steps to prep a song for mastering guide

마스터링을 위한 노래 준비 14단계 (완벽 가이드)

~에 의해 Byron Hill II ~에 뉴스

깔끔한 프리마스터는 시간, 비용, 불필요한 수정 작업을 절약합니다. 마지막 마일에 인간의 귀가 들어가서 응집된 톤, 경쟁력 있는 라우드니스, 출시 준비가 된 결과물을 원한다면, 이 체크리스트를 완료한 후 BCHILL MIX 마스터링 서비스를 예약할 수 있습니다.

I. 프리마스터 준비가 중요한 이유

마스터링은 결승선에서의 의사결정입니다: 톤의 균형, 트랜지언트 보호, 이어폰, 자동차, 클럽 시스템, 스트리밍 인코더에서 잘 전달되는 파일 제공. 프리마스터가 정돈되고 예측 가능하면 마스터링 체인은 구조 작업 대신 음악적 움직임에 집중할 수 있습니다. 결과는 빠른 승인, 적은 수정, 그리고 레퍼런스 옆에 편안히 설 수 있는 마스터입니다.

II. 14단계 (업로드 전에 이 단계를 수행하세요)

  1. 포맷을 고정하세요. 세션의 네이티브 샘플레이트(대부분 44.1 kHz 또는 48 kHz)로 스테레오 WAV를 24비트 깊이로 내보내세요. 보기 좋으라고 업샘플링이나 다운샘플링 하지 마세요; MP3, AAC, 스트리밍 리핑은 피하세요.
  2. 믹스 버스에서 라우드니스 장비를 제거하세요. 브릭월 리미터, 강한 클리퍼, '크게 만들기' 맥시마이저를 바이패스하세요. 부드러운 믹스 버스 EQ, 테이프, 글루 컴프레서가 분위기의 일부라면 유지하되, 확실하지 않으면 두 번째 프린트를 준비하세요(9단계 참조).
  3. 헤드룸을 정직하게 설정하세요. 가장 큰 구간에서 피크 레벨을 −6에서 −3 dBFS 사이로 목표로 하세요. 조용하게 만드는 것이 아니라, 마스터링 리미터가 피할 수 있었던 믹스 버스 과부하를 수정하지 않도록 깨끗한 공간을 남기는 것입니다.
  4. 트루 피크 안전성을 확인하세요. 프리마스터에 트루 피크(dBTP) 미터를 사용하세요. −0.3 dBTP 이하로 유지하세요. 인코딩 후 AAC/MP3나 스트리밍 서비스가 자체 게인을 적용할 때 인터샘플 오버가 발생할 수 있으니 여유를 두세요.
  5. 음악의 앞뒤 여유를 남기세요. 첫 번째 트랜지언트 전과 마지막 리버브/딜레이 꼬리 후에 1~2초의 무음을 남기세요. 원하는 곳에 의도적인 페이드를 추가하세요; 플랫폼이나 서비스가 엔딩을 추측하도록 맡기지 마세요.
  6. 저음을 정리하고 DC 오프셋을 수정하세요. 필요에 따라 비베이스 소스에 하이패스를 적용하고, 베이스/킥 관계를 확인하며, 파형이 0 주변에 제대로 위치하도록 DC 오프셋을 제거하세요. 깔끔한 저음은 마스터가 무거움을 더할 수 있게 하며, 진흙탕을 쫓지 않게 합니다.
  7. 소스에서 시빌런스를 제어하세요. S, T, 심벌즈가 공격적이라면 지금 디에싱을 다듬으세요. 마스터링 디에서가 도움이 될 수 있지만, 상위 단계에서 피로감을 주는 고음을 방지하면 반짝임을 유지하고 리미터가 튀는 것을 막을 수 있습니다.
  8. 스테레오 이미지와 모노 무결성을 확인하세요. 리드(킥, 베이스, 리드 보컬)는 중앙에 유지되어야 하며, 와이더는 모노에서 속이 빈 듯한 소리가 나지 않아야 합니다. 빠른 모노 폴드와 휴대폰 스피커 점검을 하세요. 코러스가 무너지면 와이더나 마이크로 딜레이를 다시 점검하세요.
  9. 믹스 버스 톤을 결정하고 문서화하세요. 글루 컴프나 테이프 시뮬이 사운드에 필수적이라면 유지하고 설정을 기록하세요. 확실하지 않으면 두 개의 파일을 내보내세요: Artist_Song_v1-PREMSTR.wav (톤 포함)와 Artist_Song_v1-PREMSTR_CLEAN.wav (톤 제외). 명확히 라벨링하면 엔지니어가 둘 다 청취할 것입니다.
  10. 비결정적 사운드 디자인을 확정하세요. 무거운 가상 악기와 다른 시스템에서 다르게 렌더링될 수 있는 타임 스트레치 FX는 프리즈/플래튼 하세요. 15_PluckSerum_PRINT 같은 명확한 이름으로 프린트된 레인을 출력하세요. 프리마스터는 열 때마다 동일하게 들려야 합니다.
  11. 불필요한 트랜지언트와 편집을 제어하세요. 짧은 페이드로 클릭을 치유하고, 구간 연결을 부드럽게 하며, 컴핑된 보컬을 통합하세요. 리미터에 의존하지 말고 몇몇 강한 자음이나 숨소리 팝은 클립 게인으로 조절하세요.
  12. 버전과 이름을 예측 가능하게 하세요. 간단한 스키마를 사용하고 지키세요: Artist_Song_v1-PREMSTR.wav. 수정할 경우 v2로 올리고 변경 사항을 노트에 기록하세요. 공백/특수문자는 피하고 밑줄(_)이 가장 안전합니다.
  13. 정렬된 대체 버전을 준비하세요 (필요할 경우). 같은 세션 시작점에서 Instrumental, A cappella, 그리고 모든 Clean/Radio 버전을 내보내어 나중에 샘플 단위로 정확히 맞출 수 있게 하세요. 이름은 같은 스키마로 지정하세요: ..._Instrumental, ..._Acapella, ..._Clean.
  14. 요청 시에만 스템을 출력하세요. 마스터링은 보통 스테레오입니다. 엔지니어가 스템을 요청하면 DRUMS, BASS, MUSIC, LEAD VOX, BGV, FX를 동일한 시작점, 동일한 길이, 24비트 WAV, 노멀라이즈 없이 전달하세요. 요청하지 않는 한 믹스를 30개의 작은 조각으로 나누지 마세요; 수술용 스템은 음악적으로 유지되어야 합니다.

