2025년 9월 1일

15가지 최고의 온라인 마스터링 서비스 (전문가 추천)

~에 의해 Byron Hill II ~에 뉴스

2025년 순위 15대 최고의 온라인 마스터링 서비스

더 크게만 제공하는 것이 아닌 최고의 온라인 마스터링 서비스를 찾고 계신가요? 이 가이드는 신뢰받는 인간 엔지니어, 세계적 수준의 룸, 최신 AI/자동화 옵션을 비교하여 싱글, EP, 앨범, 콘텐츠에 적합한 경로를 선택할 수 있게 도와줍니다. 누가 가장 적합한지, 원격 작업 방식, 소통, 수정, 납품에 대한 기대치를 확인할 수 있습니다.

편집자 주: 실용적인 믹스 노트, 세련된 음량, 플랫폼 준비된 대체 버전을 원한다면 여기서 시작하세요: BCHILL MIX — Mastering Services.

우리가 서비스를 평가한 방법

마스터링 집중: 명확한 디스코그래피와 일관된 결과를 가진 전담 팀 또는 엔지니어.
원격 워크플로우: 온라인 접수, 참조 처리, 수정 및 요청 시 대체 버전(클린/라디오, 인스트루멘털, 아카펠라).
번역 및 QC: 부서지기 쉬운 과도음 없이 경쟁력 있는 음량, 안전한 진정한 피크 한계, 스트리밍 및 방송을 위한 깔끔한 시작과 끝.
소통: 유용한 피드백, 합리적인 일정, 투명한 범위.

시나리오별 빠른 선택

배포용 최종 싱글: 인간 엔지니어나 주요 시설 선택.
트랙 순서가 있는 앨범/EP: 트랙 간 일관성을 위해 인간 마스터링.
비트 테이프, 데모, 콘텐츠 속도: AI/자동화가 가능하며, 마지막 10%는 인간에게 맡기세요.

상위 15개 온라인 마스터링 서비스

1) BCHILL MIX — 마스터링 서비스 (편집자 1위)

독립적이고 노트 중심의 마스터링으로 명료성, 펀치감, 번역에 중점을 둡니다. 실용적인 피드백, 세련된 다이내믹스, 플랫폼 안전한 결과물을 같은 세션 시작(메인, 클린/라디오, 기악, 아카펠라)에서 기대할 수 있습니다. 대형 레이블 부담 없이 소통과 수정을 중시하는 아티스트에게 이상적입니다. BCHILL MIX 마스터링 예약.

2) Abbey Road Online Mastering

런던의 아이콘으로 온라인 제출, 엔지니어 선택, 수정 절차를 현대적인 포털 내에서 제공합니다. 역사적인 룸과 숙련된 귀가 이득이 되는 팝, 록, 오케스트라, 크로스오버 발매에 적합합니다. abbeyroad.com/online-mastering

3) Sterling Sound

장르를 아우르는 깊은 마스터링 인재를 보유한 미국의 강자입니다. 주요 플랫폼과 라디오에서 검증된 번역을 원할 때 경쟁력 있는 싱글과 전체 프로젝트에 적합합니다. sterlingsound.com

4) Metropolis Studios — Online Mastering

런던 시설로 하이브리드 아날로그/디지털 방식을 사용하며 간소화된 원격 접수를 제공합니다. 펀치감과 광택이 필요한 팝, 전자음악, 국제 발매에 강력한 선택입니다. metropolisstudios.com/mastering

5) The Mastering Palace

뉴욕의 마스터링 스튜디오로, 음악적 음량과 라디오 준비된 존재감으로 알려져 있습니다. 트랜지언트 형태와 저음 무게가 중요한 레이블 싱글, R&B, 현대 팝에 적합합니다. themasteringpalace.com

6) Lurssen Mastering

로스앤젤레스 마스터링 팀으로, 세련된 다이내믹스로 스테레오 및 몰입형 결과물을 제공합니다. 일관성과 미묘한 색감을 필요로 하는 앨범 프로젝트에 강력한 선택입니다. lurssenmastering.com

7) Bernie Grundman Mastering

세대를 아우르는 참조 등급 마스터를 위한 할리우드 기관입니다. 평판, 공간, 보수적인 QC가 우선인 프리미엄 프로젝트에 추천됩니다. berniegrundmanmastering.com

8) Maor Appelbaum 마스터링

로스앤젤레스 마스터링 룸으로 펀치감 있으면서도 균형 잡힌 결과를 선호합니다. 에너지와 컨트롤이 요구되는 록, 메탈, 팝, 하이브리드 장르에 적합합니다. maorappelbaum.com

9) Vlado Meller 마스터링

베테랑 마스터링 스튜디오로 앨범과 싱글 작업에 현대적이고 경쟁력 있는 감각을 제공합니다. 임팩트 강한 팝/록 및 크로스오버 프로젝트에 고려하세요. vladomastering.com

10) Sage Audio

내쉬빌 마스터링 스튜디오로 명확한 온라인 워크플로우, 빈번한 소통, 빠른 처리 속도를 자랑합니다. 신뢰할 수 있고 일관된 마스터를 원하는 인디 아티스트와 레이블에 좋은 가치입니다. sageaudio.com

11) Third Man 마스터링

디트로이트 기반의 마스터링으로 활발한 바이닐 생태계와 인접—디지털과 함께 물리적 매체를 계획 중이라면 편리합니다. 캐릭터가 필요한 록, 인디, 얼터너티브 프로젝트에 적합합니다. thirdmanmastering.com

