2025년 9월 1일

20 최고의 마스터링 웹사이트 (인간 엔지니어 및 AI)

~에 의해 Byron Hill II ~에 뉴스

신뢰할 수 있는 마스터링 웹사이트를 찾는 것은 추측처럼 느껴질 수 있습니다. 혼란을 없애기 위해, 이 가이드는 20개의 신뢰할 수 있는 옵션—검증된 스튜디오, 독립 엔지니어 주도 사이트, AI/자동화 플랫폼—을 강조하여 당신의 싱글, EP, 앨범 또는 콘텐츠 작업에 맞는 온라인 마스터링 서비스를 찾을 수 있도록 합니다. 각 항목은 사이트의 특징을 명시하고 홈페이지 또는 마스터링 페이지로 직접 연결됩니다.

이 목록을 만든 방법(및 사용법)

마스터링 우선 사고: 우리는 마스터링 중심, 명확한 접수 양식, 예측 가능한 전달을 중시하는 사이트를 우선시했습니다.
볼륨보다 번역: 최고의 마스터링 웹사이트는 음량, 톤, 임팩트를 균형 있게 조절하여 당신의 음반이 이어폰부터 클럽 시스템까지 잘 전달되도록 합니다.
실제 작업 흐름: 동일 시작 시간에서 노트/수정, 참조 처리, 선택적 대체(클린/라디오, 인스트루멘털, 아카펠라)를 확인하세요.
목적에 따른 다양성: 뉘앙스를 위한 인간 엔지니어; 속도와 대량 작업을 위한 AI/자동화 경로. 출시 단계에 맞는 믹스를 사용하세요.

빠른 선택기

최종 싱글 배포용: 인간 엔지니어나 검증된 마스터링 스튜디오를 선택하세요.
앨범/EP 시퀀싱 포함: 트랙 간 일관성과 노트를 처리하는 사이트를 선택하세요.
데모, 비트 테이프, 빠른 승인: AI/자동 마스터링 웹사이트는 효율적일 수 있음; 마지막 10%는 사람의 검토를 남겨두세요.

20개 마스터링 웹사이트 (순위별)

1) BCHILL MIX — 마스터링 서비스

명료함, 펀치감, 신뢰할 수 있는 변환에 중점을 둔 온라인 마스터링, 직관적인 노트/수정 및 요청 시 정렬된 대체본 제공. 일관된 소통과 스트리밍 및 콘텐츠 사용에 적합한 마스터를 원하는 독립 아티스트 및 레이블에 적합. bchillmix.com/products/mastering-services

2) Abbey Road Online Mastering

현대적인 업로드 포털과 이름 있는 엔지니어가 있는 역사적인 런던 명소. 확립된 룸, 신뢰할 수 있는 QC, 인지 가능한 혈통을 원할 때 강력한 선택. abbeyroad.com/online-mastering

3) Sterling Sound

경쟁력 있는 싱글과 장편 프로젝트에 널리 사용됨. 체계적인 노트, 합리적인 음량, 차트 참조와 잘 어울리는 마스터 기대. sterlingsound.com

4) Metropolis Studios — 온라인 마스터링

펀치감과 세련됨으로 알려진 런던 마스터링 팀. 원활한 원격 작업 흐름과 명확한 일정 관리로 국제 발매에 실용적인 선택. onlinemastering.thisismetropolis.com

5) The Mastering Palace (Dave Kutch)

현대적인 존재감과 저역대 제어로 명성이 있는 엔지니어 주도 사이트. 라디오와 플레이리스트를 목표로 하는 팝, R&B, 크로스오버 음반에 잘 맞음. themasteringpalace.com

6) Lurssen Mastering

음악적 다이내믹과 앨범의 일관성에 중점을 둔 마스터링. 느낌과 흐름이 피크 레벨만큼 중요한 프로젝트에 적합. lurssenmastering.com

