Hi! This is Jooyoung Kim, mixing engineer & music producer.
Before, we talked about hardware. Today, I’ll begin by introducing mastering. This article is based on my book, Basics of Mixing, published in South Korea.
Let’s dive in!
What is Mastering?
Why do we master audio?
The loudness of mixed music is too low
So gain more volume for the mixed music, maintaining the instruments’ balance
Of course, mastering involves many aspects. You can easily understand mastering with the two sentences above.
Simply put, mastering is the final step in music production. It can also be described as packaging the mixed music. The package does not change after mastering.
Room acoustics are the most important factor in building a mastering studio. Also, great quality ADC(Analog-Digital Converter)/DAC(Digital-Analog Converter), speakers and hardware are necessary too.
Building a mixing studio is also expensive. However, in mixing studio, audio hardwares take quite large volumes-they make room acoustics worse.
A desk with hardware may look good and fancy, but it takes up a lot of space. This can lead to comb-filtering effects. Removing the desk is a great solution, but as you know, it’s easier said than done..
One more thing, a mixing engineer listens to a song too many times, making it hard for them to recognize problems. Therefore, when you need to master a song or an album, I recommend hiring a mastering engineer.
Nevertheless a mixing engineer should provide a louder monitor file to clients than the mixed file. Due to budget constraints, mixing engineers sometimes have to master their own files.
In this chapter, for those situations, I’ll talk about the process and concepts about mastering.
Hello everyone! I’m Jooyoung Kim, a mixing engineer and music producer.
Recently, Brainworx released a plugin emulation of the SPL Machine Head, a classic saturation device. Since it’s currently on sale, I thought it would be a great opportunity to introduce not only this plugin but also two other renowned Brainworx saturators: SPL Vitalizer MK2-T and Elysia Karacter.
I received an NFR (Not for Resale) copy of this plugin from Plugin Boutique for review. If you purchase through the links in this blog, I receive a small commission, which helps me continue my work. Your support is greatly appreciated!
SPL Machine Head
The SPL Machine Head was originally released in 1997 as a tape machine saturation simulator. Unlike traditional analog tape machines, this hardware version was fully digital, eliminating wow, flutter, and noise while allowing precise control over the saturation process.
Brainworx has faithfully recreated this in plugin form, bringing its unique sonic characteristics to the digital domain.
Controls Overview:
The Original version has 4 knobs, while the Ultimate version has 5.
Besides Input and Output levels, the main controls include Drive, High Frequency, and Low Frequency.
Left one is original, right one is ultimate
In the default state, it slightly boosts the high frequencies and enhances third-order harmonics.
Left one is original, right one is ultimate
When increasing the Tape Speed, an actual tape machine would typically alter the frequency response by rolling off both low and high frequencies. However, in this plugin, it seems to achieve a similar effect by adjusting volume and high-frequency slope.
Key Takeaways:
Functions as an EQ (HF knob boosts/cuts highs, LF knob boosts/cuts lows)
Adds third-order harmonics for natural saturation
Slight compression effect at higher input levels
Compared to other saturators I’ve used, the effect is subtle and very natural. I find it particularly useful for enhancing high frequencies, similar to the Maag EQ4 or Baxandall EQ.
Plugin Alliance plugins typically see deeper discounts about a year after release, so if you’re not in a rush, you can wait for an even better deal.
🔹 Recommended Master Bus Settings: 🔹
Ultimate mode
Drive at 0.5
High Tape Speed On (30 IPS)
SPL Vitalizer MK2-T
The SPL Vitalizer MK2-T is a tube-based saturator with versatile tone-shaping capabilities.
I once debated whether to buy this hardware unit or another compressor. I went with the compressor, but the Vitalizer remains an incredibly flexible tool.
The SPL Vitalizer offers four main processing areas:
Drive
Bass & High-Frequency Control
LC (Inductor-Capacitor) Filter-based High Shelf EQ
Stereo Expander
Control Breakdown:
Drive: Determines how much effect is applied, not just input gain.