III. 목표 한눈에 보기 (수정을 줄여주는 숫자들)

준비 항목 실용적 목표 이유
파일 형식 WAV, 24비트, 네이티브 샘플 레이트 손실 아티팩트 및 리샘플 오류 방지
헤드룸 피크 ≈ −6 ~ −3 dBFS 투명한 리미팅을 위한 여유 공간 확보
트루 피크 ≤ −0.3 dBTP 인코딩 후 샘플 간 클리핑 방지
앞면/뒷면 프로그램 전후 1~2초 페이드와 FX 감쇠 보존
치찰음 통제된 프리마스터 거칠음과 리미터 스핏 방지
모노 체크 핵심 요소 붕괴 없음 더 나은 클럽 및 전화 변환

IV. 핸드오프 키트 구축 (세션이 빠르게 진행되도록)

마스터링 업로드는 완성된 패키지처럼 느껴져야 합니다—명확한 파일, 명확한 컨텍스트, 그리고 추측할 필요가 전혀 없어야 합니다.

  • 폴더 구조: Artist_Song_Premaster/ → /Audio (프리마스터 + 대체본), /Notes (README), /Refs (참고 트랙 또는 링크).
  • README.txt 내용: 곡 제목, BPM/키, 세션 샘플레이트/비트 깊이, 버전 번호, 간단한 믹스 노트, 그리고 특정 요청사항(예: “후크 부분 약간 더 따뜻하게”, “스네어 트랜지언트 스냅 유지”)을 포함하세요.
  • 참고 자료: 톤/임팩트가 좋은 두 트랙과 좋지 않은 한 트랙(경계 설정용)을 포함하세요. 타임스탬프나 짧은 설명(“00:37 보컬 밝기 목표”)도 포함하세요.
  • 대체 목록: 필요한 모든 것을 미리 선언하세요—인스트루멘탈, 아카펠라, 클린/라디오, TV 믹스—그래서 모두 같은 시작점에 맞춰 전달됩니다.
  • 체크섬/ZIP: 폴더를 한 번 압축하세요; 엔지니어가 체크섬을 지원하면 MD5/SHA1을 포함해 업로드가 온전하게 도착했는지 서로 확인하세요.

V. 수정 클리닉 (수정 비용이 들기 전에 문제를 발견하세요)

이 문제들은 승인 과정을 방해합니다. 지금 잡으면 여러 번의 수정 작업을 절약할 수 있습니다.

  • 작은 스피커에서 거친 상위 중역대(2~5kHz): 익사이터나 좁은 부스트를 줄이세요; 작은 넓은 컷이 종종 보컬 존재감을 위한 공간을 만들면서 음반을 둔탁하게 만들지 않습니다.
  • 통제 불능 저음: 베이스/킥 밸런스를 재검토하세요; 킥이 치는 부분에 좁고 다이내믹한 딥을 시도하거나, 밀집된 구간에서 짧은 릴리즈로 베이스 엔벨로프를 단단하게 만드세요.
  • 넓지만 속 빈 코러스: 모노에서 싸우는 스테레오 트릭; 버스에서 미드/사이드 와이더를 줄이고, 더블을 단단하게 유지하며, 중요한 요소들이 강하게 상관관계를 유지하도록 하세요.
  • 편집 시 클릭음: 구간 경계에 마이크로 페이드(2~10ms)를 추가하고 의도된 컷을 크로스페이드하세요. 근거리 스피커에서 들리지 않는 소리가 마스터링에서 튀어나올 수 있습니다.
  • 리미터 잔여물: 이전에 하드 리미터로 믹스했다면, 이를 우회하고 보컬/베이스를 1~2 dB 정도 재조정하세요. 출력만 낮추지 말고 리미터가 강제로 붙이기 전에 존재했던 믹스를 복원하세요.
  • 섹션별 보컬 에싱 변화: 글로벌 설정 하나를 강하게 누르기보다는 디에스 임계값을 자동화하거나 훅과 벌스에 대해 체인을 분리하세요.