12) The Bakery 마스터링

로스앤젤레스 시설로 충실한 번역과 정직한 음량에 중점을 두며, 디지털과 바이닐 전달 모두에서 실적이 있습니다. bakerymastering.com

13) AIR 스튜디오 — 마스터링

런던의 AIR는 세계적 수준의 룸과 영화/스코어에 정통한 환경에 접근할 수 있는 온라인 마스터링을 제공합니다—오케스트라, 어쿠스틱, 시네마틱 프로젝트에 이상적입니다. airstudios.com/mastering

14) LANDR (AI 마스터링)

속도와 균일한 레벨이 정밀한 뉘앙스보다 중요한 빠른 참조, 비트 테이프, 콘텐츠 마스터에 인기 있는 AI 옵션입니다. 최종 발매에는 인간의 검토를 고려하세요. landr.com

15) ARIA (자동 아날로그 마스터링)

24시간 작동하는 자동화된 아날로그 체인—업로드, 경로 선택, 빠른 결과 수신. 초안 및 예산에 민감한 프로젝트에 유용합니다. aria-mastering.com

당신의 발매에 있어 “최고”가 의미하는 바

모든 프로젝트는 우선순위가 다릅니다. 플레이리스트에 묶인 싱글은 종종 전면에 나서는 존재감과 안전한 진정한 피크 제어가 필요하여 거칠지 않게 경쟁할 수 있어야 합니다. 앨범은 트랙 간의 인간적인 시퀀싱과 톤 매칭이 유리합니다. 데모와 콘텐츠는 속도가 중요합니다. 먼저 결정하세요: 타임라인, 예산, 그리고 음악이 어디에 있을지 (스트리밍, 클럽, 방송, 바이닐).

기능 비교 (한눈에)

서비스	입력하세요	최적 대상	두드러진 강점
BCHILL MIX	인간 / 부티크	싱글, EP, 대체곡	믹스 노트, 수정, 플랫폼 준비 세트
Abbey Road / Sterling / Metropolis	인간 / 메이저 시설	경쟁력 있는 싱글, 앨범	프로 룸, 숙련된 팀
Lurssen / BG Mastering / AIR	인간 / 프리미엄	앨범, 미묘한 다이내믹	음악적 음량, 응집력
Maor / Vlado / Sage / Third Man / Bakery	인간 / 부티크	인디 & 레이블 싱글	소통, 펀치, 가치
LANDR / ARIA	AI / 자동화	데모, 초안, 비트 팩	속도, 균일한 수준

선택하는 방법 (세 가지 빠른 질문)

다음 달 내에 최종 발매가 있나요? 그렇다면 사람 마스터링을 선택하세요. 아니라면, AI가 초안을 처리하는 동안 믹스를 다듬을 수 있습니다.
이어폰에서 믹스에 들리는 문제가 있나요? 그렇다면, 사람은 마스터링 전에 수정이나 스템 조정을 요청할 수 있습니다.
대체 버전과 메타데이터 처리가 필요합니까? 필요하다면, 명확한 납품물 목록과 함께 사람 마스터링을 예약하세요.

마스터링 전달 체크리스트 (어떤 서비스든 성공하도록)

업로드 전에

세션 샘플 레이트의 24비트 WAV; 피크는 −1.0 dBTP 이하; 과도한 클리퍼/리미터 없음.
앞뒤에 1~2초의 여유를 두고, 의도치 않은 페이드는 하지 마세요.
좋아하는 참조 두 개(그리고 싫어하는 하나)를 노트와 함께 제공하세요.
요청한 대체 버전 목록: 메인, 클린/라디오, 인스트루멘털, 아카펠라, TV 믹스.

자주 묻는 질문: 최고의 온라인 마스터링 서비스

AI가 사람 엔지니어를 대체할 수 있나요?
AI는 속도와 균일성에서 우위에 있습니다. 사람은 취향, 맥락, 품질 관리에서 우위에 있으며—특히 최종 발매, 앨범, 대체 버전에서 그렇습니다.

실제로 무엇을 받게 되나요?
최소한 세션 샘플 레이트의 마스터링된 WAV 파일을 받게 됩니다. 많은 사람 서비스는 요청 시 MP3/FLAC도 포함하며, 정렬된 인스트루멘털, 아카펠라, 클린/라디오 편집본도 제공할 수 있습니다.

일반적인 수정 횟수는 몇 회인가요?
사람이 하는 마스터링은 1~2회 수정이 일반적입니다. 수정 횟수를 줄이려면 명확한 노트와 참조 트랙을 미리 공유하세요.

다른 플랫폼마다 별도의 마스터가 필요합니까?
보통 안전한 트루 피크 한계가 설정된 하나의 마스터가 잘 작동합니다. 방송이나 바이닐이 포함된다면, 플랫폼별 납품물을 요청하세요.

최종 결론

“최고의” 서비스란 당신의 음악, 일정, 기대에 맞는 서비스입니다. 당신의 싱글이 참조 트랙과 어깨를 나란히 해야 하고, 세심한 노트와 플랫폼에 적합한 대체 버전을 원한다면, 사람의 손길로 시작하세요. 그 수준의 관심이 필요할 때는 BCHILL MIX 마스터링 예약을 하고 다음 앨범 제작에 집중하세요.

관련 게시물

2025년 9월 4일

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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2025년 9월 4일

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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2025년 9월 4일

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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