I started off by importing the mixdown tracks Stereo L&R into 1 pro tools session, so that each song would be the same volume. Then naming the tracks on the marker. Then bussing each one to the master fader. But I noticed it would be harder to do it this way, due to the fact that I would have to use the markers to bounce down the tracks and use separate plugins for each channel. This way in the mastering part of the assignment wouldn’t hold up, and it would be harder to get the volumes of each song perfect.
An easier way to master each track individually would be to set up a mastering template, where I set up the template, so all I need do is import the stereo mixdowns of each song, separately with the same mastering template, once I have the mastering template setup, there would be no reason to change it. This would cause each song to be the same volume on the FMP CD This would be the exact method I would use in future.
So I added two audio mono tracks for the left and the right and a master track, I then imported the stereo mixdowns of each song to the cliplist. Dragged the 2 tracks over to the tracks named Left Track and Right Track. As you can see there are no plugins on the L or R track. I then added a third track named it Print.
On the in’s and out’s, there is no in’s because i’m not recording anything in, but on the out’s you can see SUBMASTER. This would go to the Print Master Track. I have added one plugin to the master track Ozone 7, which is a mastering tool, with a lot of different style plugins in one nice format.
With a slight boost on the high mids and then place the dynamic EQ with a emphasis on the highs so the acoustic guitars could come through even sweeter, on Yui’s songs, and on the Classic Rock band songs the settings on the eq would make the cymbals and the guitar solo on the Prince song sound crisp and in your face.
With the Maxizer Limiter I rode this badboy up and down to get just the right fit. If I rode it any higher the songs would have distorted. So I leveled it out at a threshold 4.4 and the ceiling at 0.1.
All that needs to be done now is to arm record and hit the record button to print out the track to the master track.
After doing this for the rest of the songs on the FMP. I left the template as is for every track, imported the mix downs of each song, placed them in the template, and recorded to the print track.
I set up the session as 44.1kHz 16bit and interleaved.
Once recorded I then muted the L&R tracks and bounced the print track separately. This obviously takes longer to do because I had to import every song into the template in separation. but with the mixdowns sounding great, I didn’t have to tweak the mastering sessions.