Mixing In Fl Studio

While mixing your track, your goal is to get the peaks of the loudest sections of the mix close to the maximum possible level, 0 dB, without clipping, going over 0 dB. Clipping happens when a sound wave carried inside audio equipment (analog or digital) becomes louder than the maximum volume that can be reproduced. When audio is clipped its waveform looks like the tips of the peaks have been 'clipped' off, as shown in the picture of the Main peak meter below (left). While occasional transient clipping incidents are not usually a problem, if clipping is pushed too far your audio will distort and crackle. Once a saved (rendered) audio file is badly clipped, there is no way to fix the problem (although the Edison Noise Removal Tool does have a Declipper Function that can rectify mild clipping issues).

Peak Meter Display Sound Output, When Its Orange or Red Means Your Sound Is Clipping

The 0 dB reference level marks the loudest sound a digital audio file rendered from FL Studio can record or the audio interface D/A converter can make, before clipping occurs. Peak meters in FL Studio turn orange (or in some cases red) to attract your attention when the signal exceeds 0 dB (see above). However, not all orange peak meters (signals over 0 dB) are bad.

Inside FL Studio, the audio is digital, and so, is a series of 32-Bit floating point numbers. The Mixer is adding and subtracting numbers so that as the signal amplitude gets bigger, the numbers get bigger. The volume carried in tracks 1 to 99 (3) can be added to make any arbitrarily large number without clipping (there is nothing to clip). On the other hand, when the mix is sent to the outputs of your soundcard, or is rendered to a fixed bit-depth (e.g. 16 or 24-Bit), then clipping can happen.

As the Master mixer track (1) is the usual output to the 'physical world', you should not let it peak over 0 dB, as your project will clip. You can think of the Master fader as rescaling the combined output of all the tracks routed to it. The Insert Mixer track meters are merely guides to the relative volumes in each track. Of course, if you have routed any Input Mixer tracks (7) directly to your soundcard outputs OR you are rendering mixer tracks to disk, then these too become 'real world' meters and must not peak over 0 dB.

NOTE: 0 dB peaking is not a 'requirement'. You don't need to set all your tracks to push the 0 dB limit. Recorded sounds, in particular, may peak at -12 dB (or less), and there is nothing wrong with that. However, some times you do want the mix to be loud, the next section discusses techniques for making a mix that's both loud and good.

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If you have compared your music to commercial tracks, and thought yours sound quiet or flat, then this section will bring you up to speed on how 'loudness' and 'goodness' are made. So you diligently adjust the Master and Insert track levels, making sure the Master Peak Meter is just touching 0 dB and everything is as loud as it can go without clipping. But compared to the commercial mixes, yours still sound too quiet and lacking depth.

The problem is that the relationship between 'peaks' and loudness isn't a good one. Our perception of loudness is based on an 'average' input over a period between 0.5 to 1 second. Unfortunately our eyes don't average peak-meter levels in the same way the ear averages sound levels. In response to this problem, a number of alternative metering modes have been developed, see Wave Candy Metering, but this doesn't help you get your tracks any louder, it just makes them look quieter than they did in 'peaking' mode.


To make tracks both loud and good at the same time, experienced producers rely on all or some of the following tools and techniques

Louder!

• Per-track Compression, particularly on the Bass and Drum parts. This will lower the attack peaks and use the saved dB headroom to raise the sustain parts of the sound. Remember, sustained level is more important for loudness than peak level. Beware though, you may be starting with already compressed drum samples and over compressing can make instruments sound squashed and muddy.


• Per-track Equalization to cut unwanted low frequencies (less than 200-500 Hz) on anything that's not Bass or Drums. Low frequencies from the other instruments add together to create a 'rumble' that does little more than waste dB headroom and muddy the bottom end of the mix. With the full mix playing, cut the bass on each instrument until you start to notice it, then back off a little.


• Limiting the Master Mixer track. If you have it, Maximus is the big gun in the FL Studio loudness kit. Soundgoodizer is Free, and based on Maximus as is Fruity Limiter.

Good?

