Digital Mastering | Part 1

The Shibumi Signature Sound

Our key principle for sound design is “Set & Setting”. This phrase, popularised by Timothy Leary, represents the importance of mental and environmental context on the quality of an experience. As a label, we believe enjoyment of music is dependent on a good mindset and surroundings, so we put significant effort into recreating the sonic environment of a special event such as a festival stage.

This course explains how to mix and master your music to match the Shibumi Records signature sound. You’ll discover the tools we use to process our sound, get download access to our FX chains and learn the essential knowledge to achieve your desired sound. Enjoy!

 

What You’ll Need

This tutorial is written for Ableton users, but the content is still relevant for the majority of mixing and mastering tools.

 

Part 1.1

Stems & Return Tracks

In a recording studio, physical mixing desks and their equivalent digital audio workstations (DAWs) such as Ableton, Logic, Pro Tools and FL Studio have multiple tracks. A stem track is an audio signal such as a microphone or instrument. A return track is an auxiliary channel typically used to apply audio effects (FX) to signals sent through it. Mixing desks allow you to apply audio effects (FX) to stem tracks, return tracks and/or the master channel.

A Typical Mixer Interface

Sine Wave

The output of all stem and return tracks are mixed down into a single main channel, but signals can also be sent via a return track for FX processing.

 

Part 1.2

Shibumi’s Signature Returns

Different instruments tend to have their own sonic characteristics. When mixed with others, their characteristics can clash, resulting in an unnatural sound. Engineers tend to solve this problem by applying subtle amounts of the same FX to each instrument via a return track. The return signal is then mixed with the main channel to “glue” the tracks together.

For mixing and mastering, Shibumi Records uses six return channels with their own carefully configured FX chains to create the label’s unique sound. acoustic environment similar to a large rave venue. Our current configuration models the main room at Tobacco Docs in east London. Each return channel is set specifically to simulate the sound experienced by a listener standing in front of the second main pillar on the north side of the room. Reflections from the rear and side walls are simulated by carefully calculated delays and EQ curves mimic the most prominent frequencies reflected by the room’s breeze block walls.

Our Return FX Chains

The first step to achieving the signature Shibumi sound is to set up six return tracks in your project. Download the effects chains below and add them individually to each track. Note: These effects chains are formatted for use in Ableton.

Main Room

A model acoustic environment of a major nightclub. Allows control of the room’s resonant sub bass frequency and the amount of reflected sound.

Next Room

A model of a smaller room environment. Allows control of the room’s resonant sub bass frequency and the amount of reflected sound.

Delay

A tool for simulating sound reflections from the virtual environment.

Kick Reverb

Adds an extra layer of power and position to your kick drums and can be used to create a nice off-beat sub groove.

Top Reverb

Fills your track’s top end space with a harmonic ultrasonic canvas to create a sense of serenely infinite height.

Reverb Feedback

Pitches up your top reverb tails as if they were ascending to the heavens.

1.2 Returns

Different inlls.

  1. Delay (download)

  2. Kick reverb (download)

  3. Main room (download)

  4. Side room (download)

  5. Top reverb (download) - Send some of the output of this channel into “Top reverb feedback” to set up an upper harmonic layer of reverb. We recommend sending -6db to start with to prevent redline clipping.

  6. Top reverb feedback (download) - Send the output of this channel back into “Top reverb” to achieve an ethereal high frequency ambience. Be careful not to send too much signal back though, otherwise you’ll get a positive feedback loop and redline the entire mix.

1.14 Main Channel

We’ve spent more than five years building, tweaking and improving our main channel mastering rack.

Applying the right FX to the right part of your project is the key to good mixing and mastering. Knowing how to apply FX is a skill, but balancing the original sound is an art. Too much processing erodes character, but not enough can prevent the project from fulfilling its potential.

This section explains how to apply the appropriate effects to the right parts of your project, how to find the balance between wet (100% FX) and dry (No FX) and how to analyse the resulting main/master channel to further improve your sound.

 

Ready to Learn more?

Now that you understand the basic elements of sound waves, it’s time to apply the concept of harmonics. This is where the creativity really starts to flow. 💥 🎹 🌊

Start Part 2
Start Part 2

 

Ready to Learn more?

Now that you understand the basic elements of sound waves, it’s time to apply the concept of harmonics. This is where the creativity really starts to flow. 💥 🎹 🌊

Start Part 2
Start Part 2