In Short
a. use a Gain Plugin,
b. invert one channel,
c. make it mono.
Result: clicks are better to hear.

You may use
Gain from Logic Pro,
4U Meter Fader MS-Pan from hofa,
PHA-979 from Voxengo (use mono mix, not force mono),
and others…

What and Where:
On fresh tracks, check for clicks;
After massive effects, check for unwanted clicks;
On a rough mix, check for clicks and imbalances;
Before rendering, check a stem or a bus;
When mastering, check input files.

Why?
Clicks in recorded material are mostly from clipping due to too high recording levels. Two best practices to avoid this: use a 32bit-interface, level correctly.
Inappropriate handling of 32bit-files. Use a 32bit cabable editor when importing such files. Not all DAWs can handle them properly.
Popping a sensitive membrane with an explosive burst of air is beyond the capabilities of most microfones. Use a good pop screen (not simply stockings, but double layer very fine weave).
Static discharge. Always be grounded.
Any modeling plugin has some nonlinear behavior. If pushed too hard, clicks might be the result of the modeling process. Know what you are doing (aka know your plugins, know your DAW).
Cuts not made when waveform crosses zero, no fade around cut area.

20230809 TG

Ever heard of loudness war?
Still want to participate?
Here is how to prepare yourself.

• Make stems.
• Balance them perfectly.
• Make about 6 to 8 of them.
• Send them to me for masterful mastering.

Going one step back in mastering opens up possibilities for room, dynamics, and loudness.
The one step before the stereo sum are the comprising stems. Instead of mastering only a stereo bus, we now have 6 to 8 detail busses that can be „mastered“ separately.

Well yes, there is much more masterful mastering knowledge to this method than this.
That’s why we’re here.

20230320 TG

LMSR? left right mid side momentary short term?

The majority of our mixing is in stereo.
As you might know, in stereo there are two channels called Left and Right.
Maybe the L and R in LMSR might have the meaning of Left and Right?

Left and Right can be expressed as (and mathematically translated to) Mid and Side.
Although Mid and Side signals are used for some mixing purposes, they are nothing else as Left and Right with a little bit of math.

Absolute levels are from utter importance, especially in the digital domain.
As far as auditory perception is concerned, the concept of loudness is much more important.

Loudness and dynamic range are the major concepts when it comes to mastering.
Short term and Momentary max. levels according to a standardized measuring method give a clue of the dynamic and overall loudness of a track.

Most metering apps/plugins have a combined meter, that shows Left and Right levels and the loudness range as a combination of momentary and short term levels.

20230131 TG