The
Audio
Masterclass
Music
Production
and
Sound
Engineering
Course




MODULE
11
PRACTICAL
ASSIGNMENT:
Mastering

Project



In
this
project
you
will
use
standard
plug‐ins
to
carry
out
the
multiband
compression
process
from
scratch,

without
the
use
of
a
dedicated
multiband
compressor.



The
raw
material
for
this
project
is
an
edited
version
of
the
song
The
Woodcutter's
Wife
by
Audio

Masterclass
Featured
Artists
Chandelle.
The
mix
you
will
use
intentionally
incorporates
dynamics,
and

'space'
around
the
individual
instruments
and
voices.
This
will
demonstrate
the
effects
of
the
multiband

compression
process
clearly.
The
mix
has
not
been
compressed
or
mastered
in
any
way,
other
than
overall

EQ.



Example
file:
mix.wav
(in
the
assignment
notes
folder)



This
file
is
deliberately
not
normalized
so
that
you
have
headroom
in
which
to
work.




Step
1



Firstly,
you
are
going
to
make
three
versions
of
the
track.
One
will
contain
only
the
low
frequencies,

another
only
the
mid
frequencies,
and
the
third
only
the
high
frequencies.



If
you
have
a
filter
plug‐in...



Insert
the
filter
into
the
track.
Set
it
to
'low
pass'
with
the
highest
slope
the
filter
offers,
up
to
24
decibels

per
octave.
Adjust
the
cut‐off
frequency
until
subjectively
you
feel
that
you
have
the
lower
third
of
the
total

energy
of
the
track.
Record
what
you
hear
to
disk.



If
you
do
not
have
a
filter
plug‐in...



In
this
case
you
will
have
to
use
a
standard
EQ
plug‐in
instead.
Set
it
to
the
high‐frequency
option
and

maximum
cut.
Adjust
the
cut‐off
frequency
until
subjectively
you
feel
that
you
have
the
lower
third
of
the

total
energy
of
the
track.
Record
what
you
hear
to
disk.
You
will
carry
out
a
similar
procedure
for
the
other

three
bands,
which
you
can
adapt
from
the
instructions
for
using
a
filter.



Next,
set
the
filter
to
'high
pass',
once
again
with
the
highest
slope
value,
up
to
24
dB/octave.
Adjust
the

cut‐off
frequency
until
subjectively
you
feel
that
you
have
the
higher
third
of
the
total
energy
of
the
track.

Record
what
you
hear
to
disk.



Next,
use
both
low‐pass
and
high‐pass
filters
so
that
only
mid‐range
frequencies
get
through.
Use
the
same

frequency
settings
as
for
the
low‐pass
and
high‐pass
versions.
You
will
have
to
swap
them
around.
Record

what
you
hear
to
disk.



Import
your
three
new
files
back
into
the
session.



Step
2



You
now
have
four
tracks
in
your
session.
One
is
the
original
mix
that
you
imported.
Then
you
have
the
low‐

Module
11
Practical
Assignment
Project

frequency
version,
the
mid‐frequency
version
and
the
high‐frequency
version.



Compare
a
mix,
at
equal
levels,
of
the
three
new
files
against
the
original.
They
should
sound
very
similar.



Next,
mute
the
original
file.
You
will
not
need
it
again,
except
for
comparison.



Insert
a
standard
compression
plug‐in
into
each
of
the
three
new
tracks.
Solo
each
track,
and
adjust
the

compression
settings
so
that
you
can
definitely
hear
compression
happening,
but
not
so
much
that
it
is

unpleasant.
You
can
use
different
settings
in
each
track
if
you
like.



Step
3



Leave
the
level
of
the
mid‐range
track
at
0
dB.
Adjust
the
levels
of
the
low‐frequency
and
high‐frequency

tracks
so
that
you
get
a
blend
of
sounds
that
you
like.



This
is
your
finished
work.
Save
it
to
disk.



Now
compare
your
multiband
compressed
mix
with
the
original
version.
It
should
be
stronger
and
fuller,

and
preferably
not
over‐compressed.



Notes



There
are
no
right
and
wrong
solutions
here.
It
is
entirely
up
to
you
to
balance
the
settings
to
get
a
result

that
you
find
pleasing.



Assessment
Criteria



Listen
carefully
to
your
work
and
ask
yourself
the
following...



 Are
any
of
the
bands
over‐compressed?


 Is
the
balance
of
frequencies
pleasing?

 Could
you
perhaps
have
compressed
more?

 Could
you
have
chosen
better
frequency
settings?



Try
to
be
as
analytical
as
you
can.
When
you
feel
that
you
understand
the
good
and
not‐so‐good
qualities
in

what
you
have
produced,
start
again
and
have
another
go.
This
is
an
excellent
exercise
for
getting
a
feel
for

EQ,
compression,
and
this
particular
aspect
of
the
mastering
process.




End
of
assignment




If
you
have
purchased
the
assessment
and
certification
package
with
your
course,
you
may
submit
your

work
to
Audio
Masterclass
online
for
assessment
and
comments.


http://www.audiomasterclass.com/submission


Please
note
that
if
you
have
not
purchased
the
Assessment
and
Certification
package,
the
submission
form

will
not
work
for
you.
Please
contact
Audio
Masterclass

if
you
would
like
to
upgrade
your
enrollment.


Module
11
Practical
Assignment
Project