Other plug–ins that go well on a master fader are EQs, compressors, stereo scopes and width controllers, noise reduction tools and virtual headphone mixing processors. They can add that last stage of gain to match the levels of commercial recordings, and perhaps more importantly, prevent the output from clipping if the mix exceeds its 0dBFS ceiling.
#Importance of a stereo master fader psp
The obvious candidate is the ‘brickwall’ mastering–style limiter, like DP’s bundled Masterworks Limiter or the usual third–party candidates such as Waves’ L2 and PSP Audioware’s Xenon. So what are the benefits of using a master fader? Well, for one, the master fader is the place to add plug–ins that work across your entire mix. Just make sure all your audio tracks (or at least the ones that aren’t specifically routed elsewhere) are feeding your hardware outs, and the master fader is too then everything will automatically connect and you’ll be away. So there’s almost never any additional configuration to be done. Master faders have only an audio output assignment, and that, too, will most often default to your main hardware outputs. We’ll discuss these in a moment, but first here’s the insanely easy way to get a master in your Mixing Board: choose Project menu / Add Track / Master Fader Track, or (on the Mac) use the keystroke Ctrl+Command+M.
The master fader channel on the right gathers the output from all the other audio tracks, and hosts a mastering–style reverb, a stereo processor and, finally, a mastering limiter, PSP’s Xenon.At the same time, though, there’s a lot to be said for regularly using a master fader in your DP mixes. Indeed, you could use DP for years, for hundreds of successful projects, without ever thinking about (or even noticing) the absence of a master fader.Ī typical master fader configuration in DP, from a small–scale classical recording job I did recently. They default to the main outputs of your audio hardware, and because it’s the actual mix bus (as opposed to an output fader) that’s taking care of mixing multiple tracks together, there’s nothing to think about. Then, DP’s way of doing things is to give all audio and instrument tracks configurable audio outputs, via pop–up menus in the Mixing Board, Tracks Overview and Sequence Editor. If you start working with a new, empty project, the Mixing Board will be completely empty too.
However, the same can’t be said for Digital Performer’s Mixing Board - at least, in its default layout and mode of operation. As well as allowing simple output–level adjustment, this will often provide other useful facilities for processing sound at the whole–mix level, and managing your monitoring.
#Importance of a stereo master fader software
Look at almost any hardware mixing desk, and many virtual DAW software equivalents, and you’ll see a master fader alongside the inputs, frequently as part of a more sophisticated master or ‘control room’ section. Adding a master fader to Digital Performer’s Mixing Board makes many mixing and mastering tasks easier.