VI. 마스터링이 실제로 결정하는 것 (기대치를 설정할 수 있도록)

마스터링 엔지니어는 믹스를 재구성하지 않고 최종 관점을 설정합니다. 참조와 톤을 맞추기 위한 신중한 이퀄라이제이션, 그루브를 평평하게 하지 않고 에너지를 끌어내는 컴프레션/리미팅, 스트리밍 정규화와 청취자 습관을 존중하는 레벨 결정이 기대됩니다. 전달물도 중요합니다: 세션 속도의 WAV 스트리밍 마스터, 안전한 진정한 피크 한계, 요청 시 복제를 위한 DDP와 트랙 번호별로 라벨링된 정렬된 대체본(인스트루멘털, 아카펠라, 클린/라디오).

처리 시간은 범위에 따라 다르지만, 프리마스터가 정리되어 있고 수정 요청이 간결할수록 노트가 더 빨리 도착합니다(“0:48 심벌 가장자리; 9–10 kHz에서 1 dB 감소,” “80 Hz 이하에서 킥을 0.5 dB 더 따뜻하게”). 명확한 입력이 명확한 결과를 만듭니다.

VII. 내일 신경 쓸 FAQ

“라운드” 참조 프린트도 보내야 하나요?
네—리미터를 통해 모니터링했다면, 분위기 용도로 “RoughMix_REF”로 보내세요. 프리마스터는 깨끗해야 합니다(리미터 없음) 그래야 마스터링 리미터가 투명하게 작동할 수 있습니다.

각 플랫폼마다 다른 마스터가 필요합니까?
보통 하나의 잘 작동하는 스테레오 마스터가 안전한 진정한 피크 한계로 서비스 전반에 걸쳐 잘 전달됩니다. CD를 프레스할 경우에만 DDP를 요청하고, 레코드를 커팅할 경우에는 바이닐 프리마스터를 요청하세요.

믹스 버스 EQ/컴프에 대해 확신이 없으면 어떻게 하나요?
둘 다 보내세요: 톤이 있는 것과 깨끗한 것. 명확하게 라벨링하세요; 엔지니어가 청취하고 더 강력한 시작점을 선택할 것입니다.

ISRC와 UPC는 어디에서 등장하나요?
이들은 배포 시와 CD용 DDP에 추가됩니다. 지금 코드가 있다면 README에 포함시켜 적절한 곳에 삽입되도록 하세요.

마스터링이 거친 보컬이나 붐이 있는 베이스를 고칠 수 있나요?
때로는 미묘하게, 하지만 작은 믹스 조정만큼 우아하지는 않습니다. 이어폰에서 명백한 문제가 들리면 업로드 전에 수정하세요—당신의 마스터가 더 좋아질 것입니다.

VIII. 마무리 (그리고 간단한 다음 단계)

준비는 마스터링을 문제 해결이 아닌 완성으로 바꿉니다. 프리마스터가 위의 목표를 달성하면, 결정은 음악적으로 이루어지고 승인도 빠르게 진행되며 최종 마스터는 필연적으로 느껴집니다. 엔지니어가 응집력, 진정한 피크 안전성, 그리고 라벨이 붙은 릴리스 파일 세트를 처리하기를 원한다면 여기서 시작하세요: BCHILL MIX 온라인 마스터링 서비스. 저는 당신의 깨끗한 프리마스터부터 릴리스 준비 패키지까지—원활한 출시를 위한 대체본과 QC를 포함하여—처리해 드립니다.

