Mastering Today Monitors and Metering The Mastering Workflow

Today • Recap – FFT’s – calculating the DC offsets to plot a graph

Mastering Dave Payling Music Processing and Mastering

• Mastering Techniques – – – –

Monitoring Considerations Increasing loudness Parallel Compression MS Processing

• Mastering Devices – Studio Hardware – Plugins

• Album Compilation and ISRC Codes

The Mastering Workflow

Loudness - Limiting

Edit – Cleanup – Levelling – Processing – Output

• This device or plugin prevents the signal from going over the maximum peak available • It can also be used to increase the volume – see examples L1, L2 Maximisers (now L3) • Since this is the last plugin in the chain several manufacturers include a dithering option • Timeworks Mastering Compressor, Voxengo Elephant etc…

• Edit (no processing applied here) – top and tail, possible re-edits, album structure etc.

• Cleanup – noise reduction, glitch removal, fading etc. (Cool Edit)

• Levelling – mixing ‘stems’, relative gain settings etc.

• Processing – compression, EQ, further levelling (loudness) etc.

• Output - dither to final medium (or glass master)

Monitors and Metering • Monitors to form an Equilateral triangle

– http://www.sonictimeworks.com/products.php – http://www.voxengo.com/product/elephant/

– No obstacles (or reflections)

• Monitor at low levels to – avoid ear fatigue – prevent ‘Fletcher-Munson’ imbalances

• Recommended monitoring SPL at 83 dB SPL – K-System proposed by Bob Katz

• Occasionally crank the volume up to get a feel for louder listening – Preferably have a second monitoring system for a ‘real world’ demo – main monitors should be very transparent

• Best to use average level meters to give a feel for perceived loudness

Loudness - EQ Curving • Based on the Fletcher Munson Curves

• Most Hi-Fi’s have a loudness button which recreates this effect at low volumes

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Software Techniques - EQ Matching • Several Plugins allow the copying of other well produced EQ curves – see examples • Voxengo Curve EQ

Software Techniques - Parallel Compression

Software Techniques - MS Processing

• Allows transparent raising in level of quieter passages and ‘fattening’ up of louder ones

• Mid-Side (MS) matrix splits the audio into centre (mono / mid) and side (stereo) channels • Can process each channel independently • Useful for raising or lowering vocal tracks • Allows separate EQ’ing for M and S • Allows wider stereo field to be obtained • Formulas

– http://www.voxengo.com/curveeq/

– From stereo to MS

• Steinberg Free Filter – http://www.steinberg.net

• Demo on PC

Reference - MS Encoding in a DAW • Import Stereo ‘split’ recording to 2 mono channels • Set both tracks to centre pan and -6 dB on the fader • Export mixed tracks ( ½ L+R) to a new mono track – this is the M-Channel Audio • Phase invert the right channel of the original • Mute the new M-Channel and export the mixed ( ½ L-R) audio to another mono track – this is the S-Channel audio • Create 2 group tracks – one called Left and one called Right – pan them hard left and right respectively • Duplicate the M and S-Channel Audio so you have 4 tracks and phase invert the 2nd S-Channel • Assign the 1st M & S channels to right group (M+S) • Assign the 2nd M & S channels to left group (M-S) • Solo the Left and Right Groups

• Suggested settings – Threshold -50dBFS, Attack < 1ms if possible, Release 250-350 ms, Ratio 2:1 or 2.5:1, make up gain to suit – Demo on PC – Same result achieved with a compressor as a Send Effect

Digital or Analogue? • If the audio is produced mainly with digital techniques it is best to introduce an analogue process into the sound via outboard effects – This gives it a warm ‘natural’ quality

• Audio recorded through ‘real’ instruments with tube gear and amps may be ok with purely digital mastering • Many modern plugins will emulate their analogue counterparts • Digital ‘warming’ still not a true match for analogue components

• M = ½ (L + R) • S = ½ (L – R)

– From MS to Stereo • L = (M+S) • R = (M – S)

– Practical demo on PC using plugins

Example Analog Mastering Processors

• Massenburg 9500 €11,000 • Manley Massive Passive €4,300 • Manley MU Limiter/Compresso r €3,700 • Avalon 2044 Compressor £2,500

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E10 Studio Hardware

Reference - 747 Quick set up • Quick set up guide – set the input and output knobs to centre – Enable EQ and adjust for sound – Enable compressor and set to following

• Avalon VT747sp – Tube Compressor and Graphic EQ

• • • •

• TL Audio EQ2 – Stereo Tube Equaliser

compression - fully clock wise threshold - counter clockwise attack – fully counter clockwise (fast) release – fully clockwise (slow)

– Check the effect of enabling EQ->Comp – Enable TSP – switch in the valves – Enable Side Chain and SC Listen and adjust

• TC Finalizer 96K – All in one digital Mastering Processor

• LF frequency to 300 Hz • HF frequency to 1K6 Hz

– Disable SC Listen

• Aphex Aural Exciter – Sweetening processor (use in moderation)

• This will give you full compression and 2 frequencies that are going through the side chain and being more compressed than the overall signal

Mastering Plugins • Equalisation – – – –

Waves Renaissance EQ (REQ) (vintage - enhancement) Waves Linear EQ (precision)* UAD Pultec (vintage for enhancement) UAD Cambridge (for precision EQ)

• Compression – Waves Renaissance Compressor (RCL) (vintage) – UAD LA2A (vintage)

• Enhancement – – – – – –

Vintage EQ’s discussed above PSP Vintage warmer* Waves S1 Stereo Imager Steinberg Magneto Izotope Ozone* T-Racks*

• Wavelab and Nuendo Demos * not available in University

• ISRC – International Standard Recording Code – Unique Identifier for released songs – Administered by IFPI (International Federation of the Phonographic Industry) – Actually Available from PPL in the UK.

• Structure – – – – – –

EG. ISRC GB - GPC – 05 – 00212 (no hyphens in actual code) Code Identifier (ISRC) (2 characters - GB = Great Britain) Country Code Registrant Code (3 characters – GPC = Staffordshire University) Year of Reference (2 characters – 05 = 2005) Designation Code (5 digits – 00212 etc)

• Write down your assignment codes now!

Links

Creating Mixed Mode CD’s

ISRC Codes

• Wavelab Montage (CD Extra) – – – – –

Create an Audio Montage with your sound files when burning, enable ‘CD-Extra Support’ Write the CD Create a new CD project and add the Cubase Files Write the disc in ‘track at’ once mode and ‘close the CD’

• Ahead Nero – – – –

Create a new ‘Mixed Mode’ CD project Add Cubase files to data area Add audio to Audio area Burn in ‘Disc at Once’ mode

• Assignment requires – Cubase / MIDI files – unmastered and mastered audio tracks

• Free VST effects including 2 band compressor and saturator – http://www.digitalfishphones.com/main.php

• PSP VST demos – http://www.pspaudioware.com

• Izotope Ozone – http://www.izotope.com/

• Waves Direct X Audio Plugins – http://www.waves.com

• MS Tools – http://mdsp.smartelectronix.com/mstools/

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Links • Book – Mastering Audio, the Art and Science by Bob Katz • Information about ISRC Codes – http://www.ifpi.org/isrc/

• Phonographic Performance Ltd (PPL) – http://www.ppluk.com/ppl/ppl_cd.nsf/PDL/A5? OpenDocument

• CD Q-Code Information – http://www.ee.washington.edu/conselec/CE/rep orts/Group.1/matt_page_individual/subcode.htm l

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