time ensuring that they sit comfortably next to each other in terms of tonal balance and subjective loudness. but without any excessive tonal changes being introduced. masterclasses Contact SOS Staff Glossary Advertising Subscribe SoundBank Readers Classifieds Licensing Enquiries Subscribe Now Submit New Adverts Magazine On-sale Dates eSub FAQs Help + Support View My Adverts SOS Logos & Graphics Home SOS Site Analytics SOS Directory Privacy Policy All contents copyright © SOS Publications Group and/or its licensors. The only other option is to Freeze the UAD1 tracks with PDC set to Audio Tracks And Instruments to get everything back in time. United Kingdom. and then start it again. 1985-2012. as it helps to changing the tonality of the overall mix separate the instruments in the mix. All rights reserved.1. If you do this with a really to any great extent. but I tend to use the Powercore Dynamic EQ plug-in instead. Because I don't have a 'top of the tree' acoustically designed mastering room I'll also compare my results with similarly styled commercial releases that I deem to be well recorded. so you have to train your ears to pick out the areas of the spectrum that really need attention. whether mechanical or electronic. because of its intuitive The TC Electronic Powercore's Dynamic graphical interface. There's a dynamic EQ in the DC2476. EQ plug-in is great for adding weight to bass instruments without otherwise Adding a gentle 'air' EQ boost at 12-14kHz is also very commonplace. add more EQ to problem sounds without disturbing the rest of the mix too much.