Bass (Soft <0> Tight):
Soft: Boosts overall bass
Tight: Slightly reduces overall levels while enhancing only the bass region.
Compression: Works only on the bass frequencies, with automatic Threshold, Attack, and Release settings. The Compression knob adjusts the ratio.
Mid-Hi Tune: A shelving EQ for the mid-to-high range.
Process: Controls the overall amount of bass, compression, and mid-high tuning applied.
LC-EQ: A high-shelf EQ using LC circuits.
Stereo Expander: A stereo enhancement tool.
Initially, the controls may feel unfamiliar, but once you get used to them, you’ll find many creative applications.
I love the saturation in FET mode, but due to its aggressive nature, I recommend placing gain plugins before and after it to control input and output levels.
This plugin also goes on sale frequently, so keep an eye out!
Plugin Alliance vs. Plugin Boutique Pricing
Recently, Plugin Alliance started adding a 10% tax at checkout. Because of this, Plugin Boutique often offers a better deal, especially considering their loyalty points and free plugins.
That’s it for today’s review! Hope this helps you decide which saturator fits your needs.
Hello! I’m Juyoung Kim, a mixing engineer and music producer.
It’s been a while since I shared plugin sale news, hasn’t it? Over the holiday season and into early January, my manager was on vacation, and most major sales wrapped up at the start of the year. So, I didn’t have much to share.
This product was provided as an NFR (Not for Resale) through Plugin Boutique. If you make a purchase using the links in this post, I’ll earn a small commission, which helps me keep doing what I do.
Let’s dive in!
SSL X-EQ 2
The SSL X-EQ 2 is a feature-packed EQ plugin. These days, DAW-native EQs are so powerful that standalone EQ plugins need to have a competitive edge to stand out—and X-EQ 2 delivers.
Key features include:
Mid/Side processing
Presets to remove 50Hz and 60Hz hum (ideal for handling electrical noise)
You can double-click to create points and adjust EQ type, frequency (Hz), bandwidth (Q), and gain (dB) with ease.
A particularly fun feature is the knob-like interface—select a parameter (Hz, dB, Q) and adjust it by dragging your mouse, mimicking the feel of turning a physical knob.
It also includes an analyzer (activated via the top-right button) and lets you choose between parallel or serial processing from the top-left menu.
Additionally, you can activate Phase Analysis to see phase shifts (dotted lines) or enable Step Response Mode to view how signals evolve over time after passing through the EQ.
Heaviside Step Function
For those unfamiliar with Step Response: The Step Response of a system refers to how the system reacts over time to a sudden change in input, specifically when the input shifts instantaneously from 0 to 1 (a Heaviside Step function). It demonstrates:
The system’s transient behavior, showing how it initially reacts to the input change.
The steady-state behavior, revealing how the system settles after the transient phase.
The time it takes to stabilize, which indicates the system’s responsiveness.
In the context of EQs, a longer Step Response often correlates with ringing artifacts, where the EQ introduces unintended resonances that make the sound linger beyond its natural decay. This visualization helps engineers fine-tune the EQ to minimize these artifacts.
I love all the features, but the only downside is that the window size can’t be adjusted. But if you see the price, it could be convinced!
DeEss Plugin
The DeEss plugin offers highly detailed sibilance control.
Key features:
Adjustable target range: 1kHz to 20kHz
Mid/Side processing
Compression intensity and Brighten (high-shelving EQ) controls
Lookahead capability for precise processing
A standout feature is the Auto Listen mode, which allows you to hear both the filtered signal and the original detection, making adjustments much easier.
This DeEss plugin is one of the most versatile I’ve come across, and it’s surprisingly lightweight unless oversampling is applied. If you don’t already have a dedicated de-esser, this is an excellent choice.