7) Bernie Grundman Mastering

신중한 톤과 보수적인 진정 피크 관리로 오랜 기간 할리우드에서 참조되는 곳. 출처와 룸 일관성이 우선인 프로젝트에 자주 선택됨. berniegrundmanmastering.com

8) Maor Appelbaum 마스터링

에너지와 명료함에 귀 기울이는 엔지니어 운영 사이트. 거칠지 않으면서 무게감이 필요한 록, 메탈, 팝 및 하이브리드 프로젝트에 적합. maorappelbaum.com

9) Vlado Meller 마스터링

주요 장르에 걸친 수십 년간의 발매 경험. 경쟁력 있는 임팩트와 실용적인 수정 루프가 필요한 싱글 및 앨범을 위한 직접 예약 경로. vladomastering.com

10) AIR Studios — 마스터링

런던에서 가장 잘 알려진 시설 중 하나와 연결된 마스터링 웹사이트입니다. 어쿠스틱, 오케스트라, 시네마틱 작업뿐 아니라 현대 프로젝트에도 적합합니다. airstudios.com/mastering

11) The Bakery Mastering

투명한 변환과 꾸준한 소통에 중점을 둔 마스터링입니다. 예측 가능한 일정과 깔끔한 납품물을 중요시하는 아티스트에게 도움이 됩니다. thebakery.la

12) Third Man Mastering

디트로이트 기반 마스터링으로 활발한 바이닐 생태계와 연결되어 있습니다. 디지털과 물리적 릴리스를 모두 계획할 때 실용적인 옵션입니다. thirdmanmastering.com

13) Sage Audio

명확한 가격, 교육 자료, 빈번한 소통이 있는 온라인 마스터링입니다. 꾸준한 릴리스 주기를 구축하는 독립 아티스트에게 적합합니다. sageaudio.com/online-mastering-services

14) Euphonic Masters (Brad Blackwood)

앨범과 싱글에서 오랜 경력을 가진 엔지니어 사이트입니다. 균형 잡힌 결과와 다양한 스타일에 대한 직관적인 프로젝트 처리를 제공합니다. euphonicmasters.com

15) West West Side Music (Alan Douches)

스테레오 및 최신 포맷 옵션을 제공하는 마스터링 웹사이트입니다. 실용적인 처리 시간과 투명한 대화를 원할 때 유용합니다. westwestsidemusic.com

16) Salt Mastering (Paul Gold)

디지털 및 바이닐 지향 릴리스를 위한 마스터링입니다. 자연스러운 표현과 포맷 인지 전달을 선호하는 프로젝트에 합리적인 선택입니다. saltmastering.com

17) Peerless Mastering (Jeff Lipton & Maria Rice)

세심한 소통과 앨범 집중으로 알려진 엔지니어 팀입니다. 트랙 간 톤과 음량 정렬이 중요한 레코드에 적합합니다. peerlessmastering.com

18) Sun Room Audio (Dan Coutant)

강력한 독립 카탈로그를 보유한 마스터링 사이트입니다. 납품물과 일정에 대한 명확한 기대치가 프로젝트를 순조롭게 진행하도록 돕습니다. srmastering.com

19) ARIA — 자동 아날로그 마스터링

보정된 아날로그 경로를 통해 실행되는 업로드 기반 마스터링입니다. 데모, 빠른 참조 또는 균일한 레벨이 빠르게 필요한 대량 작업에 적합합니다. ariamastering.com

20) LANDR — AI 마스터링

브라우저와 플러그인에서 접근 가능한 AI 마스터링 웹사이트입니다. 초기 개념 증명, 비트 테이프, 클라이언트 미리보기에 적합하며, 출시 전에는 사람의 검토를 고려하세요. landr.com/online-audio-mastering

기능 스냅샷 (한눈에 보기)

