
Our Mastering Course is designed for today’s multi-genre modern engineer. While being completely focused on mastering “in-the-box” (in a computer), we provide you with the ability to achieve that commercial sound through the understanding of various analog circuits and effect processors. You will leave with a fully mastered track, and all the steps to continue improving and forwarding your abilities for years to come.
The techniques can be applied within any digital audio workstation, which learners are required to bring with them. Classes are available in-person or LIVE Online.
Starting From Scratch To start at the beginning, always make sure the mixer is 'zeroed' before starting a new project. By that, I mean make sure the input gains are at their minimum settings, the polarity reversals and high-pass filters are switched off, the EQ is set flat and bypassed, the auxiliar
Read →Equalization is the process by which an equalizer is used to either boost or cut different frequencies in an audio signal in order to change its tonal character. In mixing, the aim is to have the entire frequency spectrum shared comfortably by all instruments, so that each one can be heard clearly i
Read →Filtering There are many ways to access the power of filtering, but probably the easiest is to use a plug-in. Logic’s AutoFilter is a good example of Emagic’s creative approach to plug-in design. On the surface it appears to be a typical low-pass filter, not unlike those found on many synthesizers a
Read →Phaser Phasing was the next purely electronic effect after the wah- wah and fuzz box, and it originally set out to emulate tape phasing. In the phaser, a signal is again split onto two paths (like a chorus and flanger): one straight and the other diverted via a phase-shift network that can be varied
Read →Room Shape The diagram depicted below illustrates three of the more typical room shapes: square, rectangular and L-shaped rooms. The most favourable positioning of the speakers within each space is shown. Uniformly square rooms are the least desirable room shapes for speaker orientations, since the
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