Listen to an Example ➜ YouTube Link Compress Each Band and ClipĪfter EQ, I’ll insert compressors on each not really to control dynamics, but as a way to control the timbre of each signal. Let’s take a listen to these filters enabled. ![]() The first filter will make our lows more mono and focused, the filter on the mids will help the mono aspects of the vocal cut through, and the cut on the highs helps control sibilance. Then on the highs, I’ll set the processing to the mids, and attenuate some of 10.7kHz, where I noticed the most sibilance. On the mid-channel, I’ll process the side image as well, and dip a little of 2kHz. Next, I’m going to insert Logic’s channel EQ on each auxiliary channel - I’ll change the processing on the low channel to affect the side image only, and attenuate up to around 80Hz. Listen to an Example ➜ YouTube Link Use Subtractive EQ on Each Band Let’s take a listen to the mix, as we solo each range. I’ll ensure that the cross-over points are the same - for example, you’ll notice that since the lows cut off at 300Hz, the high pass on the mids starts at 300Hz, and so on.Īlthough unorthodox this gives us the opportunity to process each range separately. Next, I’ll use Logic’s linear phase EQ on all 3 new auxiliary channels - the first will isolate the lows, the second the mids, and the last the highs. I’ll start by using 3 buses, all set to unity - then I’ll change the output of the channel to no output. Get a FREE Mastered Sample of Your Song ➜įor this video we’ll only use Logic stock plugins - so let’s get creative with them and find ways to still make a great sounding mastering. Then I’ll process each band individually using equalization, compression, and saturation, before processing all of the signals collectivist via the stereo output. ![]() When mastering in Logic Pro X, I like to separate the signal into 3 frequency ranges by using auxiliary sends and linear phase EQs.
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