Best practices are to use the song name for the title the folder, and then put Stems in it. Example: the song is Tropical Trap, the folder name is Tropical Trap (stems), and which contains all the exported Stems from Fl Studio in that folder. Select the folder, and then Save to export your Stems. Wav is better for sure. But I had the same problem way back, I used Soundgoodizer which completely screwed with my mixing. Nowadays I only do quick mixing in FL and when I want to do a full/good mix I render all my tracks as wav files and mix that in either cubase/logic/pro tools depending on the studio I have acces to at that time.
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How do I improve how my mixes sound on streaming services such as Spotify, SoundCloud and YouTube?
- Oct 08, 2015 WAV export settings. Go to File Export Wave File, or press CTRL + R to quickly export your song as a WAV file. Exporting a WAV file is quite similar to an MP3, except you need to tick a few different boxes in the export settings pop up window. Refer to the screenshot to see the best settings for exporting WAV files in FL Studio.
- WAV export settings. Go to File Export Wave File, or press CTRL + R to quickly export your song as a WAV file. Exporting a WAV file is quite similar to an MP3, except you need to tick a few different boxes in the export settings pop up window. Refer to the screenshot to see the best settings for exporting WAV files in FL Studio.
By Rob Stewart - JustMastering.com - Last updated on April 13, 2019
Bottom line:
- While mp3 and other streaming audio technology has limitations, you can improve how your mixes sound over these formats.
- Loudness normalization is now used widely, giving more reason to create mixes with wide open dynamics which will improve how they sound when streamed.
I often receive questions about how to improve sound quality on streaming music and video sites such as Spotify, SoundCloud and YouTube. This article addresses those questions and my suggestions apply to any streaming service or any lossy file or streaming format (Mp3, Ogg, AAC etc.).
Some things to note about music streaming services:
- they are all different (some sites simply have higher quality sound than others)
- they use lossy encoding formats for streaming out of necessity, and the trick is how to work within the limits of the lossy format
- some use loudness normalization, meaning if your mix is too loud, the service will reduce its gain to align to a target
- your recording quality and mix quality will have the biggest impact on the resulting sound quality after encoding
- that last point is worth repeating - your recording and mix quality have the most significant impact on the resulting sound quality
Is there such a thing as Mastering for SoundCloud or YouTube?
I personally do not set out to master a track specifically 'for SoundCloud' or 'for YouTube'. I follow the recommended practices for Mastered for iTunes which - in my view - apply to any lossy format (such as avoiding clipping and distortion, and keeping peaks below -1 to -1.5dBFS).
Streaming formats used by SoundCloud, YouTube and other websites will be here for awhile, so it is important to understand how to make the best of these formats. The spin-off benefit to improving your sound on SoundCloud and YouTube, is that - in general - you will achieve better recordings and mixes, too! Evinrude serial number decoder.
Improve the sound of your mixes on SoundCloud and Spotify
This advice applies to any music streaming site. If you search the internet to learn about the sound quality of SoundCloud, you will find many forum discussions where countless people express their frustration at how their mixes sound after they post them to a streaming service, such as SoundCloud. The issue is not SoundCloud's or Spotify's fault. It is possible to achieve a relatively high sound quality on SoundCloud and other streaming audio sites.
At the time of this writing, SoundCloud converts all uploads to a lossy format for streaming purposes. While lossy formats have limitations, they are a necessary evil because of today's internet bandwidth limitations. Despite those limitations, it is possible to achieve a relatively high sound quality when streaming your music.
First, it is important to understand a little bit about how lossy compression works. Using Mp3 as an example - and without getting too deep into details - Mp3 uses something called 'perceptual coding' to compress audio. At a very high level, all that means is that the encoder analyzes your music and removes pieces of it that it doesn't think you can hear (elements that are hidden by more prominent elements in the mix). For example, at 128kbps, the encoder will remove anything above 16kHz (many people cannot hear too far beyond that point). It may also remove parts of your mix that are masked by stronger elements. To get a sense for pieces that get removed, please check my 'Issues With Lossy Formats' article.
Optimize your mixes for any streaming service
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Perceptual coding schemes typically respond poorly to complexity such as distortion because it can often be harmonically rich, and wide-bandwidth, and that is the root of most of my suggestions. Having said that, here are my recommendations for achieving the very best sound quality when posting your mixes to any streaming service, including SoundCloud:
- Create the cleanest recordings possible, prior to mixing (avoid unintentional distortion, significant background noise etc). Noise, distortion, rumble and other non-musical information in your recording will create more work for the encoder. Strive for the purest, clearest recordings. You can always add color selectively to certain tracks but avoid capturing dense, congested color or 'mojo' on every single track. Remember that less is more, and the contrast of 'clean' and 'colored' tracks in your mix is what will make it interesting, while making the encoder's job a little easier.
