SP1. Final Stages and Completion.

Master Limiting.

Now I have finished all of the recording and processing of drums, guitars, bass and vocals, the final criteria from the assessment requirements for this project instruct me to use limiting on the master fader with a peak output of -0.2dB. This was done using the Maxim master limiter from the Pro Tools plugin library inserted onto the master channel strip. Below is a screen shot of the maxim limiter.

The output ceiling of the maxim limiter is set to -o.2dB and has an attenuation (track boost set by the threshold) of around 6dB. The assessment requirements also ask that there is no clipping of audio prior to master limiting so to demonstrate this I have uploaded two screenshots of the master channel strip level meter when the maxim limiter is activated (right) and another when it has been bypassed (left), which shows no peaking before master limiting.

To conclude this project I have also uploaded an audio clip of the track including all recorded material i.e. Drums, guitars, bass and vocals as well as a screenshot of the arrange window in Pro Tools showing all of the audio tracks used.





I feel that this first project was a success in that it fulfills all of the assessment criteria as specified in the module guide relating to this project. The project demonstrates an effective use of mic placement techniques, for example overhead and X/X micing, as well as displaying basic studio confidence. If I were to redo this project there is a number of criteria I would spend more time working on or with. These are outlined in the short list below.

  • Make sure all drums are tightened, i.e. snare, before undertaking recording.
  • Mic up Hi-Hats and snare separately to get a more higher quality recording of both parts of the kit.
  • Attach a coin to the point of contact between the beater and the kick drum to get a more prominent kick sound as apposed to a thud.
  • Mic up the fretboard or strumming point of the guitar to get a wider range of guitar sounds to interleave during mixing.
  • DI or double track the bass when recording to get a much fatter bass sound.
  • Spend more time on compression in order to attain the highest form of dynamic control, consequently arriving at  clearer, more defined/controlled audio signal.
  • Double track the vocals or record overdubs to thicken out the vocal part.
  • Experiment more with panning or placement of sound within the stereo field.
  • Deligate and orchestrate my time in the studio more effectively so as to yield higher quality recordings in a shorter working period to allow more time for mixing and processing.


  • Zimmerman, J,T. (2008) Random Album Title, UK/Ireland: Ministry of Sound. MAU5CD01. Compact Disc. 70:33 min.
  • Armstrong, B,J. (2001) International Superhits, UK: Reprise. WBCD 2004. Compact Disc. 60:41 min.

Web references.


    ~ by J.E.R.U. on November 10, 2010.

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