이전 게시물 다음 게시물

관련 게시물

How to Use Vocal Presets in Studio One

How to Use Vocal Presets in Studio One

In Studio One, a “vocal preset” is a reusable channel chain—EQ, compression, de-essing, tone color, delay, and reverb—that you can load in one move. This guide shows how to choose and load presets (FX Chains and Track Presets), set healthy gain, adapt tone to your mic, route sends, automate scenes, and save role-based versions for lead, doubles, harmonies, and ad-libs. If you want a tuned springboard, browse purpose-built Studio One vocal presets and then fine-tune thresholds and sends for your voice and room. I. What a “vocal preset” is in Studio One Studio One gives you several preset containers that make vocal chains easy to load and reuse: FX Chain preset — a saved insert stack with Macro controls (one-click channel strip). Track Preset — recalls inserts, order, I/O, color, and sends for a track (Studio One 6+). Song Template — opens a whole session “studio-ready” (lanes + FX channels prewired). Device presets — per-plug-in settings (Pro EQ³/Pro EQ², Compressor, De-Esser, Analog Delay, Room Reverb/OpenAIR, etc.). Loading a preset is step one. Step two is adapting input level, de-ess amount, presence, air, and FX balance to your voice and the song. II. Pre-flight (so presets behave) Pre-flight checklist Audio device & buffer: smaller buffer (64–128) while tracking; raise later for mixing. Session rate: 44.1 kHz for music (48 kHz if delivering to video). Input target: sing at performance level; aim raw peaks around −12 to −8 dBFS before any inserts. Track layout: one audio track named Lead Vox and two FX channels (A = Slap, B = Plate). Pop filter & distance: 10–20 cm from mic; stay consistent to stabilize tone. III. Load a vocal preset (four reliable routes) 1) FX Chain preset (fastest, macro-ready) Open the Browser (F5) → Effects → FX Chains → drag your chain onto the Lead Vox channel. Click the Macro panel (wrench icon) to expose Trim, De-Ess, Body, Presence, Air, and FX controls. Save your working copy (right-click channel header → Store FX Chain) as Lead — Clean (YourName). 2) Track Preset (lane + sends in one move) Right-click a track header → Apply Track Preset… (or drag from Browser → Track Presets). Set input, arm, and monitor. Your inserts and sends load together. 3) Song Template (start ready) New Song → pick your “Vocal Starter” template with Lead/Doubles/Harmonies/Ad-libs and Slap/Plate FX channels. Set inputs and record; everything else is prewired. 4) Drag-drop device presets In the Browser, drag device presets (Pro EQ³, Compressor, De-Esser, etc.) into empty insert slots to build a chain, then Store FX Chain. IV. Gain staging: make or break Interface pre first: set the mic pre so unprocessed peaks land −12 to −8 dBFS. Clip Gain / Event Gain: nudge loud/soft phrases (±2–3 dB) before compression; add short fades at edit points. Comp A target: aim ~3–5 dB gain reduction on phrases (ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms). Don’t slam 10–12 dB constantly. Post-chain peak: keep track peaks around −6 to −3 dBFS; leave loudness for mastering. Level-match A/B: keep a final Gain/Trim at chain end so comparing presets isn’t skewed by “louder wins.” V. Five controls you’ll touch on every song De-Ess (6–8 kHz): turn until earbuds stop complaining; stop before consonants blur. Body (120–200 Hz): add warmth if thin; if the booth is boxy, reduce 250–350 Hz instead. Presence (3–4 kHz): tiny, wide lift only if diction hides. If hats/claps are bright, carve the beat rather than boosting the voice. Air (10–12 kHz): micro shelf only after sibilance is calm. FX blend: slapback 90–120 ms + short plate 0.7–1.0 s (pre-delay 20–50 ms). Verses drier; hooks open. VI. Lead vs. stacks: build a “family,” not clones Lead: mono-true center; minimal wideners; ride volume to keep the story forward. Doubles L/R: higher HPF than Lead; a touch more de-ess; tuck −6 to −9 dB under; micro-pan L/R; avoid chorus wideners that collapse in mono. Harmonies: darker EQ; wider than doubles; optional +0.5–1 dB near 5 kHz for shimmer only if needed. Ad-libs: narrow bandwidth (HPF ~200 Hz, LPF ~8–10 kHz); side-panned; short throw echoes on transitions. Save one FX Chain or Track Preset per role—Lead — Clean, Double — Tight, Harmony — Wide, Ad-Lib — Phone—so recall is instant and consistent. VII. Time & space: FX channels do the heavy lifting Create two FX channels: A = Slap (Analog Delay or Beat Delay), B = Plate (Room Reverb/OpenAIR plate IR). Filter returns: insert Pro EQ³ on each FX channel; HPF ~150 Hz, LPF ~6–7 kHz so tails never hiss on earbuds. Ducking trick: insert Compressor on the Slap FX channel; sidechain from Lead; fast attack/release; ~1–2 dB GR so echoes bloom in the gaps. Send automation: +1–2 dB into hooks; lower in dense verses; keep