Mastering Stylebook Vol 2

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01h 48min


Friedemann gives a detailed view over his shoulder when he applies a relative invasive strategy to rescue a singer/songwriter mix from sounding boxy.

First, he shows how to remove annoying ringing tones coming from the cymbals by using spectral restoration tool 'ReNovator' to prepare the mix for mastering.

With his multi-EQ approach he creates a balanced frequency distribution by using surgical and esthetical EQs in a complimentary manner to give some warmth back and add depth and width by employing 'wanted phase artifacts'.

With further enhancement tools he supports the vitality and creates more depth and unity, also by applying reverb.

Finally, Friedemann shows how to use single band compression and limiting - in conjunction with various metering strategies - to achieve loudness without destroying the dynamic integrity of the mix. You will learn how to interpret various new metering values like TPL, PLR, and LUFS in modern mastering practice.

This video is more than just a mastering sample for a specific task or genre: it gives a deep insight into Fridemann's personal working approach, especially when it comes to loudness-related decisions (which is - in most mastering situations - the case).

The workflow in Sequoia can easily be adapted to other common DAWs.

Friedemann has mastered for artists such as Alan Parsons, Steely Dan, Johnny Cash, Iron Maiden, is inventor of the Dynamic Range Meter and founder of the Mastering Academy.

Software used:

  • Sequoia Mastering DAW
  • Algorithmix ReNovator (Noise Removal)
  • Algorithmix PEQ Orange (surgical EQ)
  • UAD A800 Tape
  • UAD Pultec
  • UAD Massive Passive
  • Sonnox Transient Modulator
  • Algorithmix K-Stereo
  • UAD Ocean Way Reverb
  • Sonnox Limiter
  • Nugen MasterCheck

Hardware used:

  • SPL Tube Vitalizer
Exercise files
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Friedemann Tischmeyer

Friedemann has mastered for artists such as Alan Parsons, Steely Dan, Johnny Cash, Iron Maiden, is inventor of the Dynamic Range Meter and founder of the Mastering Academy.