• Per-track Equalization to shape frequencies. Think of sounds as occupying the low, medium or high frequency range and discard any unnecessary frequencies outside their band. Discarding should be done in the context of the full mix, use Parametric EQ 2 to cut frequencies until you just start to notice the sound is changing, then back off a little. You may also need to reduce the cut-amount/s if the sounds are heard in isolation at particular times during the track. Simply automate the cut level.


• Timing. As far as possible, avoid dominant instruments playing on the same beat. For example, the classic 'trance' kick on the beat, bass on the Off-beat. If they must overlap, that's when Sidechain Compression can be useful (see 'Ducking' below), or you can rely on Master Limiting to sort the conflict out.


• Panning is one of the most overlooked yet effective mixing tools. Avoid all the instruments crowding into the center of the mix, spread a few of them around (+/- 40% max is a good range to work in). When you can clearly distinguish sounds in different locations, the mix will sound more open, interesting and powerful. Kick drum and Bass are usually panned to center, but use whatever works.


• Riding the gain. Use Automation Clips to adjust the relative volume of Mixer Tracks throughout the mix. If you turn a sound up to make a point with it, lower others to make room. We can only focus attention on one thing at a time, so use volume changes to draw that attention to important parts of the mix and create some drama.


• 'Ducking' some parts in response to others. Subtle Sidechain Compression between the Kick Drum and Bass parts & or Kick Drum and other dominant instruments. This is 'lazy-mans' gain riding and can be very effective. E.g. Sidechain a Compressor on the Bass track to the sound of the Kick Drum track. This will turn down the Bass when the Kick plays, allowing the Kick to punch through the mix, while at the same time, preventing the kick and bass sounds competing for dB headroom. Don't use so much that you can hear the compressed track/s pumping up and down (that's an effect of its own).


• Use subtle delay rather than reverb. Reverb is great when there is little else happening but is simply lost in a wash of 'muddying' sound under a busy mix. Subtle delay tricks the ear into thinking there is reverb since early echoes (predelay on most reverbs) are the first component in a rooms sound. If you really need reverb, one good compromise is to automate the reverb amount, down in the busy parts, up during the solo when it's needed.Some 'dB change' values to remember

Some 'dB change' values to remember 

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These are a list of dB change values that are good and easy to remember that represent the difference in dB between two levels.

+ 12 dB = 400% volume increase.

+ 6dB = 200% volume increase (twice the original level).

+ 1 dB = ~10% volume increase. This is very close to the JND (Just Noticeable Difference), that is the smallest increase in volume you can notice.

0 dB - No change. Note this is not 0 dB on the scale, but the difference between two dB levels.

- 1 dB = ~10% volume decrease. This is very close to the JND (Just Noticeable Difference), that is the smallest decrease in volume you can notice.

- 6 dB = 50% volume decrease (half the original level).

- 12 dB = 75% volume decrease (to 25% of the original level).

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The Mixer contains 99 Insert tracks (3), 4 Send tracks (4), 1 Selected track (4) and a Master track (10). Any number of insert Mixer tracks can be displayed depending on the Mixer state (Left-click on the edge of the Mixer and stretch). To access tracks use the Track Scroll Bar (2).

Select a track by clicking the pan or fader controls, scrolling with the mouse-wheel or Left-clicking on the track label area. Once selected, the track will appear highlighted and it will have additional functions available in the Mixer Track Properties panel (9), input/output options (6, 7) and FX slots (8). Track 1 is highlighted in the picture below.

FL Studio's Mixer

1. Mixer menu
2. Mixer Track Scroll Bar
3. Mixer Insert Tracks
4. Send Tracks & Selected Track
5. Big Peak Meter
6. External mixer input
7. External mixer output
8. FX slots
9. Mixer Track Properties
10. Master Mixer Track
11. Small Peak Meter
12. Mute Switch
13. Pan Knob
14. Level Fader
15. Send Knobs
16. FX Enable/Disable Switch
17. Track Recording Switch
18. Track Send / Sidechain Enable Switch

NOTE: Most controls are automatable (Right-click and select 'Create automation clip').

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WHAT IS MASTERING !!

Mastering, a form of audio post-production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the

master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). Recently, the format choice includes using digital masters

although analog masters, such as audio tapes, are still being used by the manufacturing industry and by a few engineers who have chosen to specialize in analog mastering.

