Wallander Instruments has just released an update, version 3.3, at the usual update price — FREE. Yes, if you have ever bought a version of NotePerformer you have had and continue to have free updates.
If that sounds too good to be true, it is GREAT and it is also TRUE. I have no idea how Arne Wallander manages to keep producing this fantastic software and upgrading it for free, but I am incredibly grateful for this man and his company’s generosity.
If you don’t have it already, BUY IT. It gives your notation the expression of a fine musician, as if a virtuoso were performing your score, with terrific sampled instruments. For more information see my full review of NotePerformer here.
If you are a registered user you will be getting an email announcement shortly. If not, give them a day or two and then contact NotePerformer here.
Executive Summary: We look at WaveLab Pro 10, another astonishingly powerful software tool from Steinberg that can save you thousands of dollars while teaching you one of the most valuable skills in music, all the while improving your mixing and grasp of the entire recording chain.
‘They’ll fix the mix in mastering” “The more you spend on mastering the better your song will sound” “I didn’t master my CD and it sounds great anyway” “We sell our CD’s at gigs so we didn’t need to master them.”
There are a lot of misconceptions and partial truths floating around about mastering. I had just spoken with a couple of friends who had decided to master individual songs and were wondering whether it was money well spent. Since we’re all about getting musicians value for their money, and saving it where we can, the appearance of WaveLab Pro 10 seemed perfect for this blog. WaveLab Pro 10 is Steinberg’s newest version of their acclaimed mastering software (and as with Dorico, there is also an “Elements” version with just the basic capabilities for learners and those just interested in checking out mastering for fun). I’ll have a lot to say about WaveLab Pro 10, which is frankly amazing, but first lets see what “mastering” is.
The job of the mastering engineer is to take the final mix of the album, song, soundtrack, or other audio source, and make it consistent with professional standards. One task is to fix obvious audio errors (pops, clicks, extraneous noise such as buzzes from lights, fans, etc.). A more important task shows up with an album, EP, or other set of songs: consistency. While the mixer gets the song balanced as perfectly as possible between the tracks, the mastering engineer balances all of the songs to have about the same overall loudness (no annoying changes of volume for the listener) as well as the same general frequency content (with room for obvious exceptions). You don’t want one track to sound as if it were recorded in your living room while the next sounds like it was done in a barn.The artistry here is in the creation of a single sound-world for the entire project while no part seems too different from the mixed version (for a more colourful description of the problems that can arise see Mixerman’s Zen and the Art of Mixing). Other tweaks can include adding more of the highest frequencies for more “air” or boosting a frequency that is lacking to give a sound more “presence”. These are subjective calls but based on lots of information on the mix of frequencies and their changes over time. Mastering includes (or at least should) all work up to the physical replication of the work. This includes the creation of a DDP (digital description protocol), a format used by most disc replication plants to create CD copies of an album. (Neither of my friends received a DDP file for their money, although they did have single songs mastered.)
It’s true that the mastering engineer can save a bad mix to some extent, but in many cases with a stereo final mix, there are serious limitations. I’ll give you some examples as we explore WaveLab Pro 10. Just as you don’t want to let a bad performance slide, thinking that “they will fix it in the mix” you don’t want to hope that a poor mix will be “fixed in mastering.” Great results only come from every member of the team doing their best.
WAVELAB PRO 10
I hadn’t seen WaveLab since its very early years and so when I first opened version 10.0 I was overwhelmed by all of the information in front of me. I chose a nice-sounding stereo mix from years ago that had a few problems to test what WaveLab could and could not do. My first problem was trying to find the transport bar/window. It started off “hidden” and I could find no reference in the online documentation (the current PDF manual is for version 9.5 with a multi-lingual manual for 10.x available soon). This was frustrating, but my problem was solved by a quick question to — and a quick answer from — the Steinberg WaveLab 10 forum. While support forums vary in quality, Steinberg’s have proven to be great so far. I got quick, accurate answers to my questions, including detailed instructions and even screenshots with recommended settings. A very welcoming and knowledgeable group! (It turned out to be present but I needed to click on its “Show” button to make it visible.) BTW, I always use a pseudonym in support groups so that I don’t get special treatment as a reviewer. So, once I had this going, many of the displays were self-explanatory. Being able to see the frequencies vary as the song played was a revelation, but even more amazing was the 3-D graph of the frequencies over time. The bass was woefully missing for ALL instruments, and so was any hint of “air”. This nice song was compressed into a strangely tight band of frequencies. While this was mostly OK in an MP3 or on the laptop’s speakers, the better the playback hardware the more obvious the flaw.
WHERE’S MY BASS?
While every instrumentalist seems to want more prominence, the bass player had a good case here. The well-placed interweaving lines were barely audible, often drowned out by the over-loud guitar. I was able to easily choose just one spot where the bass was crucial and adjust its EQ with WaveLab’s own StudioEQ. I had my whole set of Slate EQ’s at the ready, but I really liked WaveLab’s StudioEQ, a parametric EQ with shelving that let me hone in on the precise frequency range of the bass. If you do have a favourite effects chain for mastering, WaveLab Pro 10 will host any 64-bit plug-in.
