Mastering setups ( plug - ins )

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Igormeister

New member
I think that this can be useful thread:
What is your plug-in configuration for mastering ?
In which program ( Wavelab, SoundForge ) ?
Plug-ins; in which order, for what and why ?
 
Ditto here but my few are...

Sonictimeworks Mastering Parametric EQ >> STW Mastering Compressor-Limitor (used LIGHTLY!!) in SoundForge...

zip >>
 
I use Waves REQ6 equalizer, C4 multiband compressor and L1 Ultramaximizer in Wavelab, monitored at Pinguin audio meter spectral analyzer. This is setup for any mastering job.
Anybody can chain processors like this, but fine adjustments make big difference.
Do you know exactly what you are doing when you adjust attack in multiband compressor ?
I want to discuss here practical use of such plug-in chain.
For example; how you process boomy low-end; or screaming mids.
How to get punch and clarity ?
 
Please tolerate a semi-novice on all this, but why both a compressor and a limiter in the same chain? (I believe the L1 is a limiter.) Isn't a limiter just a compressor with the ratio set to infinity. So why both?

Enlighten me, oh wise ones.
 
Well, a compressor plugin versus a limiter plugin are obvious specialized and optimized for their respective tasks, so probably a compressor plugin in limiting mode might not have the same limiting ability as a limiter plugin. I believe some compressor plugins, Waves Rennaisance for one, are able to compress and limit simultaneously, which is probably the ideal solution since both effects are often desired.
 
Originally posted by dachay2tnr Please tolerate a semi-novice on all this, but why both a compressor and a limiter in the same chain? (I believe the L1 is a limiter.) Isn't a limiter just a compressor with the ratio set to infinity. So why both?
Enlighten me, oh wise ones.
Click to expand...

Technically, the difference between a limiter and a compressor is that limiters have no make up gain. However, in this day of software dynamics control and hybrid dynamics processors, the line between the two is becoming more blurred. In a "mastering" sense (I use that term lightly, my opinion on this is noted on this bbs) I would use a compressor to gently control the dynamics of a mix. Just basically to get things a bit closer together dynamically. It will vary with the song, but I generally put the compressor in rms mode for this type (but it depends on the song).

I use the limiter to hit the peaks. Probably also a good idea to use a bit of EQ after compression, to reduce the dulling effects of compression. I am not implying that these are the only processes that one would use in a typical "mastering"/home finishing session. The topic is dynamics, so that's what I talked about.

Rev E
 
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Renaissance compressor, C1 with Dither, Magneto (that should be a given, huh?) and sometimes freefilter to match it up to another tune out of curiosity, and I always pick out a good parametric or very narrow band graphic, like freefilter. Never the less, your results wont be what a great mastering house will get.
 
Dither,Dither,Dither.......

Always select dither with a digital manipulation. One of the Masters on this board told me this...:D
 
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Digital manipulation being noise shaping, I reckon... Thats where Waves comes in :) I hear theres not a big difference between the Waves and the UV-22, either. They both do great. If you use waves, read the manual on the dithering, its pretty good.
 
Hmmmmmmm....

I meant digital manipulation as in any change to a digital signal. My VERY PRIMATIVE understanding of dithering is - an approximation in the calculation once a signal is passed through an algorhythm ...VS a rounding off of the number after the calculation is performed.

Please keep in mind...it's late and I've had a few cold ones... :D so my analogy may not be correct...

- Dithered... after the calculation is performed - the dithering process approximates the number to the far right of the decimal point.

- Not dithered... there is no approximation and the number is rounded off. (I guess losing some bit depth)

Does this have anything to do with anything?? I have no idea...

I do have one idea... a nice cold Bud sounds good right now...all this typing has made me thirsty...:D

While I go get a beer at least tell me if my laymans definition is correct or not.......really. If I have no idea what I am talking about I'd rather know now.

AFTER I drink...tomorrow I find the Waves manual...

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I use C4 before L1 becase C4 is MULTIBAND compressor - often i use only one band to limit bass or compress middle - C4 have adjustable crossover, so you can target ( using spectral analyser ) frequency region which have too big dynamics and control it using compression or limiting ( adjusting ratio and attack/release ).
This is difference - RCL will cause pumping.
L1 is used for level matching, because its transparency; after -5dB of gain reduction it starts to colour the sound - The new sound of 2001. is sound of distorting ultramaximizer. ;)
 
For mastering I either remain in protools, or transfer to a 2 track Studer, whatever the program requires.
There are a whole bunch of tools to use, but it all really depends on what the to be mastered material needs.

As we're talking plug-ins, my absolute favorite is the TC MasterX 5 band, which features integrated multiband expansion, compression and limiting, especially for mastering applications.
Here are some of the features: (stolen from the TC website):
• 5 and 3 Band Expander/Compressor/Limiter (5 Band: Mac only)
• Gain Control per Band (+12 – -25 dB)
• Adjustable Band Crossovers
• Gain Reduction Meter per Band
• Consecutive clippings counter
• Limiter/Expander Indicator per Band
• Dynamics Processing Curve Display per Band
• Hi Precision ppm meters with selectable hold modes
• Target Control per Band, for module specific frequency adjustment (hi/lo)
• Look Ahead Delay of up to 10 ms
• Digital Ceiling with accuracy of up to 0.01 dB
• Separate L/R Input Level controls for post-balancing mixes
• Soft Clipping for Limiter stage (analog emulation)
• Dithering: 22, 20, 18, 16 and 8 Bit (Uncorrelated)

Takes quite a bit of practice to use it properly and effectively, but once you get accustomed to it, its awsome.
I have also tried MasterTools form Apogee, but went back to the TC.

The next "can't do without" TDM plug-in is a totally essential tool -SpectraFoo Complete.
Foo complete features just about every measuring tool available, all extremely accurate. Get the Foo stuff in hardware, and your wallet will be over 60.000 bucks lighter!. From screen size VU's, peak meters, Lissajous phase scopes, oscilloscopes, code matric meters, signal generators, correlation meters, you name it, its got it.

Next, I think the best sounding EQ, If anything needs something this is the first one I'll try - the TC EQSat. # band parametric and 2 band shelving. On top of that, it has one of the best sounding "soft saturation" algorythms. (tape similation)

Those are the ones I use most

Other TDM plug-ins I like using in mastering (again - it all depends!!) are:
Cuan's Wide.R, if a mix is lacking in stereo image and could really use some "pulling apart"
 
Great ! :)
But how much DSP horsepower this setup needs ? I have ancient ProTools III system - disk I/O, DSP farm and two 888 I/O interfaces, running on PowerMac 150 mHz 256 mb.
Can i dream about this ?
 
Ouch!
The answer is, like almost always, yes but......

SpectraFoo to me is a must, the others just tools for the job, but they do need DSP to run, as does every non-audiosweet plug-in. Of case mastering does not need the DSP ;ower required for mixing, but I'd like to have at least 3 cards available, while for mixing I like at least seven available.
So in your case ... I wouldn't spend a couple of thousand on plug-ins first.
 
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