Bonus: Free Plugin Offer
If you purchase any plugin from Plugin Boutique this month, you’ll receive Klevgrand’s Richter Compressor Plugin for free. Don’t forget to claim it when checking out!
Final Thoughts
Both the SSL X-EQ 2 and DeEss plugins are incredibly versatile and user-friendly tools for mixing and production. The 90% discount makes this deal even sweeter—don’t miss out before the sale ends on January 29!
Feel free to reach out if you have any questions. Until next time!
Hello! I’m Jooyoung Kim, a mixing engineer and music producer.
Recently, I mentioned that I had written a simple paper in Korean. Initially, it was just a school assignment, but I decided to submit it as a formal paper rather than letting it collect dust.
Today, I searched for it on RISS and found that it’s officially listed! So, I’d like to share some insights from it.
As the title suggests, this paper involved a lot of hands-on work and analysis. Here’s what I did:
I tracked down GRAMMY Record of the Year nominees from 1995 to 2020 that were released on CD, importing the CDs directly from Japan.
From 2021 onward, CDs were no longer released due to declining sales. For these years (2021–2024), I purchased FLAC 44.1kHz/16-bit files for the nominees.
I extracted FLAC files from the CDs and measured their loudness values using the Youlean Loudness Meter.
This meter allowed me to measure Momentary Max, Short-Term Max, and Integrated Max LUFS (Loudness Units Full Scale). Using this tool, I processed a total of 520 songs.
Data Analysis
For analysis, I used common statistical methods like linear regression and ANOVA. While the statistical methods might not be particularly meaningful to engineers or artists, the results are worth noting.
In summary, I observed:
Starting in 2015 (just before loudness normalization became standard across music streaming platforms), the 3-year moving average of loudness began to decrease significantly in a linear trend.
Let’s break down the results with some key points about loudness:
LUFS (Loudness Units Full Scale) measures the perceived loudness of audio.
A value of 0 LUFS represents the maximum output level. Lower values (negative) indicate quieter audio.
Average Integrated LUFS by Year
Integrated LUFS represents the average loudness of a track from start to finish. Here’s the year-by-year trend:
Year
Average Integrated LUFS
2011
-7.9668
2012
-8.7532
2013
-8.5582
2014
-9.17
2015
-7.5467
2016
-8.7710
2017
-8.4776
2018
-8.27
2019
-8.7814
2020
-8.6533
2021
-8.1338
2022
-9.145
2023
-8.706
2024
-8.8175
This data reflects the overall average loudness of music in recent years.
Momentary Max LUFS by Year
Momentary Max LUFS represents the peak loudness within a short 0.4-second window. Below is the year-by-year trend:
Year
Average Momentary Max LUFS
2011
-4.3868
2012
-5.0709
2013
-4.5377
2014
-5.1439
2015
-4.2238
2016
-4.8648
2017
-4.4562
2018
-4.5686
2019
-4.9491
2020
-4.9752
2021
-4.4825
2022
-5.125
2023
-4.944
2024
-4.6863
Takeaways for Audio Engineers
From this analysis, I’ve noticed two important trends:
Integrated Loudness Levels:
In recent years, tracks with Integrated LUFS around -8 to -9 LUFS seem to be well within acceptable ranges, meaning engineers no longer need to obsess over achieving higher loudness levels.
Peak Loudness (Momentary Max LUFS):
Most highlights in songs fall within -4 to -5 LUFS. Standard deviation has also decreased over time, suggesting a narrowing range in peak loudness levels.
These findings could serve as helpful guidelines for mixing and mastering.
Personal Notes
Currently, I’m working on another audio-related paper using LaTeX—a tool that feels more like coding than writing! While it’s challenging, I’m preparing this paper for submission to the ASA (Acoustical Society of America), aiming for SCI recognition.
If rejected, I’ll submit it to AES (Audio Engineering Society) instead—or another venue if necessary.
I hope these insights into loudness trends prove useful for those in music production and audio engineering! If you have any questions about loudness, feel free to reach out via email.
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