Mastering with Engineer and Producer Ryuichi Kojima, Part 3: Matching the Sound of Your Songs

When mastering an album, place the already-mastered songs in the project so that you can check their sound at any time and assess the album’s overall consistency.

Adding Warmth with a Tape Simulator

As in the previous mastering session, we will start by adding warmth with a tape simulator.
Once again, we are using Slate Digital’s Virtual Tape Machines.

Adjust INPUT so that the VU meter reads around 0 VU.
Set INPUT to −2 dB.

Let’s listen to the result.

• After Processing

You should now hear more of that analog character.

Adjusting the Level with a VU Meter

Next, raise the level with HOFA 4U Meter, Fader & MS-Pan until the meter reaches the −7 mark in the setup used here.
This is the same step as in the previous installment.

Adjust the level to stay around that −7 mark in this example.

Here is the sound after the level adjustment.

Processing with EQ

I felt that this song lacked impact overall, so we will keep that in mind as we apply EQ.
Be sure to keep checking the previous song—our reference—as you work.

First, adjust the vocal’s frequency range.
For this female vocal, I targeted a higher frequency range than I would for a male vocal, setting frequency to 3.16 kHz, Q to 1.5, and GAIN to +4 dB.
This brings the vocal forward clearly.

Next, process the low frequencies of the bass and kick.
I set frequency to 62 Hz, Q to 4.0, and GAIN to +2.0 dB.
This adds weight and impact to the song.

Finally, let’s process the high frequencies.
The screenshot shows frequency 11.26 kHz, Q 8.0, and GAIN +3.2 dB. Editorial note: the Japanese paragraph gives Q as 3.8; this English version follows the Q 8.0 setting shown in the screenshot.

Listen to the song after this EQ processing.

When adjusting gain during mastering, even a difference of just 0.1 dB can affect the song’s impression.
Listen repeatedly and make each adjustment carefully.

Shaping the Sound with Compression

We will use Waves Renaissance Compressor to bring the sound closer to the reference song.

I chose Threshold −12.0 dB, Ratio 2.00:1, Attack 80.0 ms, and Release 160 ms with ARC enabled.

An important point when applying compression is to keep the perceived level consistent with the unprocessed signal.
Here, we are using compression to control peaks, so set it to avoid a drastic change in overall level.

Fine-Tuning the EQ After Compression

Let’s use EQ to make finer adjustments to the sound shaped by the compressor.
The plug-in we will use here is PSP MasterQ2.

First, improve the vocal’s presence a little more.
I set frequency to 2.90 kHz, Q to 4.00, and GAIN to +1.2 dB.

We will also raise the vocal’s higher frequencies.
I set frequency to 4.75 kHz, Q to 5.00, and GAIN to +1.0 dB.

Finally, adjust the low end.
The low end is more restrained than in the reference, so we will address that here.
The screenshot shows a substantial low-end boost: frequency 42 Hz, Q 4.00, and GAIN +4.0 dB. Editorial note: the Japanese paragraph repeats the preceding high-band values (4.75 kHz, Q 5.00, +1.0 dB); the settings given here follow the low-band screenshot.

Can you hear how much more punch the song has now?

A Subtle Touch of Multiband Compression

As in the previous song, we will use Waves Linear Phase Multiband as a subtle finishing touch to emphasize the low-end attack.

Set it to affect only the low frequencies.
I chose Threshold −19.5 dB, GAIN 0.0 dB, RANGE −6.00 dB, Attack 180.00 ms, and Release 10.00 ms. RANGE is the plug-in’s dynamic gain range control, rather than a conventional ratio setting.

Here is the result of that finishing touch.

Finally, adjust the level so that the meter reads between the −7 and −5 marks in this setup. That completes the processing.
Let’s compare the sound before and after mastering.

• Before Mastering

• After Mastering

Also compare it with the song we mastered last time to check whether their sonic character is consistent.

We have now finished mastering both songs.
I think they sound great!

In the next and final installment, we will use Steinberg’s WaveLab to export a DDP image.
We are just one step away from completing the mastering process for CD production. Stay tuned!