Alan Parsons

Steely Dan

Johnny Cash

Iron Maiden

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2020 Aug 16
For mastering, it's a great reference! Thanks for all your knowledge
2017 Oct 01
Very interesting tutorial. Could you guys upload the mastered version. Both files are the mix version.
2017 Sep 20
Very well presented & logically executed performance. As the digital world catches up to the quality of the analog and the gap becomes smaller Mastering is clearly the next wild west frontier many will want to take on. This valuable information from experienced Engineers adds tremendous value to Puremix's subscriptions. This Presentation is exactly what we crave to understand the decision making process, parameters, & knowledge of the latest digital tools that can bring us one step closer to a convincing professional Master.
2016 Nov 04
Thanks for an excellent lesson. This was one of the best "little by little" EQ and colour approach demonstrations I've seen/heard. Thank you! And as a bonus, now I have: "You can make sand, man! Just give it another try. You can do anything: it's undie night, yeah!" stuck in my head.
2015 Sep 01
@ nirSa regarding K-Stereo: Yes, I have compared both versions once a while ago and there was a recognizable difference. In that particular situation we opted for the Algorithmix. This doesn´t mean that we have done a scientific shoot out. There was simple a difference in response when using exactly the same setting. I personally prefer the Algorithmix version as I like the interface more and the eyes are eating the foot too and it´s always good when the foot looks good. But when you don´t have a version yet, I guess you can´t make a wrong decision opting for the UAD version when you own a ca
2015 Aug 28
I would like to know what do you think of the uad k-stereo as a replacement for the algorithmix tool?
2015 May 15
@ Martin: I am happy that this video allows you such a progress. To answer your initial question: PEQ Orange has no dedicated dB per octave control for low cut or high cut. You can use the Q to control the steepness/overshoot which was set to 0.71 if I have it right in mind. With the DMG you will come close.The Equilibrium offers an insane variety of combinations which sound all different. To be honest the Algorithmix stuff made my system decision(PC)as it saved 30 grand for outboard gear which would actually not sound as good as the Algorithmix stuff and would require more documentation.
2015 May 14
The reasoning behind my question is to experiment and listen to the differences between my choices and choices made by a professional for this particular track. I have downloaded the exercise track, and so far I like every little move that goes on in this video. As this video has opened up a completely new world for me (something that was scary before sounds deadly exciting) I am now trying to get comfortable with my headphones(Grado GS1000i) (listening to the frequencies etc.) I am using the DMG EQ with its highest resolution, which seems to be the most natural sounding. Thank you, Martin
2015 May 14
Hi you´re welcome... I actually do not like to answer your question for a number of reasons: -it depends on the choice of EQ and degree of (wanted or unwanted) colorization created by the EQ -it depends on the program material treated Sometimes the 6dB/octave slope of a Bax is great and sometimes you try to get as steep as possible without making the bass response weak(which is the challenge).The 1:1 setting of the Orange will actually sound a bit more spongy with all other EQs I know(DMG Equlibrium, fabfilter ProQ 2, even the Weiss hardware,etc.). Use your ears
2015 May 13
Hi, thank you for the excellent video. How much is being cut on each side (Hi-cut & Low cut) and what dB slope has been used on the PEQ Orange EQ? Thank you
2015 May 13
Amazing tutorial, thank you.
2015 May 11
2@tolchocks: ... frequencies. Sometimes you will find room modes which ring through and sometimes you find overlaying roote notes which are annoying because of bad mixing. A good EQ won´t make it hollow. This comes from bad EQs and phase issues. You just have to trade off between annoying frequencies and warmth and possibly counter act with an esthetical EQ subsequently.
2015 May 11
1@tolchocks: Good point! The first thing is to use the right EQ. Some EQs (wrong EQs for this purpose) will create annoying ringing everywhere when cranked up to plus 10 to 15dB so using a very discrete EQ is a good help. Starting from there you will try to figure out whether just a specific tone (note) is triggered or if the ringing continues as soon the note moves on. The advantage of exaggerating frequencies is that your hearing tunes in to that frequency. If you bypass the band after you have found a potential frequency you can easily hear whether this frequency is one of those annoying..
2015 May 11
Great video, thanks. One thing thats not very clear to me is when to stop with the resonances.. I mean... There will always be some, and if you remove them the result is a very "hollow" sounding mix/master. Some say that the ones that are not related with the song (meaning not part of the harmonics), others say the ones that are constantly ringing no matter the "chord" played (which I guess its more like a formant of some acoustic chamber). Can you enlighten me a lil bit on this? All the best
2015 Apr 30
Greetings, I see from Ecuador do not forget to put subtitles in Spanish please help us a lot..
2015 Apr 30
@ vlakanas: Check out the DMG Equlibrium. It´s a personal recommendation from Bob Katz if the Orange is not available. It´s the swizz army knife of EQs. Check out the different LC settings and minimal versus linear phase settings of the EQ to find the tightest one. I think it will come close to the Orange. I will buy a license to pitch it against the Orange. However the Algorithmix stuff is the king´s class of plug-ins really beating the Weiss hardware so that I design my mastering workstation so that I can work with those exotic stuff.
2015 Apr 30
@ dagovitsj: 1) Yes, I´ve done the full album and the customer was very surprised and pleased how mastering could put the production to such another level which in turn made me very happy as the business is all about making people happy 2) Yes, as I remember I think I have applied LC on most or all of the tracks. Usually I adjust the LC from track to track. The benefit from the Algorithmix Orange is that it really makes the mix tighter and not spongy as many LCs would do so that it brings me really just benefits. But if the mix is so well done that there is no need for an LC I don´t apply LC
2015 Apr 29
WOW, another great tutorial from Friedemann, can't wait for the next one... Thanks!
2015 Apr 29
@ Friedemann: Two questions: 1) Have you mastered the whole album "Full of Life When Meeting Death" or only this song? 2) Seems like you have used a HPF at approx. 40 Hz in this song and 12 dB/octave? All the best
2015 Apr 28
Very inspiring that the whole mix sounded like a record only after the first EQ and the A800 - it was a significant difference to the overall sound only to notch out all those frequencies in the mid area. Thanks for making these videos, really good stuff ;)
2015 Apr 28
Excellent tutorial. Never heard of Algorithmix before. I would like to have had substitutes for those ,i.e., Fabfilter, Waves, etc.... But otherwise, excellent. More like these please and not only for mastering. Thanks
2015 Apr 27
Very good tips. Great tutorial ;)
2015 Apr 27
Great Video!!! Very educational and the end was so interesting, with this metering stuff's!!!
2015 Apr 26
very smart, thanks
2015 Apr 26
The most useful video about mastering i've ever seen, because to have to rescue a sounding boxy mix is so frequent. I've learned a lot!