In order to make a deterministic process, mastering requires critical listening; therefore, it cannot be achieved without the presence of a mastering engineer. There are

software mastering tools available to facilitate this last step For Eg :- Fruity Loops (FL Studio), Pro-tools, Sonic Studio etc etc, but results still depend upon the accuracy of

speaker monitors and person doing it. In addition, "music mastering" engineers may also need to apply corrective equalization and dynamic enhancement in order to improve

upon sound translation on all playback systems.

Mastering vs. Mixing !!

Mastering requires an entirely different "head" than mixing. The first principle of mastering, Every action affects everything. Even touching the low bassaffects the perception of the extreme

highs.Mastering is the art of compromise; knowing what's possible andimpossible, and making decisions about what's most important inthe music. When you work on the bass

drum, you'll affect the bass for sure, sometimes for the better, sometimes worse. If the bass drum is light, you may be able to fix it by "getting under the bass" at somewhere

under 60 Hz, with careful, selectiveequalization. You may be able to counteract a problem in the bass instrument by dipping around 80, 90, 100; but this can affectthe low end

of the vocal or the piano or the guitar - be on thelookout for such interactions. Sometimes you can't tell if a problem can be fixed until you try don't promise your

clientmiracles. Experience is the best teacher.

Process Of Mastering !!!

The source material, ideally at the original resolution, is processed using equalization, compression, limiting, noise reduction and other processes. More tasks, such as editing,

pre-gapping, leveling, fading in and out, noise reduction and other signal restoration and enhancement processes can be applied as part of the mastering stage. This step

prepares the music for either digital or analog, e.g. vinyl, replication. The source material is put in the proper order, commonly referred to as assembly (or 'track') sequencing.

If the material is destined for vinyl release, additional processing, such as dynamic range reduction, frequency dependent stereo–to–mono fold-down and equalization, may be

applied to compensate for the limitations of that medium. Finally, for compact disc release, Start of Track, End of Track, and Indexes are defined for disc navigation.

Subsequently, it is rendered either to a physical medium, such as a CD-R or DVD-R, or to a DDP file set, the standard method of secure delivery for CD and DVD replication

masters. The specific medium varies, depending on the intended release format of the final product. For digital audio releases, there is more than one possible master medium,

chosen based on replication factory requirements or record label security concerns. Regardless of what delivery method is chosen, the replicator will transfer the audio to a

glass master that will generate metal stampers for replication.

The process of audio mastering varies depending on the specific needs of the audio to be processed. Mastering engineers need to examine the types of input media, the

expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly. General rules of thumb can rarely be applied.

Steps of the process typically include but are not limited to the following:

*Transferring the recorded audio tracks into the Digital Audio Workstation (DAW) (optional).

*Sequence the separate songs or tracks (the spaces in between) as they will appear on the final release.

*Process or "sweeten" audio to maximize the sound quality for its particular medium (e.g. applying specific EQ for vinyl)

*Transfer the audio to the final master format (i.e., CD-ROM, half-inch reel tape, PCM 1630 U-matic tape, etc.).

Examples of possible actions taken during mastering:

1) Editing minor flaws

2) Applying noise reduction to eliminate clicks, dropouts, hum and hiss

3) Adjusting stereo width

4) Adding ambience

5) Equalize audio across tracks

6) Adjust volume

7) Dynamic range expansion or compression

8) Peak limit

List Of Software Can use For Mastering Purpose

• Ardour
• Adobe Audition
• Audacity
• BIAS Peak
• Cakewalk Sonar
• Digital Performer
• Eisenkraut
• FL Studio
• Flux
• iZotope Ozone
• Jamin
• Logic Pro
• Nuendo
• PreSonus Studio One
• Pro Tools
• Soundblade
• SADiE
• Sequoia
• Sonoris Linear Phase Equalizer
• Sound Forge
• Steinberg WaveLab
• T-Racks
• Waves
• WaveBurner Pro
• Waves Audio Processors
• Steinberg Cubase
• Ableton Live
• SPL plugins

How To Master a Track !!

Yeah here is a Small Tutorial For you all. Though Its Not a Proffesional way to master a track but yeah it'll surely give you a cool result...

