![]() Ill often load up a couple of other tracks, either finished tracks of my own or appropriately similar reference mastered tracks from CD etc so I can cross fade between them and the track I am working for comparative purposes (and solo enable those too). Ill then stick the post-mix tool on this bounced track and assign it to cross fader A. If my track is quite CPU heavy, then this give me the option to goto work on post-mix (or what you probably call mastering) in a separate project. (Incidently, the only plugins I ever stick on the master out are metering type plugins.) If Im 'mastering' in live then I dont stick post mix tools on the master track, instead I bounce the master out to an audio track (use resampling input), then goto work on that bounced track by soloing it, so its the only track going to the master out. ![]() (unfortunately Live also requires another program for converting. If CD burning is not a consideration, say you are only making mp3 for digital downloads, then this is obviously less of an issue. b) no red book compliant CD authoring with disc at once burn options - so another program becomes necessary here and Itunes and Roxio, Nero etc are all consumer based products that lack some of the high end red book features which are useful for duplication/replication purposes. Where Live falls down for mastering is a) a lack of metering - yes spectrum helps, but there is no phase or stereo image monitoring although there are plenty of cheap and even some free vsts/aus you could load on the master channel to perform this, stuff like PSP's Stereopack or RN Digital (formerly Elemental Audio) Inspector XL are particularly good but expensive (the latter especially although it's metering options are just insanely numerous and flexible). Wavelab is also red book CD compliant for CD authoring. Wavelab is good choice - audio editors like Wavelab, Soundforge and Audition also provide extra tools such as noise reduction, declicker/denoiser/dehum and clipped peak restoration tools. I then burn the finished product to red book compliant CD Architect, which works co-operatively with SoundForge as both are Sony (formerly Sonic Foundry) products. I personally use Soundforge for mix finalizing as it is super easy to use, supports VSTs, easy to edit audio and fades and has relatively good metering, including (in SF9) phase metering and goniometer for viewing stereo imaging. Logic has Waveburner, Samplitude has red book compliant CD authoring too. preparing the track for CD audio etc but most DAWS do not include red book compliant CD burning, so you can get your mixes volume maximized and finalized for that last stage but need another program to burn the CD. I think what Robert is referring to is mix finaliziing, i.e. You need a person that has not heard the song 1000 times already for a good mastering. Or at least master with someone else who has good ears present. When mastering in Live one should be aware of those potential issues.īut, honestly, more important than any software and more important than 100 different plug ins is: let someone else master your stuff if possible. there is a higher risk to create unwanted sample rate conversions etc. Since Live allows to mix sources with different Sample Rate, and allows to apply warping etc. If you master individual, non overlapping tracks for CD or vinyl, this might not be a problem. ![]() If you need to produce gapless audio tracks for a CD master, this could be an issue. The engine works sample accurate, but e.g the display of the waveform does not know about individual samples. Lives engine is for historic reasons bound to a beat time grid. However, there are some things to consider, when attempting to use Live for mastering purposes: The sound quality of the engine is not a criteria, simply all modern DAWs out here are fine in this regard. What is your source material? What is the desired final medium you are mastering for?
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