tails filtered. VIII. Macro Controls (FX Chains = your channel strip) Open the FX Chain editor → Macro Controls. Create knobs: Trim, De-Ess, Body, Presence, Air, FX. Map each knob to the key parameter (e.g., De-Esser amount, Pro EQ shelves, Delay/Reverb sends). Set useful ranges so a quarter-turn does something musical, not extreme. Store the FX Chain so every session loads with your “channel strip” in one click. IX. Stock “safe chain” (rebuildable anywhere) Pro EQ³/Pro EQ² (first): HPF 80–100 Hz; wide −1 to −2 dB at 250–350 Hz if boxy; tight notch near 1 kHz if nasal. Compressor (Comp A, shape): ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms; ~3–5 dB GR on phrases. De-Esser: center ~6–8 kHz; reduce until S/T/SH are comfortable on earbuds. Compressor (Comp B, catcher): faster, 1–2 dB GR to stabilize send levels and peaks. Color (optional): Softube-style Saturation Knob (if installed) or stock Saturation; very low mix; output matched. Pro EQ (polish): +0.5–1 dB broad at 3–4 kHz only if diction hides; tiny 10–12 kHz shelf last. Sends: Analog/Beat Delay for slap; Room Reverb/OpenAIR plate; filter returns. Wrap as an FX Chain; add Macro controls; save as Lead — Stock Clean (S1); branch lighter/heavier variants per song. X. Fast audition (without fooling your ears) Loop a 10–20 s phrase with quiet and loud words. Keep a final Gain at chain end to level-match; flip FX Chains or Track Presets from the Browser. Pick what translates on earbuds/phone, not just the brightest option. XI. Two-track beat survival (bright hats, heavy subs) When the instrumental is a stereo file, reduce collisions instead of “more bright” on the voice: Mid dip on the beat (dynamic): insert Pro EQ on the instrumental bus; create a gentle bell around 3 kHz; sidechain a Compressor to the vocal and link (or automate) the EQ band for −1–2 dB only while the voice speaks. Splash control: keep the Lead’s Air conservative; LPF returns ~6–7 kHz if hats are icy. Mono check: temporarily sum the monitor path; the story should still land on a phone speaker. XII. Tracking vs. mixing: what to print Record dry, hear wet: monitor through the preset on Lead but print a clean take. If a collaborator needs the “demo vibe,” bus Lead to a PRINT track and record a wet safety (Lead_Wet). Commit late: render/freeze heavy FX near the end; keep an _FXPRINT audio track for recall. XIII. Automation that sells the line (micro, not macro) Volume rides: +0.5–1 dB into downbeats; −0.5 dB on tongue-twisters. De-ess threshold: slightly tighter on bright syllables; looser on dark phrases. FX choreography: lift Slap/Plate into hooks; lower in verses; keep tails filtered. XIV. Organization & recall (minutes now, hours later) Names that sort: Lead — Clean, Lead — Air+, Rap — Punch, Harmony — Wide, Ad-Lib — Phone. One per role: separate FX Chains/Track Presets for Lead/Doubles/Harmonies prevent over-de-essing stacks or over-brightening the center. Template: keep a “Starter — Vocals (Studio One)” Song Template with lanes and FX channels; start every song from it. XV. Troubleshooting (problem → focused move) Harsh S’s after adding Air: raise De-Esser slightly; reduce Air ~0.5 dB; LPF returns to ~6–7 kHz. Vocal sinks under 808: keep verses drier; add a tiny Presence lift; apply a subtle 2–4 kHz dip on the beat during lines. Clicks or crackles: raise buffer while mixing; disable heavy oversampling until render; close background apps. Preset sounds different at export: verify quality/oversampling modes; avoid master clipping; render at session rate. Chain feels “dead” on your mic: ease de-ess; reduce low-mid cuts; a tiny 150–180 Hz lift can restore chest without mud. Levels jump in A/B tests: match outputs with a final Gain; louder wins the ear unfairly. XVI. Learn more (next best step) Hand-offs are smoother when stems are clean and consistent. This walkthrough on how to export stems from Studio One step by step shows naming, starts, and tails that open cleanly anywhere. XVII. Quick action plan (copyable) Load an FX Chain or Track Preset; set input so raw peaks land −12 to −8 dBFS; Comp A kisses 3–5 dB. De-ess to “soft-bright,” add tiny Presence only if diction hides; keep Air conservative. Route Slap/Plate on FX channels; filter returns; duck Slap from the Lead; automate sends into hooks. Save role-based versions (Lead, Doubles, Harmonies, Ad-libs); keep a Song Template. Render roughs with headroom; keep the master unclipped; leave loudness for mastering. Used well, vocal presets are reliable shortcuts—not crutches. Keep headroom healthy, make small moves, automate what matters, and your voice will sit forward without harshness—song after song. For a fast start tuned to this DAW, grab the curated Studio One vocal presets and lock in your own “best-fit” versions for consistent, repeatable results.