- Follow my critical mix tips. Remember, the more you do to achieve a clear, lively, and dynamic mix, the more chance it will sound good when converted to a lossy format like Mp3. Keep your mix open, dynamic and clean.
- Avoid heavy use of saturation and distortion. Distortion is often wide-bandwidth in nature which presents several problems for perceptual coding (i.e. how does it know what parts of the distortion are intended to be 'musical' and which are not and could be removed?).
- Avoid overly dense or congested mixes. Craft mixes in such a way that each of the elements are clearly defined (have their own space in the mix) and that there is no congestion. The most challenging scenario is a mix with several heavily distorted guitars. In that case, it is necessary to carve out enough sonic space for each guitar so that they can clearly be heard. If they sound like they are blending into one big guitar sound, then a lossy encoder may have challenges with it.
- Avoid heavy limiting and dynamic compression. I say this for a few reasons. First, it adds harmonics (distortion, which is wide-bandwidth), but it can sometimes fill in the sonic spaces that the encoder is looking for with those harmonics, forcing the encoder to make more compromises. Many mix engineers like to compress to 'glue' a mix together, and that's certainly valid in some cases, however when it is overdone, there simply isn't enough space in the mix for the encoder to figure out what elements can be safely removed during encoding.
- Keep peaks below -1dBFS, I would even suggest -1.5dBFS or even -2dBFS if you are working from a 24-bit file. Since many encoding schemes do not handle peaks that are at (or near) 0dBFS very well, you can end up with a lot of distortion on the transients.
- Consider lowering the gain of your mix. Pull the gain on your mix down so that the average levels are below -12 to -16dBFS. Better yet, consider some of the newer 'loudness monitoring' options out there such as metering that is based on Loudness Units Full Scale (LUFS), and set the 'loudness' of your mix somewhere between -16 and -23LUFS (before mastering) and when self-mastering, aim for masters that fall between -12 and -16LUFS.
- Export your mixes in a lossless format such as *.WAV or *.AIF. If you export to a lossy format such as Mp3 from the start, then SoundCloud will be re-encoding from one lossy format to another (this is called 'transcoding' and it degrades the quality even further).
- If (and only IF) none of the steps above have helped, consider low-passing your mix with a 6 or 12dB-per octave roll-off so that energy from 14-15kHz and above is reduced, and high-passing it at around 35-40Hz. In theory, this step should never be necessary but in the event that there is something unusual happening beyond the lowest/highest extremes, this pre-filtering stage may help improve things. Use caution and careful monitoring, though (there can be music way down at the bottom - the lowest A on a Piano is 27Hz!).
If you are skeptical about any of my suggestions, above, consider this fact: Mp3 predates the loudness war. It was developed in the early 1990s and was made available for widespread usage in 1995. The song 'Tom's Diner' by Suzanne Vega is considered the 'Mother of Mp3' because Karlheinz Brandenburg used this song (among several others of course) to fine tune his Mp3 enoding scheme. 'Tom's Diner' was released in 1987 - well before the so-called 'loudness wars' ever started - and also long before mainstream home recording became as popular and advanced as it is today (in 1987, many home recordists used cassette-based 4-track multi-track machines - how far we've come!!). Mp3 has surely evolved also, but it is important to note mixes with very heavy dynamic compression, saturation and 'maximization' - that are often heard today - were more of a rarity in 1987.
By Michael Hahn
This article originally appeared on the LANDR blog+ Learning to record and mix at home? Check out Soundfly’s acclaimed online courses on mixing, production, and beat making — Subscribe for unlimited access.
Congratulations, you made it.
Your mix is done and your song is officially finished. But how do you get it out of your DAW and into the world? Well, there’s one more hurdle to pass. It’s the last important step in your DAW: the bounce dialog.
In this article, I’ll go through everything you need to know about bouncing and exporting audio properly in four of the best DAWs.
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What is bouncing audio?
Bouncing (or exporting) is how your DAW turns your project into files on your hard drive.
The term “bouncing” comes from the analog era. The track count is a hard limit on tape machines. But engineers could use their consoles to mix several tracks down to one to free up more recording space. The process was called “bouncing down.” The drawback was that the level of each of track would no longer be independent on the printed track.
