Spotify용 음악 마스터링하기: Pro-L 2 설정 가이드

### 마스터링 엔지니어, Spotify용 FabFilter Pro-L 2 설정 공개 및 마스터링 강좌 할인 혜택 제공
* 🎵 매일 **40,000명 이상의 아티스트가 Spotify에 음악을 업로드**하기 때문에 수많은 음악 사이에서 돋보이는 음악을 만들기가 어려울 수 있습니다.
* 🔊 유튜브에서 유일하게 전문 마스터링 엔지니어가 **트루 피크 리미팅 끄기, 하이 오버샘플링(최소 16배) 사용, 출력 마이너스 0.1로 설정하기** 등 FabFilter Pro-L 2 리미터의 정확한 설정 방법을 공유합니다.
* 🎚 고급 설정에서 엔지니어는 **"모든 라운드" 스타일**을 기본으로 사용하고 **"다이나믹" 및 "펀치"**를 대안으로 사용하여 과도 현상을 개선할 것을 권장합니다.
* 🔍 선명도를 유지하려면 **전방 보기를 빠른 값**으로 설정하고, 모든 과도 현상을 통과할 수 있도록 **공격 및 릴리스 시간을 완전히 릴리스**하도록 설정해야 합니다.
* 🔗 채널 연결을 **0으로 설정**해야 리미터가 왼쪽과 오른쪽 채널에서 독립적으로 작동하여 더 큰 음량을 얻을 수 있습니다.
* 💸 엔지니어는 **streaky.com에서 Spotify 마스터링 강좌, 오존 10 마스터링 강좌, 궁극의 마스터링 강좌**를 **75% 할인된 가격**에 제공하고 있습니다.

Streaky는 FabFilter Pro-L 2에 대한 정확한 설정을 제공하여 트루 피크 제한을 피하고 오버샘플링을 강조하여 깨끗하고 펀치감 있는 사운드를 제공합니다.

with over 40,000 artists uploading their music to Spotify daily, it can be difficult for your music to stand out, let alone fit in. You may have received advice on YouTube, but how do you know who to trust? As the only professional mastering engineer on YouTube, I can provide you with the actual settings and systems that I have used for my clients over the past 25 years. You can trust me to guide you in the right direction. Let me start by telling you the exact settings to use for the FabFilter Pro-L 2 before you upload your music to Spotify. So, going across the bottom here with these settings here, first of all, True Peak limiting. I have that turned off. The main reason for that being that I don't like the way that it hits the transients. It makes everything sound a little bit numb, and I want it really punching. And I'm usually going for something that's loud, so I turn the True Peak limiting off. You may have heard people say you need to keep that on. It's not true. If you look at anybody

that is uploading on Spotify. All the main mastering guys, like myself, if you look at any of the meters, you'll see that it's going over in true Peak. It's not really needed, so I don't use that. Next long is oversampling. When it comes to oversampling, I want the max I can get. This makes it super clean and clear. So if your computer is strong enough, then use 32x, but definitely use at least 16x. It does make a massive difference to the quality of the limiter. Next up, I've got dither off. I'm going at 24 bit. I don't need to be dithering for the output. I put that to minus 0.1, so I'm just coming a little bit below the full Peak. It's just to give us a little bit of Headroom, but not too much. Now let's move on to the advanced settings. In here, we have style. Now, my go-to first of all is all round, but I will use the a b feature at the top here to test Dynamic and Punchy.

but those three are the main three that I'm using. But all round kind of does the job on most tracks. The Punchy one is good for getting a transients a little bit sharper. So on some music, if I do want that little bit extra, then I'll listen to that. But then check that against the all round. So do that on the a b, and then you'll see track dependent. So with the look ahead, it is trying to look ahead as it says and preempt what it's going to do when it comes, when it gets its input signal. So I want that to be quite quick. I found that when I have that on longer, it takes away from the transients and things don't sound as sharp and is bitey. So I don't really have that on too much. But what you have to watch with it is if you don't have it on a tool, you can get some Distortion. So I have it on a little bit, and I will try and listen for that on different tracks because some tracks, if it's classical