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Use Vocal Presets in Pro Tools: Full Guide

Use Vocal Presets in Pro Tools: Full Guide

In Pro Tools, a vocal preset is a ready-to-load signal path—EQ, compression, de-essing, color, delay, and reverb—saved as a Track Preset, plug-in preset, or full session template. This guide walks you through pulling those presets into a session, calibrating input, shaping tone with a few decisive moves, routing effects the modern way, and keeping separate recipes for lead, doubles, harmonies, and ad-libs. If you’d like a jump start designed for this DAW, try the curated Pro Tools vocal presets and then tailor thresholds and sends to your voice. I. Presets in Pro Tools: what you can actually save Pro Tools gives you a few building blocks that cover most workflows: Track Presets — store inserts, their order, I/O, sends, and even color. Recall from the track nameplate or when creating a new track. Plug-in presets — AAX device states (EQs, compressors, de-essers, delays, reverbs) that you can mix and match inside any chain. Session Templates — open directly into a vocal-ready environment (lanes + FX returns) with one click. Import Session Data — cherry-pick a tuned vocal track (and its buses) from another session and drop it into your current one. Loading is step one. Step two—often skipped—is adapting gain, sibilance control, presence, and ambience to the singer and the song. II. Set the stage (short checklist) Before you hit record Playback Engine: choose your interface; 64–128 samples while tracking, then raise for mixing. Sample rate: 44.1 kHz for most releases (use 48 kHz when the project is headed to video). Healthy input: sing at performance level and target −12 to −8 dBFS on the raw input meter. Starter layout: one audio track named Lead Vox plus two aux returns: A = Slap, B = Plate. Meters: if you want to see gain before automation or sends, switch the track meter to pre-fader. III. Bringing a preset into the session (four dependable paths) 1) Track Presets (speed option) From the New Track dialog, choose Track Preset and select your vocal chain; or Right-click the track nameplate → Recall Track Preset…; or Open Workspace (Option+I) and drag a Track Preset onto the Edit/Mix window. Immediately store your version (e.g., Lead — Clean • YourName) so later tweaks do not overwrite the original. 2) Import Session Data (pull a lane with its plumbing) File → Import → Session Data… and choose a donor session with a vocal you trust. Enable the tuned Lead and its FX returns; if replacing a temp track, use “Match Tracks by Name.” 3) Session Template (open ready-to-record) Create from Template → pick your “Vocal Starter” (Lead, Doubles L/R, Harmonies, Ad-libs, Slap/Plate). Set the Lead input, arm, and you’re rolling—the buses are already patched. 4) Plug-in presets (surgical swaps) On the vocal track, load stock AAX tools (EQ3 7-Band, Dyn3 Comp/Lim, Dyn3 De-Esser, Mod Delay III, D-Verb/Space) or your third-party favorites. Save device presets that work; later, bundle them into a Track Preset for one-click recall. IV. Calibrate the signal (why your preset suddenly works) Preamp, then inserts: set the interface so unprocessed peaks land between −12 and −8 dBFS. Clip Gain first aid: tame shouty words and lift whispers before compression (±2–3 dB usually does it). Add short fades so edits are invisible. Compressor A sweet-spot: aim for roughly 3–5 dB gain reduction on phrases (2:1–3:1, 10–30 ms attack, 80–160 ms release). Heavy constant squeeze makes de-essing harder. After the chain: keep post-FX peaks around −6 to −3 dBFS. Loudness is a mastering decision, not a tracking one. Fair comparisons: add a Trim/Gain at the end of the chain so A/B tests aren’t won by “louder.” V. Five moves that shape 90% of a vocal Sibilance: set the de-esser band near 6–8 kHz; dial just enough that earbuds relax but consonants still read. Low-mid weight: add a touch at 120–200 Hz if the singer feels thin; if booth bloom shows up, shave 250–350 Hz instead. Presence lane: a wide, tiny lift around 3–4 kHz only when words hide. If cymbals are already bright, carve the beat rather than forcing the vocal. Air: small shelf at 10–12 kHz after sibilance is under control. Space: slapback around 90–120 ms and a short plate (0.7–1.0 s, 20–50 ms pre-delay). Keep verses drier; let choruses bloom. VI. One singer, many lanes: keep each job on its own rails Lead: mono-solid and stable in the center; width lives elsewhere. Ride phrases so the story never dips. Doubles L/R: higher high-pass than the Lead, slightly stronger de-ess, tucked 6–9 dB under; micro-pan left/right; avoid chorus wideners that collapse in mono. Harmonies: darker than doubles and spread wider; if they disappear, a tiny 5 kHz polish is enough. Ad-libs: narrowed bandwidth (HPF ~200 Hz, LPF 8–10 kHz), panned off-center, with short