1st Step

Start by adding a stereo track to accommodate your un-mastered track. This should be an exported or recorded version of your entire mix-down.

For best results this should be in the highest bit rate possible. For example, if you original project was recorded at 24 bit then this should also be at 24 bit.

To allow maximum flexibility at the mastering stage there should be as little processing as possible taking place on your exported pre-master.

This means no compressors, limiters or EQs on the master output when you commit your final mix to disk.

Remember, you can add processing but not take it away.

2nd Step

Check you have enough headroom for your mastering processors to work in.

Do this by playing back the track at its loudest point and check the maximum level on your master output.

Of course, clipping isn’t as critical as it used to be in analogue systems, but it remains good working practice to avoid huge overloads if at all possible.

3rd Step

There are obviously a few different ways to construct a mastering chain but the following collection of processors will get the job done with minimum fuss.

The first plug-in in our chain is a compressor. Strapping a compressor across the entire mix buss in this fashion is known as buss compression and its main purpose is to ensure

the dynamics across the entire project are as uniform as possible.

This compression will also act as a ‘glue’ for your mix, marrying different elements together.

Long attack and release times and low ratios are the name of the game here, for as much transparency as possible. As far as the type of compressor you use, any compressor of

a good quality will do the job, but it might be worth thinking about investing in a dedicated mastering buss compressor plug-in if you strive for absolute quality.

With the right compressor you can get away with quite large amounts of gain reduction, whilst still retaining the original feel of your track.

4th Step

The next stage is to think about whether or not the track needs equalisation.

In this case not a huge amount was needed, I just added a very small amount of low end shelving EQ to enhance the bass and so on.

Some slight dips in the lower and upper mid frequencies and a gentle boost to the highs finish the process.

Whatever you feel you need to do here keep the Q points low and the amounts you add or reduce to a minimum. This way you won’t colour any particular group of instruments

too much. If you find yourself adding a lot of EQ in one area it might be time to go back to your mix.

If you have access to one, try to use a linear phase EQ or a dedicated mastering plug-in, as these processors impart less ‘character’ to the final mix. If you don’t have any of

these, reach for the best you have.

5th Step

To allow the rest of the processors in the chain to work correctly–and not be overloaded by sub-sonic frequencies–it’s a good idea to remove everything under 30Hz at this

point. This will allow everything to breathe and remove any unwanted rumble. Of course, you can do this at the EQ stage but it keeps things clear if a separate plug-in is

designated for the task.

6th Step

If you feel there are still areas in your mix that are too loud or quiet, even if it’s just in a small section of your mix, an excellent tool to use here is a multi-band compressor.

Most DAWs come with a multi-band compressor bundled and there are plenty of third party plug-ins around as well.

Basically, using this sort of processor you can clamp down on a certain frequency and boost or cut it dynamically. This is much more transparent and organic than heavy use of

EQ and it’s well worth looking into.

7th Step

Sometimes some light stereo enhancement can go a long way in the mastering process. Of course, don’t apply this as a rule of thumb as every track’s requirements are

different.

There are a many different available processors for this purpose, so choose a plug-in that suits your needs.

Whatever you choose to use, remember to only spread the upper frequencies of your mix, leaving the lower end of the spectrum intact. Otherwise, you will end up with a

confused low-end mix and the master will not translate well to other systems.

8th Step

The final dynamics process in our chain is brick-wall limiting. This is purely here to increase the perceived volume of the final mix. A mastering limiter works in much the same

way as any other, the only difference being is that it has a ‘brick-wall’ type setting so that the audio can only reach a certain point set by the user.

Add a gain on the input and the result is a dense and maximised sound, making your master sound louder.

A dedicated mastering limiter is a must here. Other hard and fast rules include not dialling in too much gain and preserving some of your original dynamic signature!!!

9th Step

The very last step before trimming and delivering our master is exporting and dithering of the mix. If your mix was recorded and exported at 16 bit then no further work needs

doing here (apart from trimming the start and ends of the file). If your mix was mastered as a 24 bit file, however, dithering has to take place at this point.

Dithering is a number crunching process that allows a 24 bit file to be reduced to 16 bits without too much loss of quality. This should only be done once during the mixing and

mastering stage and it’s always a good idea to try and use the best algorithm available.