But today, bouncing usually means writing the final mix of your song to a stereo audio file. It can also mean printing stems of all the instruments in your mix or exporting individual tracks for collaborative or remix projects as well. No matter how you bounce your project, you’ll have to know how to use your DAW’s bounce dialog to output your files properly.
The best export settings for mastering
You have to choose the right settings to make sure your bounce is ready for mastering. No matter which DAW you’re using, here’s what you need to know.
Resolution
Don’t export your song to a lower resolution than the one you’re using in your project. If you choose a lower resolution, your DAW will have to convert your exported file to the target sample rate and bit depth. Stick with what you have or choose 32-bit floating point if it’s an option. The reason why has to do with…
Dither
Dither is a pretty technical subject. But when it comes to your tracks, all you need to know is when to apply it. Here are our guidelines on the subject:
- Don’t change file types unless you absolutely have to. If for some reason you need to downsample, be sure to dither during conversion.
- Save dithering for when your files are headed outside of your DAW. Dither only once — during export.
- If you’re sending your files for mastering, leave dithering out if you can export 32-bit float files. In this case, the mastering process will take care of dither for you. When you export anything other than 32-bit float, you have to dither. That includes when you bounce files that are the same bit-depth as the ones you recorded.
Hot tip: Your DAW may have the option to create AIFF or WAV files while recording. Both are lossless formats, so there’s no sound quality difference between the two. These formats are best for uploading during the mastering step. So stick with these formats for your bounces as well.
Normalize
Make sure to notnormalize the files you export for mastering. Normalizing will increase the gain of your file a lot — not what you want for keeping good headroom for mastering.
Channel Width
Make sure to select interleaved if you want a traditional stereo bounce file. Use multiple mono if you’re exporting tracks one by one.
Offline vs. Realtime Bounce
Realtime bounce writes the audio file to disk at the same speed as playback in the DAW. This method is slow but safe and reliable. Offline bounce renders the export file much faster than real time. This can save you a lot of time, especially if you need to bounce many tracks individually. In some cases, offline bouncing may cause issues with CPU heavy plugins or intricate automation. If you’re worried about offline mode having an effect, stick with realtime.
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Bouncing in Logic
Here’s how to bounce audio in Logic. If you’d like to deepen your knowledge of and gain extreme creative comfortability with Logic, just like the professionals, don’t miss Soundfly’s mentored online course, Intro to Making Music in Logic Pro X.
- Open the bounce dialog by selecting File > Bounce > Project or or by using the key command ⌘B on Mac or CTL+B on Windows.
- Select the export range by selecting regions, turning on cycle mode and setting the locator positions, or entering the Start and End Values.
- Choose whether to bounce in realtime or offline mode.
- Make sure your settings are correct for mastering.
- Click “Bounce” to begin your export.
Exporting in Ableton Live
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Here’s how to bounce audio in Ableton Live.
- Open the export dialog by selecting “Export Audio/Video” in the File menu or using the key command ⇧⌘R on Mac or CTL+ALT+R on Windows.
- Select the bounce source using the “Rendered Track” dropdown. Choose “Master” if you want to make a stereo bounce of your mix.
- Select the export range by selecting clips, setting the boundaries of the loop brace or keying in the “Render Start” and “Render Length” bar/beat values.
- Make sure your settings are correct for mastering.
- Click “Export.”
Bouncing in Pro Tools
Here’s how to bounce audio in Pro Tools.
- Open the bounce dialog by selecting File > Bounce to > Disk, or using the key command ⌥⌘B on Mac or CTL+ALT+B on Windows.
- Select the bounce source.
- Select the range you’d like to bounce on the timeline.
- Make sure your settings are correct for mastering.
- Choose whether to bounce offline or in realtime with the checkbox at the bottom left.
- Click “Bounce.”
Export in FL Studio
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Here’s how to export audio in FL Studio.
- Open the export dialog by selecting File > Export > Wave File or by using the key command ⌘R on Mac or CTL+R on Windows.
- Select the export file destination.
- Make sure your settings are correct for mastering.
- Click “Start” to begin bouncing.
Bounce better. Bounce often.
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Exporting your tracks is the last thing you do in your DAW before mastering. Don’t let anything you’ve painstakingly done in the mixing process fall through the cracks right before the finish line! Make sure you choose the correct options to export your tracks for mastering and make friends with the bounce dialog in your DAW.
Now that we’ve bounced some ideas off you, get back to your DAW and get your tracks ready to master.
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Michael Hahn is an engineer and producer at Autoland and member of the swirling indie rock trio Slight.