throws on transitions. Save a Track Preset per role (Lead — Clean, Double — Tight, Harmony — Wide, Ad-Lib — Phone) so recall is instant and consistent. VII. Ambience the modern way: two auxes, lots of control Create Aux A = Slap (Mod Delay III) and Aux B = Plate (D-Verb or Space). Filter both returns with EQ: HPF ~150 Hz, LPF ~6–7 kHz so tails never hiss on small speakers. Add a compressor on the Slap aux keyed from the Lead (fast attack/release, about 1–2 dB gain reduction). Echo appears in the gaps instead of stacking on words. Write simple send rides: +1–2 dB in hooks, pull back in dense verses. VIII. Stock toolkit that travels anywhere EQ3 7-Band (first): high-pass 80–100 Hz; gentle, wide cut at 250–350 Hz if boxy; tiny notch near 1 kHz only if needed. Dyn3 Comp/Lim (Comp A): 2:1–3:1, 10–30 ms attack, 80–160 ms release; kiss 3–5 dB on phrases. Dyn3 or Avid De-Esser: focus around 6–8 kHz; use ears, not meters. Dyn3 Comp/Lim (Comp B): faster “catcher” for 1–2 dB on peaks; stabilizes send level. Color (taste): AIR Lo-Fi or Distortion at very low mix for density; match output so “louder” doesn’t trick you. EQ3 (polish): broad +0.5–1 dB near 3–4 kHz if diction still hides; small air shelf last. Wrap the above as a Track Preset labeled clearly—Lead — Stock Clean (PT)—and spin lighter/heavier variants for different songs. IX. Evaluate presets quickly without fooling yourself Loop a 10–20 s section with soft words and loud ones. Keep a Trim/Gain at the end for level-match; flip Track Presets or plug-in stacks. Pick what translates on earbuds and a phone, not just the brightest option in the control room. X. If the beat is a single stereo file (tight hats, big subs) Let the vocal borrow space: on the instrumental bus, tie a gentle 2–4 kHz dip to a sidechained compressor keyed by the vocal—only 1–2 dB while the singer speaks. Top-end comfort: keep the Lead’s air move modest; low-pass the effects returns if cymbals already sizzle. Mono sanity check: collapse monitors briefly; the lyric should remain intelligible on a phone speaker. XI. Edit first, mix less: comping & Clip Gain Playlists: build a clean composite that favors diction and emotion. Pre-shape dynamics: quick Clip Gain nudges (±1–2 dB) smooth the ride so compressors do less heavy lifting. Breaths: reduce obvious gasps; keep the natural ones—they mark phrasing. XII. What to print (and when) Record dry while monitoring wet. Capture the clean Lead; if someone needs the “demo vibe,” route the Lead to a PRINT track and record a wet safety as well (Lead_Wet). Freeze or Commit heavy effects close to the finish line, and keep an _FXPRINT track for recall. XIII. Small automation, big payoff Level rides: +0.5–1 dB into downbeats; tiny dips on tongue-twisters. De-esser threshold: slightly tighter for bright syllables, looser for dark phrases. FX choreography: push Slap/Plate in the chorus; pull back for dense verses; keep returns filtered. XIV. Keep your library tidy (future-you will thank you) Names that sort: Lead — Clean, Lead — Air+, Rap — Punch, Harmony — Wide, Ad-Lib — Phone. One preset per lane: Lead/Doubles/Harmonies each get a dedicated Track Preset so you don’t over-de-ess stacks or brighten the center by accident. Session Template: keep a “Vocal Starter (PT)” with lanes and Slap/Plate auxes; start every song from it. XV. Troubleshooting: targeted fixes Air adds harshness: back off the shelf ~0.5 dB, lift the de-esser slightly, and low-pass the returns around 6–7 kHz. Vocal buried by 808: dry the sends in verses, add a hair of presence, and automate a subtle mid dip on the beat during lines. Clicks/crackles: increase buffer for mixing; disable look-ahead/heavy analyzers until bounce; close background apps. Preset sounds different on bounce: check quality/oversampling toggles, avoid master clipping, and bounce at the session rate. Chain feels flat on your mic: reduce low-mid cuts, ease the de-ess, and try a tiny 150–180 Hz lift for chest without mud. A/B bias: use the final Trim/Gain so loudness doesn’t decide the winner. XVI. One-page game plan Recall a Track Preset and calibrate input so raw peaks sit at −12 to −8 dBFS; Comp A glides at ~3–5 dB GR. Shape sibilance → body → presence → air with small, wide moves; keep FX tasteful in verses. Send to Slap/Plate auxes, filter returns, and sidechain-duck the Slap from the Lead. Store role-specific Track Presets (Lead, Doubles, Harmonies, Ad-libs) and use a session template. Print clean, keep headroom, and leave loudness for mastering. Used with intention, presets are a laser-cut shortcut—not a crutch. Keep headroom generous, make restrained moves, automate the few moments that matter, and the vocal will sit forward without grit or glare. When you want chains built for this exact ecosystem, start with the Pro Tools templates and lock in your own best-fit versions for repeatable results.