웹사이트	입력하세요	이상적인 사용 사례	아티스트가 선택하는 이유
BCHILL MIX	전문 엔지니어	경쟁력 있는 싱글, 앨범	명확한 노트, 수정, 일치된 전달물
Abbey Road / Sterling / Metropolis	주요 스튜디오	싱글, 앨범	확립된 룸, 유명 엔지니어
Lurssen / BG Mastering / AIR	스튜디오 팀	앨범, 일관성	음악적 다이내믹, 꾸준한 품질 관리
Maor / Vlado / Sage / Third Man / Bakery	엔지니어 주도 사이트	싱글, 꾸준한 발매	직접 소통, 예측 가능한 전달
LANDR / ARIA	AI / 자동화	데모, 초안, 배치	속도, 균일한 음량

마스터링 웹사이트 선택 방법

목표부터 시작하세요: 트랙이 몇 주 내에 유통사에 전달된다면, 변환, 맥락, 결과물을 위해 인간 마스터링을 선호하세요. 믹스를 압박 테스트하거나 콘텐츠를 빠르게 조립하는 경우 자동화 사이트가 빠르고 레벨이 맞는 참조를 제공합니다.

작업 흐름을 확인하세요: 훌륭한 마스터링 웹사이트는 업로드, 메모 및 참조 추가, 합리적인 수정 요청을 쉽게 할 수 있게 합니다. 동일한 세션 시작점에서 정렬된 대체 버전을 제공하는지 확인하세요.

작은 스피커로 들어보세요: 이어버드에서 믹스가 거칠거나 탁하게 느껴진다면, 마스터링 사이트에 조언을 구하거나 업로드 전에 문제를 해결하여 마스터가 예방 가능한 문제를 보정하지 않도록 하세요.

인수인계 체크리스트 (모든 마스터링 사이트가 성공하도록)

업로드 전에

세션 샘플 레이트의 24비트 WAV; 피크는 −1.0 dBTP 이하; 믹스 버스에 과도한 리미터/클리퍼 없음.
앞뒤에 1~2초의 여유를 두고, 의도된 페이드만 포함하세요.
좋아하는 참조 트랙 두 개(그리고 싫어하는 한 개)와 톤 및 음량에 대한 간단한 메모를 제공하세요.
대체 버전을 명시하세요: 메인, 클린/라디오, 인스트루멘털, 아카펠라, TV 믹스—모두 동일한 시작점에 맞춰서.

FAQ: 마스터링 웹사이트 및 온라인 마스터링

대형 스튜디오가 항상 더 좋은가요?
이들은 유명한 룸과 엔지니어 명단을 제공합니다. 그러나 많은 아티스트는 직접 엔지니어와 소통하고 일관된 작업 속도를 선호합니다—프로젝트의 필요에 따라 선택하세요.

AI는 어디에 적합한가요?
AI/자동 마스터링 웹사이트는 데모와 빠른 승인에 효율적입니다. 최종 발매와 섬세한 음향 변환에는 인간 엔지니어가 더 안전한 선택입니다.

각 플랫폼마다 다른 마스터가 필요합니까?
안정적인 스테레오 마스터는 안전한 트루 피크 한계 내에서 광범위하게 호환됩니다. 필요하다면 방송용 또는 바이닐용 결과물에 대해 문의하세요.

일반적인 수정 횟수는 몇 회인가요?
1~2회의 라운드가 일반적입니다. 사전에 참고 자료와 의도를 공유하면 불필요한 반복을 줄일 수 있습니다.

최종 결론

적절한 마스터링 웹사이트는 귀하의 일정, 예산, 그리고 음향 목표에 부합하는 곳입니다. 이 목록을 사용하여 몇 가지 옵션을 추려내고, 작업 흐름을 비교하며, 임팩트와 신뢰성을 모두 제공하는 경로를 선택하세요. 싱글, EP, 또는 앨범을 명확한 소통과 플랫폼 준비된 결과물로 마스터링할 준비가 되었다면, 여기서 시작하세요: 온라인 오디오 마스터링

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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