Logic Tutorial: Mastering In Logic

Combining the Multipressor with M/S processing can add big benefits to the mastering
process in Logic. Mark Cousins gets sidetracked

Like all multiband compressors, the Multipressor is a powerful and surgically precise tool thats an
asset to any mastering activity. By slicing the frequency spectrum into a series of manageable
frequency bands, it enables you to apply compression in a more controlled and instrument-specific
way, whether youre tightening a bass line, for example, or fine-tuning the compression across the
overheads to make it a little less pumpy. However, by bringing in the dimension of mid/side
processing, we can make the Multipressor an even more powerful sonic tool, controlling issues that
relate to dynamics, timbre and stereo dimensionality.
Technically speaking, of course, the Multipressor doesnt come with M/S processing as standard,
but with the addition of a simple freeware M/S encoding matrix and Logics own Direction Mixer
plug-in you can start to use Multipressor in an M/S capacity. For the purposes of this tutorial were
going to use Brainworxs bx_solo (www.brainworx-music.de), which does the job perfectly, although
there are other M/S encoder/decoder solutions available. Of course, if you like the bx_solo and
what M/S offers in general its well worth taking a closer look at Brainworxs other M/S-flavoured
signal processors.

Enter The Matrix

To begin, well build a simple M/S matrix to transform our existing master from L/R format where
the stereo soundstage is represented by two channels covering opposite sides of the soundstage
to M/S. The advantage of M/S (and the reason that it differs from L/R stereo) is that it divides the
soundstage into mid and side components the mid channel forming the centre of the soundstage
and the side channel containing the extremities of the stereo image. Although this approach might
sound strange at first, it soon makes sense once you start playing with the matrix.
The initialised state of the project is our track, ready to be mastered and split across two adjacent
channel strips. Now, instantiate bx_solo across each of the channels and set them to solo the mid
and side channels respectively. Pan these channels hard left and right and we now have a complete
two-channel M/S encoding of our original L/R mix. The M/S version sounds slightly one-sided, but
dont worry.

Having separated the L/R version into M/S format to apply the Multipressor, we also need to ensure
that our M/S signal is returned to stereo so we can audition it in L/R format. To do this, route the two
M/S channels to a spare buss by changing the channels current output assignment. Over on the
newly created aux fader, instantiate the Direction Mixer plug-in and set its input format to M/S. The
Direction Mixer will decode the M/S signal, returning it back into L/R format.

Middle Men
At this stage, the M/S matrix is complete, but its worth adding a few additional components across
the main output fader so you can monitor whats going on. The first plug-in is the MultiMeter, which
should be set to Goniometer mode. The Goniometer is a neat way of visualising the stereo image
try reducing the fader levels on the mid and side components to see what happens. Also, youll want
to instantiate another bx_solo, this time across the main output fader, so that you can solo the mid
and side channels without having to switch in and out the Direction Mixer plug-in.

Now that our setup is complete we can turn our attention to the Multipressor, in this case, being
used to control and refine the mid channel. The mid channel is an important part of the M/S
equation, as any instrument sitting in the centre will be prominent in this channel instruments such
as bass, for example, vocals, or anything panned centrally. To hear this, engage the M Solo button
on the final bx_solo and insatiate the Multipressor across the mid channel in our M/S matrix.

Keep Control
Despite the abundance of controls, the Multipressor is relatively straightforward to understand.
Across the top youll find a graphical representation of the four frequency bands with their three
respective crossover points. In this part of the exercise were attempting to direct some tightening
compression towards the low end of the mix, using the mid channel as this is where the bass
currently resides. Try soloing the lowest frequency band, therefore, and then adjusting the
crossover to around 170Hz so that you accurately separate the bass from the rest of the mix.

Keeping the bass band soloed, try adjusting the Compr Thrsh and Ratio controls to engage the
gain reduction. The ratio is about right (although you could go as high as 4:1 if you want harder
compression), so youll need to lower the threshold to yield about 36dB of gain reduction. You can
see the gain reduction movements in the top half of the display, with a blue bar graph ducking down
in response to movements around the threshold.

Adjusting the attack and release controls as well as applying a degree of gain make-up are useful
ways of refining the compression. Try softening the attack to around 20ms, for example, to hear
more of the percussive energy in the low end, as well as softening the release to 100ms so that it
breathes in a more sympathetic way with the track. Gain make-up will also restore the relative level
of the band, but be careful not to overdo this as you might start to skew the spectral balance of the
track. In this case, about 2.5dB should provide a suitable restoration of level.

On the Winning Side

One of the real benefits of having access to the side channel is a means of controlling the stereo
width of the bass end. If you want a really tight bass, accepted wisdom is that the left and right
channels should be working in tandem rather than conflicting with each other. Removing bass from
the side channel, therefore, doesnt remove bass from the mix, but instead puts a distinct focus
towards the centre of the mix. To explore how we can achieve this, start by instantiating another
Multipressor across the side channel and solo the side channel using the instance of bx_solo
across the main stereo outputs.

Given that the Multipressor uses filtering to divide the sonic spectrum, we can effectively use the
Gain Make-up control on the lowest band to remove (or at least severely attenuate) bass from the
side channel. Set the Gain Make-up control to -20dB, therefore, and move the Crossover control to
tune-out any unwanted bass. In this example, a setting of around 200Hz provides enough low-end
reduction. Try bypassing the side solo and switching the Multipressor in and out to hear the subtle
tightening effect it delivers.

The M/S Advantage

As you start to understand the differences between the mid and side channels you begin to see the
potential of the Multipressor in M/S mode. If you can imagine a traditional frequency-based
multiband compressor as slicing the mix horizontally (working up through the frequency bands, in
other words), M/S adds an additional dimension in respect to vertical slicing where the mix is
further divided into the side and mid components. In effect, therefore, you can direct compression
across eight distinct areas of the mix, which is an impressive degree of control considering that you
began with just a single stereo file!
Fully understanding the potential of M/S takes time, but as one last example, lets explore the effect
of high-end enhancement in the side channel. Open the Multipressor on the side channel and turn
your attention to the highest frequency band. What we want to achieve here is some high-end
enhancement reducing the dynamic range, but avoiding any excessive pumping. Dial down the
ratio to a relatively soft setting (around 1.533:1) and then pull the threshold down to around -40dB
so that the Multipressor starts to massage the signal levels.

To retain the transient detail, try increasing the attack time to around 20ms, as well as lengthening
the release to around 100ms so that the compressor responds in a more musical way. Assuming
that youve carried this out with the side band soloed, try going back the stereo version of the track
and experiment with differing amounts of gain make-up. Around 23dB would arguably retain the
original signal levels, but its also interesting to push the output levels slightly hotter. Notice how the
effect isnt entirely timbral in that it also changes the stereo dimensionality of the mix, almost making
the sides of the mix more vibrant.

Band Master
As you can see from what weve explored here, the combination of M/S processing and the
Multipressor is a powerful one, enabling you to deal with three primary issues of mastering timbre,
dynamics and stereo dimensionality in a single process. While many novice engineers see a
limiter as the secret weapon of mastering engineers, its arguably more holistic techniques like M/S
multiband compression that offer the most effective means of processing and enhancing your music
in its present state.