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How to Use Vocal Presets in Mixcraft

How to Use Vocal Presets in Mixcraft

In Mixcraft, a “vocal preset” is a reusable effects chain—EQ, compression, de-essing, tone color, delay, and reverb—that you can load on a track in one move. This guide shows how to pick and load the right preset, set healthy gain, shape tone, route sends, automate scenes, and save role-based versions for lead, doubles, harmonies, and ad-libs. Want a quick head start?  I. What a “vocal preset” is in Mixcraft Mixcraft supports several preset containers that make vocal chains easy to load and reuse: Effects Chain preset — a saved insert stack (order + settings) you can apply to any audio track. Track Template — an audio track saved with its chain, routing, color, and sends (e.g., Slap/Plate). Great when you want a full lane in one click. Project Template — a starter session with lanes (Lead, Doubles, Harmonies, Ad-libs) and Send tracks already set up. Using a preset is more than loading it—you’ll adapt input level, de-ess, presence, air, and FX balance to your voice and song. II. Pre-flight (so presets behave) Pre-flight checklist Audio device & buffer: select your interface; 64–128 samples to track, raise later for mixing. Session rate: 44.1 kHz for music (48 kHz if delivering to video). Input target: sing at performance volume; aim raw peaks around −12 to −8 dBFS before any FX. Track layout: start with one audio track named Lead Vox plus two Send tracks (A = Slap, B = Plate). Pop filter & distance: 10–20 cm from mic; keep stance consistent to stabilize tone. III. Load a vocal preset (four reliable routes) 1) Effects Chain preset (fastest) Select your Lead Vox track → open the FX window. Load an Effects Chain from the preset menu (or drag it from the Browser onto the FX area). Confirm the order: EQ → Comp A → De-Ess → (Color/Sat) → Comp B (catcher) → Utility. Immediately save your working copy with a clear name (e.g., Lead — Clean (YourName)). 2) Track Template (lane + sends in one move) Right-click in the track list → Insert Track From Template → choose your vocal template. Set the track input to your mic channel; arm and monitor. 3) Project Template (start ready every time) File → New Project → pick your “Vocal Starter” template (Lead/Doubles/Harmonies/Ad-libs + Slap/Plate sends). Set inputs and record; everything else is pre-wired. 4) Drag-drop from Browser Keep a _Presets/Vocals folder in the Browser; drag a chain onto the track when needed. IV. Gain staging: make or break Mic pre first: set the interface so unprocessed peaks hit −12 to −8 dBFS. Trim into Comp A: use the chain’s input/trim to hit ~3–5 dB gain reduction on phrases (ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms). Don’t slam 10–12 dB constantly. After the rack: keep track peaks around −6 to −3 dBFS; loudness happens later in mastering. Level-match A/B: add a final trim/utility so preset comparisons aren’t biased by “louder wins.” V. Five controls you’ll touch on every song De-Ess (6–8 kHz): turn until earbuds stop complaining; stop before consonants blur. Body (120–200 Hz): add warmth if thin; if the booth sounds “boxy,” reduce 250–350 Hz instead. Presence (3–4 kHz): tiny, wide lift only if diction hides. If hats/claps are bright, carve the beat rather than boosting the voice. Air (10–12 kHz): micro shelf only after sibilance is calm. FX balance: slapback 90–120 ms and short plate 0.7–1.0 s (20–50 ms pre-delay). Verses drier; hooks open. VI. Lead vs. stacks: build a “family,” not clones Lead: mono-true center; minimal widening; automate volume to keep the story forward. Doubles L/R: higher HPF than Lead; a touch more de-ess; tuck −6 to −9 dB under; micro-pan left/right; avoid chorus wideners that collapse in mono. Harmonies: darker EQ; wider than doubles; optional +0.5–1 dB near 5 kHz for shimmer only if needed. Ad-libs: narrow bandwidth (HPF ~200 Hz, LPF ~8–10 kHz), side-panned, short throws on transitions. Save one preset per role—Lead — Clean, Double — Tight, Harmony — Wide, Ad-Lib — Phone—so recall is instant and consistent. VII. Time & space: Send tracks do the heavy lifting Create two Send tracks: A = Slap and B = Plate. Color them for quick spotting. On track A, add a short delay (≈90–110 ms), filter 150 Hz–6 kHz, low feedback. On track B, add a bright plate (0.7–1.0 s) with 20–50 ms pre-delay; HPF/LPF the return. Duck the Slap: place a compressor on A, sidechain from the Lead; fast attack/release so echoes bloom in the gaps. Automate sends: +1–2 dB into hooks; lower in dense verses; keep returns filtered for phone translation. VIII. Stock “safe chain” (rebuildable anywhere) EQ (first): HPF 80–100 Hz; wide −1 to −2 dB at 250–350 Hz if boxy; tight notch near 1 kHz if nasal. Compressor A (shape): ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms; ~3–5 dB GR on phrases. De-Esser: center ~6–8 kHz; reduce until S/T/SH are comfortable on earbuds. Compressor B (catcher): faster 1–2 dB GR to stabilize sends and peaks. Color (optional): light saturation/tape; output matched so “louder” doesn’t fool you. EQ (polish): +0.5–1 dB broad at 3–4 kHz only if diction hides; tiny air shelf last. Delay & Reverb (sends): slap on A; plate on B; filter returns. Wrap it as an Effects Chain; save as Lead — Stock Clean (MX) and branch lighter/heavier versions per song. IX. Fast audition (without fooling your ears) Loop a 10–20 s phrase that includes quiet and loud words. Keep a final trim at the end of the chain; level-match before judging. Toggle chain presets; choose what translates on earbuds/phone, not just the brightest option. X. Two-track beat survival (bright hats, heavy subs) Carve, don’t fight: if the instrumental is a stereo file, cut small overlaps instead of “more bright” on vocals. A gentle dip around 2–4 kHz on the beat during vocal lines (via automation) lets consonants pop. Splash control: keep the Lead’s Air conservative; LPF returns ~6–7 kHz if hats are icy. Mono check: temporary mono on the master; the story should still land on a phone speaker. XI. Tracking vs. mixing: what to print Record dry, hear wet: monitor through the preset on the track but print a clean take. If a collaborator needs “demo vibe,” route Lead to a PRINT track and record a wet safety (Lead_Wet). Commit late: Freeze or render heavy FX near the end; keep an _FXPRINT audio track for recall. XII. Automation that sells the line (micro, not macro) Volume rides: +0.5–1 dB into downbeats; −0.5 dB on tongue-twisters. De-ess threshold: slightly tighter on bright syllables; looser on dark phrases. FX choreography: lift Slap/Plate into hooks; lower in verses; keep tails filtered. XIII. Organization & recall (minutes now, hours later) Names that sort: Lead — Clean, Lead — Air+, Rap — Punch, Harmony — Wide, Ad-Lib — Phone. One per role: separate chains for Lead/Doubles/Harmonies prevent over-de-essing stacks or over-brightening the center. Template: keep a “Starter — Vocals (Mixcraft)” project with lanes and two Send tracks. Duplicate for each new song. XIV. Troubleshooting (problem → focused move) Harsh S’s after adding Air: raise de-ess slightly; reduce Air by ~0.5 dB; LPF returns to ~6–7 kHz. Vocal sinks under 808: keep verses drier; add a tiny Presence lift; reduce delay feedback; consider a small 2–4 kHz dip on the beat during lines. Preset sounds different at export: check plug-in quality/latency modes; avoid master clipping; render at session rate. Clicks or crackles: raise buffer for mixing; disable heavy oversampling until render; close background apps. Chain feels “dead” on your mic: ease de-ess; reduce low-mid cuts; a tiny 150–180 Hz lift can restore chest without mud. Levels jump in A/B tests: match outputs with a final trim; louder wins the ear unfairly. XV. Quick action plan (copyable) Load an Effects Chain or Track Template; set input so raw peaks land −12 to −8 dBFS; Comp A kisses 3–5 dB. De-Ess to “soft-bright,” add tiny Presence only if diction hides; keep Air conservative. Route Slap/Plate on Send tracks; filter returns; duck Slap from the Lead; automate sends into hooks. Save role-based versions (Lead, Doubles, Harmonies, Ad-libs); keep a project template. Render roughs with headroom; keep the master unclipped; leave loudness for mastering. Used well, vocal presets are reliable shortcuts—not crutches. Keep headroom healthy, make small moves, automate what matters, and your voice will sit forward without harshness—song after song. When you want to start from chains already tuned for modern pop, rap, and R&B , explore vocal presets and lock in your own “best-fit” versions for fast, consistent sessions.

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BCHILL MUSIC

안녕하세요! 제 이름은 Byron이고 저는 10년 이상의 경력을 가진 전문 음악 프로듀서이자 믹싱 엔지니어입니다. 오늘 믹싱/마스터링 서비스 문의하세요.

서비스

우리는 업계 표준 믹싱 서비스, 마스터링 서비스, 음악 제작 서비스뿐만 아니라 전문 녹음 및 믹싱 템플릿을 포함한 프리미엄 서비스를 고객에게 제공합니다.

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