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In this article we’re going through the mastering chains of pro producers like Deadmau5 and Laidback Luke. We will also show you our PML Mastering Chain, made with Ableton stock plugins. These racks come in handy when polishing up your tracks - that’s why we have included them as a free download. Enjoy!
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Deadmau5's Mastering Chain
1) LinEQ (Waves)
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- Drawing inspiration from the latest tracks of Deadmau5, “4ever” brings you a melodic Progressive House Ableton Live 9 template. It features groovy bassline, solid beat, signature plucks and atmospheric pads. Whether you make House, Techno or Progressive House, this template will give you lots of inspiration, ideas and top notch sounds.
Low Cut: roll-off below 32HZ (depends a bit on input track)
Removing low frequencies we can hardly hear on most playback systems and gaining headroom for our other elements.
2) MStereoExpander
Widening the stereo spectrum of the track, achieving a richer stereo image.
34% Depth (in this case)
3) Xfer Records OTT
Multiband Compressor, Compressing our different frequency bands (low, mids, highs) with different intensities, depending on what the track needs
4) FabFilter Pro MB
Used by Deadmau5 as Dynamic EQ - for one band at 59.462 Hz, +3.42dB,
Usually is used as multiband compressor
5) FabFilter Pro-L
Allround Limiting (increasing general loudness of the track)
+13dB (track dependent), Attack 118 ms, Release 500 ms
6) L2 UltraMaximizer (Stereo Mode)
Additional subtle limiting (-2.1 Threshold)
(depends on the source track)
Laidback Luke's Mastering Chain
1) Ableton EQ8/FabFilter Pro-Q
Multiple instances for surgical and balance control over the frequency range. Settings vary from track to track.
2) Izotope Ozone 6 - Exciter
Slightly overdriving the higher frequencies for a 'crisp hihats' effect
Dual Triode Setting
Low Band: 0% Amount
Mid Band: 194 Hz - 3.97kHz. 0.7% Amount
High Band: 3.97kHz - 11.9kHz. 3.8 Amount
High Band 2: 11.9kHz - 20k. 6.6 Amount
3) Ableton Stock Compressor
Compressor focussed on adding a bit of punch to the track:
Threshold: -2.07dB (depends on track)
Ratio: 9.14:1
Attack: 5.47 ms
Release: 37.4 ms
Dry/Wet 100%
Makeup Gain On
RMS setting
Lookahead: 1ms
4. Ableton Stock Chorus
Stereo enhancing for high frequencies. Therefore its highpassed:
Hipass setting at 1.93kHz
Amount 5.22 ms
Rate 1.67 Hz
Fix Mode
32% Feedback
Dry/Wet 15%
5. T-RackS Spectrum Analyzer
Analyses adjustments made before applying the limiter.
6. FabFilter Pro-L
Brickwall limiting at the end
PML „Ableton Only” Mastering Chain
When “mastering” on this basic level, we are trying to accomplish 3 things:
- balance the mix
- clean up resonance
- add loudness (punch) to the track
EQ8
Lowcut - This EQ is operating in mid side mode. We are cutting out frequencies below 100hz on the side and freqs below 35 hz in the mids. That way we have a clean low cut and our bass is operating in mono
Glue compressor
We are catching some of the peaks over the entire frequency range
EQ8
We are flattening out some unwanted resonances
Multiband Dynamics
We are balancing the low, mid and highs with 3-band multiband compression
Compressor Punch
We are adding punch to the mix, emphasizing the dynamics
Compressor Sustain
We are flattening out the mix a little bit (in order to be able to make the sum louder in the end)
EQ8
Final touches, we are pulling up the bass a bit and adding a little bit of brilliance in the top end
Limiter
We are increasing the loudness of the sum of our track. Note: don’t push it too far, Ableton’s limiter starts distorting the sound quite quickly.