With this precise ability to boost the frequencies of our missing bass I hit our first mastering problem. Why the mixer chose to cut the bass so drastically suggests poor monitoring during recording and mixing. The lack was obvious from a first listen and confirmed by the several different frequency displays. I raised the bass guitar nicely BUT also raised the guitar when it was allowed to encroach on this frequency range. Even being able to pin-point single notes caught guitar ones as well. While their tight interplay could have been separated in mixing, it was too late (for me at least) when the stereo file arrived at my “mastering desk.” So some sloppy mixing could not be fixed at mastering.
M/S ANYONE?
Another option in mixing would have been to put the bass in the middle and pan the guitar out to the sides. Besides giving a wider stereo image, it would have made mastering in WaveLab a lot easier as it can to M/S (Middle / Side) processing simply, and then switch back to regular stereo with a single click. Had it been mixed that way I could have processed the bass (and probably the drums too) without the guitar getting in the way. If. A mixer who knows what to expect in mastering will likely deliver a much better mix.
CHAIN, CHAIN, CHAIN
I was more successful with my next few attempts. I was able to add in very high frequencies and get a lot more “air” in the song without taking away any of its punch. A slight hum from the lights disappeared without a trace.
One huge bonus has been learning what can, and cannot, be salvaged in mastering. Working at the end of the recording chain gives you an overview of the entire process, including what you could have done better in mixing, even what mistakes you made in recording. Even if you are a complete beginner and working on an important project that will be professionally mastered, you can learn a lot about your mix and make fixes that show up in WaveLab so that the pro has the best possible mix of your music to enhance. Rather than spending their important time (and your important money) fixing bad mix decisions, they can concentrate on those little tweaks that add up to big improvements.
At the mastering desk I can see that the bass is far too low but also that the guitar keeps dropping into the bass range. So apart from just being too loud, the guitar part makes raising the bass volume very tricky. Were I able to, I’d remix the original (which is apparently long gone) to balance the instruments better. So for my own next mix, I’ll use this experience to have a better result to be mastered, having fixed flaws in my mixing technique as well as compensating for the shortcomings of my equipment and room.
MORE FEATURES
WaveLab Pro 10 has enough features to fill several books (in fact there are two important PDF ones, the Operations Manual and the Plug-Ins Manual) and several are difficult to describe without a solid knowledge of mastering.
In general, there are several graphic representations of frequency content, both in real-time as the song plays and separately covering the entire piece. Different ones allow you to focus on different areas that need attention.
You can also choose virtually any section, including the entire song, to process as finely or broadly as you wish. You can also see the effect of your processing on the waveform in real time and toggle between the processed and original versions instantly. This can save you from unintended consequences of what “seemed like a good idea.”
There are all sorts of tools to save you “riding the sliders” with things like Dynamic EQ that can click in only for a particular instrument or frequency range when they are sounding, not affecting other instruments unnecessarily.
One huge plus is the Audio Montage, that allows you to load several songs at once as well as a reference song. One of many things you can do here is compare the content of each song to one another and even to a reference song you would like to emulate. You can then use the same processing to get the same type of sound as your reference!
This is also a handy area from which to create a DDP if you are planning to distribute your work via disk. Assembling this protocol file is much easier with the songs right in front of you, and as much of this process as can be automated has been, letting you concentrate on artistic decisions like the run order.
Aside from the vast array of processors and their versatile modes of operation, plus the sales opportunities of disk, WaveLab goes a step beyond by taking you into the money-making world of global music sites such as iTunes, Spotify, YouTube, etc. If you thought you would just upload your “mastered” MP3 to this type of site, read on and learn.
READY FOR THE BIG TIME?
WaveLab Pro 10 allows you to format your music for the big streaming sites like iTunes, Spotify, and the rest. These sites have very specific formats that you must follow to have your music accepted on these services and WaveLab makes it easy to conform your music to them. It also has an Encoder Checker to let you hear your song as it will sound on iTunes, and the others or even as an MP3, and compare it to the original in real time. You can even use the frequency analyzer to visually check the effects of this coding.
Specific loudness is a requirement for streaming sites, and this can be confusing as loudness is NOT the same as volume, gain, and other similar terms. WaveLab has a simple one-step procedure to get it right first time. (Yes, even if you don’t get it right, the site will automatically adjust the loudness of your song, but it is best for you to be the one in charge of doing this and hearing how it sounds for yourself first.) You also look much more professional providing the exact format they require.
WaveLab lets you add the metadata that you need too — especially important if you want to get paid — and it will even let you add your album or song cover as well as lyrics to each song.
