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Bypass Tips
During mastering (and when using any effects
processing, for that matter), the ON/OFF switch
is one of the most important tools you have at
your disposal. Here are a few tips for using it
effectively:
•
During processing, compare the processed and bypassed
sounds often—This tells you if the processing that you're
doing is really helping, or hurting, the final result.
•
Listen to the processed and unprocessed signals at equal
level—Much of the processing you'll do in the MTK
is going to add volume to the signal. Consequently,
when an MTK processor is bypassed, the unprocessed
sound may be quite a bit lower in volume. To accurately
compare the two, adjust the MTK output section's
Level (dB) control to match their volumes as you listen.
•
You don't have to use them all—Often, you'll find that you
can get the results you need by using just one or two of
the MTK's effects and bypassing the rest.
EQ Tips
Using EQ in mastering is a lot different
than using EQ in the mixing process.
In mixing, EQ is applied in an isolated
fashion to individual sounds. In mastering, however, you're
applying EQ to an entire musical presentation. As such, a
single EQ change affects many different sounds at once. Here
are a few things to keep in mind during the process:
•
Only use as much EQ as necessary—Avoid the temptation to
over-EQ. Just because there are four EQ bands, you don't
have to use them all. You can bypass a single EQ band by
setting its type to THRU.
•
Equalization in mastering is a balancing act—Applying EQ
in one frequency range has a pronounced effect on the
perceived EQ of other frequency ranges. Because of this,
there are often a couple of different ways to get a similar
result. For example, if you want to warm up the sound a
little, you might boost slightly with a peak EQ in the 250-
500 Hz range. Then again, you could get a similar result
by cutting slightly in the 2-4 kHz area. Be aware of this
interaction, and keep it in mind while working.
•
Cut frequencies instead of boosting them if possible—
Generally, it's best to remove frequencies rather than to
add them. This results in a cleaner, more natural sound,
with less potential for distortion. This isn't to say that
all boosting is bad—it's just good practice to try to
accomplish your EQ goals with a frequency cut first.
•
Work the Q—When using a peak-type EQ, the
setting of the Q control determines the width of the
affected range of frequencies above and below
the EQ band's center frequency. Most of the time, a
wide Q sounds the most natural. For surgically
eliminating problem frequencies, however, a narrower Q
is the ticket.
•
Avoid excessive EQ boosts—If you must boost an EQ band,
be cautious. Boosting a band's gain excessively can cause
more problems than it fixes. (Of course there are exceptions
to this rule, so let your ears be the final judge.)
•
Use excessive EQ boosts—What? Didn't we just say not to
do that? Well, there's one application where excessive
EQ boosts are good: As an aid in identifying and fixing
"problem" frequencies in the mix. Here's how:
•
Set an EQ band as a peak-type EQ, and set its Q to a
narrow bandwidth.
•
Raise the gain on the band to a high level, around 10.0
or so. If the sound distorts, back it down a little.
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