Of course, this chain has its limitations - but we found it a good way to start with a basic master for your Ableton productions. Make sure you adjust the loudness of your mix before entering the chain. If the mix plays at low volumes, add a utility in front of the chain an turn up the level to get the chain compressors working - if its getting too heavy - turn it down a tad.
Author: k-pizza
I’m a music maker who likes to share his experiences with other producers. I regularly show up with tutorials, articles & project files at PML.
Skype lessons with me: http://bit.ly/pml_s_one2one
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Keywords: Mastering with Izotope Ozone, LUFS vs dbFS, Fab-Filter Saturn, Mastering with Fab-Filter only, Mastering with Ableton only, Fletcher-Munson Curve, Mastering Chain Blueprint
How many times have you listened to an immaculately produced track and wondered how they did it? Perfect mixdowns can seem mysterious and unattainable, especially when you’re using the same production tools as a top-flight producer, but your results don’t sound that way. Perhaps a look under the hood of a big artist’s Live Set would shed some light on the techniques that separate stadium bangers from a humble demo.
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Lucky for us, Dutch EDM veteran Laidback Luke has obliged our curiosity. You can download and examine the Live Set for his production “Stepping To The Beat” via the creative sharing platform Splice and see how it’s all done. You’ll need to sign up for a free account and download the Splice app to get at Luke’s Live Set, and try out his techniques for yourself.
We took the opportunity to chat to Luke about the Live Set, the perils of mixing in stereo, the importance of layering, and mixing down for club systems.
Download Laidback Luke’s Live set via Splice.
There is a whole lot of layering in this track. Are you spending much time working the EQs and envelopes to get these elements to sit together? Do you have any go-to methods for achieving balanced layering?
The key to proper layering is to find the gaps in the frequencies and then fill them up with sounds that specifically stand out in those frequencies. It can be as simple as saying, “Oh, my lead sounds a bit thin right now,” and then looking for an additional sound that has a lot going on in the 300-Hz range. If it were only those two sounds, I'd EQ out some 3 kHz in the 300-Hz-type sound. And in my thin lead, I'd make sure there were no 300 Hz sounds. This way, the two would fit together like the pieces of a puzzle. Group them in one channel, put a little bit of compression in there as glue, and they'll operate as one unit.
You’ve mentioned the importance of testing out your sub levels on club systems. Do you have any advice for those who don't have access to big stacks on a regular basis? Cheaper monitors with ported bass cavities can confuse your perception of the low end, so perhaps a good pair of headphones are more appropriate.
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I produce everything on my SOL Republic Calvin Harris XC headphones. Even in the studio! So yes, I'm very much a headphones type of producer. You know what? Over almost two decades of producing music, I've developed such sensitive ears that I can't deal with the “sweet spot” in a studio environment. To me, having a sweet spot in a room means that if I move my head, the sound will change. My whole mix will sound different all of a sudden! I can't deal with that anymore. This gets eliminated by using headphones. Afterwards it's good to check on any system you can. On your laptop speakers, in your car, on your phone.
One main thing I do on my headphones in order not to lose track of excessive frequencies is to constantly A/B test my production with professional tracks that I know sound good everywhere. Those tracks are the law, your maps, your guidelines to a great sound.
So how they sound on your headphones is how your track should sound on headphones as well. On headphones, mixing in mono is key though! I always say: “Mono is the truth.”
Deadmau5 Live Set
The stereo image of a track can easily fool your ears. So basically I put everything in stereo at the very end of finishing off a track.
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How do you keep in touch with the energy levels required in the club when you're sitting in your studio? For some it's easy to lose perspective when you're on your own trying to imagine what's going to work for a crowd.
Absolutely, so that's why I can't stress enough that you need to keep comparing your work to tracks that you know sound good in a club. That's your guideline. If your tracks sound more subby, more mid-rangey or more intense than those guide tracks, you'll know you'll have some very wrong and harmful frequencies when you’re playing in the club.
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Keep up with Laidback Luke on his website and Soundcloud