Not every mastering service does all of this, so there you have to fill in the gaps for yourself, IF you know what those gaps are. Submitting unprepared, poorly formatted material marks you as a real amateur, and I don’t mean this in the sense of “music lover”. I found all of these crucial steps, like other parts of WaveLab Pro 10, thoroughly thought out.
LEARN BY DOING
The best way to learn mastering is to master something, preferably something fairly simple that you have mixed yourself. Just remember that your goal is to learn mastering, not to produce a brilliantly mastered song at first. Steinberg provides an entire YouTube channel of videos showing the basics of mastering and how to achieve them for beginners, and the new features for seasoned mastering engineers along with tips and techniques for all.
Of course, there is a 30-day free trial to check this out for yourself. I suggest finding time where you can clear your calendar to concentrate on learning the basics and getting results. I found this particular video very helpful in getting up to speed enough to really use several crucial tools:
Don’t ignore the system requirements. WaveLab Pro 10 requires macOS 10.13 or higher (note that the new Cubase 10.5 requires 10.14 or higher). So if like me you upgrade slowly and cautiously, you might need to consider an upgrade. For the power and potential big money savings of WaveLab Pro 10, I’d say the case is made.
SUMMARY
WaveLab Pro 10 is another out-of-the-park home run for Steinberg (please don’t ask me for a cricket reference). Learning to master is a valuable skill and WaveLab is powerful, fun to learn, and can save you thousands and even tens of thousands of dollars that you can put into PR or better equipment. It is the software that has convinced me to stop shopping around for mastering engineers and spend that time improving my own mastering skills. If you are comfortable mixing you will find this a complementary process. I’ll say upfront that there is a learning curve, but once you get the concepts you will find the tools remarkably transparent. I advise watching the videos once to get the concepts, and again with WaveLab Pro 10 running and doing what the presenter is doing on your own song (stopping the video as needed).
This is just my first post on WaveLab Pro 10. I will be following up with more specific examples of mastering, more features including video support, enhancements to the effects chain, and some tips on getting your best results.
Yet again, Steinberg software has earned MY HIGHEST RECOMMENDATION. GET IT!
In theory there are two ways to learn to play jazz, but in fact most players begin by copying their favourite players. Most guitarists have started by playing songs by their heroes and jazz players were no different from rock players. Even those of us who took lessons in “proper” technique and theory continued to learn songs we loved just for the joy of playing them.
For a jazz guitarist there are many books that transcribe solos by great players. While it is very valuable to pick up as much as one can by ear, and a good theory teacher should help a student to improve at that as well as improvising, there are times when having a good transcription is a godsend. With all the pressures of modern life there is often little time to learn some of the great songs of the past that have a lot to teach us and are just plain great to play. You could spend months learning one classic solo by ear, or the same time learning five songs from a book. I’ve done both, and when I’m busy I prefer the second way. The problem is: Where do you find accurate transcriptions? The more difficult the music, the rarer these are.
The good news I have is that there is one series of three books that have eighteen great jazz guitar solos with impeccable transcriptions. The not so good news is that they went out of print in 2011, so they may be hard to find. It is possible though, so I will share these with you. They are a series from Hal Leonard: Jazz Guitar Standards, Jazz Guitar Favorites, and Jazz Guitar Classics.
These books feature note-perfect transcriptions by Jack Grassel as well as a CD with both normal speed and slow speed versions of each. The rhythm section is on its own channel, so you can play along with the guitar until you have mastered the song, then play with just the rhythm section. Each set contains six great songs with some of the greatest solos in jazz history.
Jazz Guitar Standards contains: Falling in Love with Love/Grant Green * I’ve Got You Under My Skin/Jim Hall * A Night in Tunisia/Billy Bauer * Stompin’ at the Savoy/Charlie Christian * Yardbird Suite/Joe Pass * You Brought a New Kind of Love to Me/Chuck Wayne.
Jazz Guitar Favorites contains: All The Things You Are/Hank Garland * I Hear a Rhapsody/Howard Roberts * Oleo/Pat Martino * Speak Low/Barney Kessel * When Sunny Gets Blue/George Barnes * Yesterdays/Wes Montgomery.
MuseScore is embarking on a series of incremental changes and asking for community feedback as they go. I think this is a great strategy as users will get to ask for (and hopefully get) the features they want in an interface that they find most useful.
The focus of version 3.3 is on palettes. The video on their web site (scroll down a bit) shows the problems with the earlier versions and the improvements made in MuseScore 3.3. In short, you can design the palettes you want, from having them all, to having just one! You can also edit each palette to include the items you want, and ONLY the ones you want.
One caveat: While the Apple version says “10.10 or higher” the download button says “High Sierra” which implies that 10.13 is the least recent macOS it will run on. I find this confusing, so if your macOS is below 10.13 I’d suggest keeping a copy of your old version before installing the new one, just in case. (There’s also a chance that the button read the OS on my test machine and so displayed it.)
You want to get this upgrade, but before firing it up I suggest you watch the video to get designing your own ideal work environment.
drdavewalkerblog 