music, for example, you can get away with a bit more, but when it's something like a hip-hop track or a dance track, then I'll have it on super quick. So, next is the attack and release times. Now, this doesn't work the same way as a normal compressor. The attack time is for when the release starts working, so I usually have this on fully all the way around so that the release isn't getting hit at all. So, basically, all the transients are coming through. I'm not using any release time to kind of hold on to the signal because I don't really want to do that. Now, if there is some distortion, I will bring the release time up, and I'll give it a little bit more of attack to say on classical music that might happen, but usually dance music, hip-hop, pop music, it's better just to have this all the way around on full level so that you haven't got any release going in, and you're just getting really quick transients, and it makes the track really

really loud and clean. And something else to get that loudness is channel linking, which is next. So I always have these at zero. What this does, it means that it's reacting differently on the left and right. And this is a real game changer when the limiter is just working on the left and right independently rather than both of them together because you just get extra loudness. It's like having two a limiter on left and right rather than one just on the whole stereo signal. So that is a really good little top tip there for you to put those on zero and check out how they sound on your mixes. You can download this FabFilter Pro-L preset from the link in the description. So now you have my exact limiter settings. Would you like to know the system and methods I use for every track that I master? Well, this month is mastering me at streaky.com and I'm offering 75% discount on all of my mastering courses. So if you're uploading your music to Spotify, then you might

like to try my mastering for Spotify course. Alternatively, if you have ozone 10, then I've got a course where I run through every single module, and I also show you how to master from start to finish with ozone 10. If you want to go deep into mastering every single aspect, then you'll want my ultimate mastering course. That's on an 80% discount. I've left all the links in the description below for you to get these discounts, or you can go to streaky.com. Thanks for watching. Don't forget to like and subscribe. See you next time.

Limiter Trick They All Use

Streaky

Spotify용 음악 마스터링하기: 전문가 가이드

Spotify의 아티스트 수가 압도적으로 많기 때문에 눈에 띄는 것이 어려울 수 있지만, 전문 마스터링 엔지니어가 FabFilter Pro-L 2 사용에 대한 신뢰할 수 있는 조언을 제공합니다.

그는 보다 역동적인 사운드를 위해 True Peak 제한을 끄고, 선명도를 위해 최대 오버샘플링을 사용하고, 전체 피크 출력보다 약간 낮은 피크를 목표로 하면서 디더링을 해제하는 것이 좋다고 권장합니다.

또한 AB 기능을 사용하여 "다이나믹하고 펀치감 있는" 스타일을 테스트할 수 있는 옵션과 함께 "올라운드" 스타일을 사용할 것을 제안합니다.

"펀치" 설정을 사용하면 과도음을 더 선명하게 만들 수 있지만, 각 트랙의 "올 라운드" 설정과 비교하는 것이 중요합니다.

"미리 보기" 기능은 왜곡을 방지하기 위해 각 트랙마다 조정해야 하며, 클래식 음악은 조금 더 여유를 두어야 합니다.

어택과 릴리즈 시간의 경우 어택은 최대로 유지하고 릴리즈 시간을 조정하면 왜곡을 방지하는 데 도움이 되며, 댄스나 클래식 등 음악 장르에 따라 다른 설정을 적용합니다.

FabFilter Pro-L의 채널 연결을 통한 음량 극대화

FabFilter Pro-L에서 채널을 0으로 연결하면 리미터가 왼쪽과 오른쪽에서 다르게 반응하여 음량을 크게 높일 수 있습니다.

이렇게 하면 왼쪽과 오른쪽 채널에 리미터가 두 개 있는 것과 비슷한 수준의 음량을 추가로 만들 수 있습니다.

이러한 정확한 리미터 설정을 위해 FabFilter Pro-L 프리셋을 다운로드하고 Spotify에 음악을 업로드하기 위한 마스터링 강좌를 75% 할인된 가격에 이용할 수 있습니다.

모듈별 강좌를 통해 Spotify 마스터링을 배우거나 Ozone 10에 대해 자세히 알아보세요.

종합적인 학습 경험을 위한 궁극의 마스터링 강좌를 80% 할인된 가격에 만나보세요.

설명에서 할인 링크를 찾거나 streaky.