Welcome to Sage Audio. Today let’s look at How to Master in Logic Pro X. But first,
If you have a mix that you need mastered,
send it to us to receive a free mastered sample of it with the link in the description.
Separate Signal into 3 Frequency Bands
For 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 master.
I’ll start by using 3 buses, all set to unity - then I’ll change the output of the channel
to no output. 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 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.
Although unorthodox this gives us the opportunity to process each range separately.
Let’s take a listen to the mix, as we solo each range.
Use Subtractive EQ on Each Band
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. On the mid-channel, I’ll process the side image as well, and dip a little at 2kHz.
Then on the highs, I’ll set the processing to the mids,
and attenuate some of 10.7kHz, where I noticed the most sibilance.
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.
Let’s take a listen to these filters enabled.
If you’re enjoying the video, hit the like button and subscribe if you haven’t already;
it’s free and helps us bring you more videos.
Compress Each Band and Clip
After EQ, I’ll insert compressors on each track not really to control dynamics, but as a way
to control the timbre of each signal. On the lows, I used a super-fast attack, 40ms release,
hard knee, and high ratio, and achieved only about a dB of compression.
Additionally, I enabled the clipper on the output - all of these settings
created a punchy low-frequency range. On the mids,
I used similar settings but enjoyed the sound of the Vintage FET emulation.
On the highs, I used a softer knee, slightly longer attack,
and very low ratio to capture only the sibilance - in turn, de-essing the mix.
Let’s take a listen and notice how the timbre of the track changes.
Use Subtle Exciter Settings
Logic’s exciter lets us introduce low amounts of harmonic distortion - and monitor the distortion
by turning the dry signal off, which is helpful. I’ll lower the frequency all the
way for all three since it really doesn’t matter as we’ve already isolated each frequency range.
Then I’ll turn off the dry signal and slowly introduce harmonics
and flip between colors to hear the difference. Then I’ll enable the dry again,
and repeat until it feels like the right level and color for each band.
Let’s take a listen.
Introduce Sub Bass on Lows
Only on the low-frequency channel, I’ll insert the SubBass plugin and solo the
channel to better understand its effect. I’ll lower the center on the low-frequency side, and
use a 2x ratio meaning I’m making the generated signal twice as low as what’s originally present.
Then I’ll blend the effect in using the wet slider,
and bring the dry down all the way if I want to hear only the effect.
Let’s listen to how this improves the lows.
Amplify Mid Channel for Clarity
At this point, I’m noticing that the mid is lacking some clarity, so I’m going to add an EQ
to only the mid-frequency aux track and boost some of 2 - 3kHz. If you need to
add some presence and clarity to your master, boost somewhere between 2-5kHz.
This will also make the master sound louder, reducing the need for more aggressive limiting
later on. Let’s take a listen and notice how it sounds a little clearer.
Cut Side Lows from Output
On the master output, I’ve added a linear phase EQ and set the processing to the
side image - since I’ll be using this EQ to once again cut the side’s lows,
I want it to be linear phase to avoid aggressive phase changes. This will help the lows stay mono.
You may be wondering why I’m doing this again, and in short, the sub-bass processor we used
introduced more signal into the side image, which was muddying the sound. To keep the
impact of the sub, but keep the master from being unfocused, it’s best to introduce this filter.
Let’s take a listen.
If you're enjoying the channel, use the search box to watch more of our videos.
Limit and Clip Output
Next, I’ll add a compressor to the master output, and set it to an optical setting - although
I won’t actually compress the signal using the compressor, the optical setting imparts
a tone regardless. I’ll engage the limiter and very subtly limit and clip the signal.
This gives it a nice sound and sets us up well from more aggressive limiting
later on. Let’s take a listen.
Tube EQ to Add Subtle Curves
Logic offers a good emulation of a Pultec EQ, which works well when mastering since
the curves it imparts are really gradual and natural sounding. Up top, I’ll boost some of
the kick’s fundamentals, and boost some of 14kHz and above to add presence and air.
On the bottom, I’ll dip some of 300Hz. to get rid of some unpleasant boxiness,
and then boost 3.5kHz, which will affect both our mid and high bands.
Lastly, I’ll introduce a little drive at the output to collectively distort the signal.
Pick a Limiter and Measure
Logic Pro X offers 2 stock limiters - the adaptive limiter has a smoother sound due to its built-in
lookahead and adaptive release, which reduces transients but also helps control distortion. The
regular limiter helps preserve transients and has a more detailed sound, but with more distortion.
I think either one will work and it comes down to preference and the genre. After picking a limiter,
I’ll use the Loudness meter and try to get the loudness somewhere between -14 LUFS to -9 LUFS.
Let’s take a listen, first with the adaptive limiter, and then with the regular limiter.
If you have a mix that you need mastered, send it to us to receive a free mastered sample of it
with the link in the description. Thank you so much for watching.