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Cubase 401
Mastering in Cubase
Make your music productions sound professional and ready for broadcast and distribution!
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Cubase 401 : Mastering in Cubase
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Chapter 1: Understanding the Art a...
1: The Concept of Mastering
01. Goals of "Mastering in C...
02. What is Audio Mastering?
03. Analog Mastering vs. Dig...
04. Peak Volume vs. Average ...
05. Remastering Comparison
06. The Loudness War: Daring...
07. Bit Depth: 16 Bit vs 24 ...
08. Don't Throw Away Your Bi...
09. Sample Frequency (in KHz...
10. Mastering for Different ...
2: The Tools of Mastering
11. My clients say, "Make it...
12. The "Top Speed" of Digit...
13. Normalizing and Why You ...
14. The Concept of Dithering
3: The Cubase Mastering Plug-ins
15. Mastering Limitations of...
16. Plug-ins for Compression
17. Plug-ins for Tone (EQ)
18. Plug-ins for Limiting
19. Plug-ins for Dithering
20. Following Proper Masteri...
21. using the Cubase Plug-in...
22. What the Click? Mac OS v...
4: Making a Master-ready Mix in Cub...
23. Inserting the Mastering ...
24. Monitoring the Mastering...
25. Checking the Gain Stage ...
26. Mastering after the Mix ...
27. Increasing Your Audio In...
28. Can I Use Mastering Plug...
29. Using Your Ears, Monitor...
Chapter 2: Understanding Compresso...
5: The Controls of a Compressor
30. Creating a Cubase Projec...
31. Adding a Basic Compresso...
32. Compressor are like Rubb...
33. Threshold
34. Ratio
35. Make Up Gain (Output) an...
36. Soft Knee vs Hard Knee
37. Attack, Hold, Release, a...
38. Analysis (Peak and/or RM...
39. Trying Different Compres...
6: The Cubase Multiband Compressor ...
40. Full-Range Compressors v...
41. Multiband Compressor Con...
42. Using the MUTE and SOLO ...
43. Adjusting the 4 Frequenc...
44. Adjusting the Output Gai...
45. Trying Different Multiba...
46. Is the Multiband Compres...
Chapter 3: Understanding Tone (EQ)...
7: What is Tone?
47. Tone, EQ, and Equalizati...
48. Tone Controls Found on C...
49. Parametric EQ vs. Graphi...
8: The Cubase Channel EQ
50. The Concepts of the Cuba...
51. Frequency and Gain
52. Q-Factor
53. Moving the Controls
54. Bypassing Individual Ban...
55. Trying Different EQ Pres...
56. Is the StudioEQ Plug-in ...
9: The GEQ10 and GEQ30 Graphic Equa...
57. The Concepts of the Cuba...
58. Sliders for Different Fr...
59. Outputs, Flatten, Range ...
60. The Filter Mode Settings
61. Trying Different Graphic...
Chapter 4: Understanding Limiters
10: What is a Limiter
62. A Limiter is like a C-Cl...
11: Using the Cubase Maximizer
63. The Maximizer Plug-in is...
64. Setting the Output Level...
65. Using the Optimize Contr...
66. Soft Clip: On or Off?
Chapter 5: Dithering
12: Using the Appogee UV 22 HR Dith...
67. Where to use the UV 22 H...
68. Choosing an Output Bit R...
69. Setting a Dither Level
Chapter 6: Mastering Your Project
13: Using the Multiscope Plug-in
70. The Multiscope in Freque...
71. Using the Multiscope in ...
14: Using all your Mastering Plug-i...
72. Setting up a Cubase Proj...
73. Using the Multiband Comp...
74. Using the GEQ-30
75. Using the Maximizer
76. Adding a "Consumer Smile...
77. Export > Audio Mixdown
78. Statistical Analysis of ...
15: Matt's "Mixdown" Philosophy
79. Why 4 Mixdowns?
80. Exporting to High-Resolu...
81. Exporting to High-Resolu...
82. Exporting to CD Resoluti...
83. Exporting to MP3 Resolut...
Chapter 7: Multi-Project Mastering
16: The Importance of Multi-Project...
84. Multi-Project Mastering ...
85. Where to Put the Plug-in...
86. Comparing Tracks
87. "Feeling" the Transition...
88. Crossfading Mastered Fil...
89. Exporting Multi-Project ...
17: Signing Off
90. Goodby and Good Luck
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