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Masterpiece
Techniques and Tips by Billy Stull
The
modern mastering engineer faces many exciting challenges.
More and more recordings are being made with a wide diversity
of recording equipment and locations. A client can present
a project from a high-end studio or a "did it at home
with a digital recording studio in a box." project.
Awareness of the value of professional mastering has grown
tremendously, which has propelled the mastering business.
New tools and techniques are needed to deal with this diversity
of recordings. The Masterpiece equips the engineer with powerful
tools to provide excellence in mastering. Following is some
of the effective techniques for using the Masterpiece for
mastering or mixing.
Configuration
As
noted the modules are easily removed and placed into different
positions for a different cascade of the signal chain. The
main two issues to consider are:
Where
in the sequence do you want to apply the dynamics or
compression?
A common and effective location for the dynamics is last in
the sequence. This allows the user to apply EQ, special features,
saturation etc. prior to the compressor/limiter so as to "catch" it
at the end of the chain. This levels the output for protection
and maximizes the gain of the ultimate CD by smoothing the
sonic peaks. Lower peaks allow the overall level to be raised
on the final CD product. However the capability of using the
1900 Dynamics Module with the input filter feature, and the
ability to interface outboard compressors through the auxiliary
feature, and the ability to use the sidechain with either onboard
or out-board equalizers may dictate a different configuration.
Different projects may require a different approach.
What
texture is appropriate for the project?
Are you going for clean and pristine or fat and "in your
face?" The order of the module chain gives the engineer
the ability to drive the individual modules by the previous
ones. For example, placing the Tape Texture feature before
the Classic feature will allow more overdrive into the classic
circuit for a different effect than if the chain was reversed.
Also, placing the compression first in the chain may control
the input so as to keep the input levels contained for a cleaner
sonic texture. Obviously, the configuration can tailor the "Masterpiece"
for individual projects and preferences.
Use
of the Peak and Shelf EQ
The
sonic spectrum can be re-contoured and shaped by the 1515
and 1517 modules. Low or high regions can be increased or
decreased with the shelf EQ 1517. For example, if the project
was too bright, a high shelf could be lowered to compensate
for this problem. This keeps the same sonic relationships
in the high region, but lowers all the frequencies somewhat
equally. If, after doing this, a certain frequency needed
to be increased, such as the range of cymbals, or vocal presence,
the peak equalizer can be used to overlay a specific frequency
band. For instance, 10K could be increased using a narrow "Q" on
the 1515 Peak Equalizer. If the project needs more bottom
end, it could be brought up overall with the low shelf equalizer
on the 1517. Overlapping the peak EQ 1515 and cutting a small
frequency band corresponding to the resonant note could then
lower a single resonant bass note. The bottom end has then
been increased and made more consistent. The peak equalizer
1515 is surgically precise and is effective in attacking
offending frequencies, or strengthening deficient frequencies.
Use of these powerful, precision tools can even help enable
the engineer to "remix" the project. Individual
multi-tracks are not available, but the use of specific frequency
bands can allow the increase of decrease of different instruments,
sounds, and tonal characteristics. Small EQ shaping in the
vocal range can even model different microphones and proximities.
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Use
of Input Filter
Many
times the use of processing or coloring the sound is desirable
on part of the sound spectrum, but not on other parts. For
example, you may want to compress the vocals but not affect
the bass or you want to compress just the high band, but
not the mid range or bass range. You want to add some "silkiness" to
the highs, but not to the rest. All of these things and much
more can be done with the input filter feature. Input filtering
divides the frequency spectrum into three sections: low,
mid, and high. The mid-band is adjustable by choosing where
the low and high bands start. (100 or 200 kHz, or 1.2 kHz
or 2 kHz). The possibilities are endless. Examples:
- Choose
Classic for the highs
- Choose
Compression on midrange
- Choose
Tape Texture on low-band
- Choose
Classic for highs and lows
- Choose
Vari-phase for highs
- Choose
outboard reverb for midband (for snare and vocals)
Sometimes
chorusing or flanging is added to the overall tracks. This
generally weakens the bass causing the bottom end to have
adverse phasing. With Input Filtering, these effects can
be adding to the mid and/or high band and not affect the
low range.
Live
recordings (and sometimes studio recordings) are prone to
phasing problems most evident in the mid range. Reversing
the phase of one side may fix the midrange but wipes out
the bass. With input filtering and the Vari-phase feature,
the engineer can alter the phase relationship of the mid
range incrementally without adversely affecting the bass.
The combination of the Auxiliary and input filtering allows
the use of outboard equipment to be "spotted in" on
selected frequency bands. Example:
- Use
a favorite compressor on low, mid, or high band
- Use
a delay/reverb unit on low, mid, or high band
Of
course any 1, 2, or full range combination is available.
The impact of Input Filtering is the ability to achieve a
sound spectrum that can't be achieved in the studio. For
example, "spotting in" the true Classic sound on
the highs only or adding Tape Texture to the low bass is
not available except with the Masterpiece.
Interface
with Digital Converters
The
Masterpiece is an analog system, which requires analog input.
Digital source recordings must be converted to analog to
interface into the Masterpiece. Of course, tape source or
even straight from the mixing console analog output need
no conversion. If conversion from digital is required, use
the highest quality converter possible for best results.
(Tip = the analog output of many digital devices many times
gives superior results over the digital output converted
with an outboard converter. The designers of the digital
source device may have matched the internal conversion to
that specific unit. A comparison is worthwhile). Using high
quality cable with short lengths is advantageous.
The
output of the Masterpiece must be converted to digital for
interface into the digital audio workstation. Again, use
the highest quality converter for best results.
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Image
Control
Engaging
the Image Control feature allows manipulation of the ambient
environment and sound stage. The Engage switch activates
the Ambience control and in addition enables the selection
of the Image control and accompanying Depth control. The
ambience control allows the subtraction or addition of ambient
information to the stereo field. Subtraction makes the program
material less "wet". Addition increases the ambient
field and makes the program material more "wet." It
can have much more ambience than it did originally using
the same inherent ambience in the program material. Or the
ambience can be "magically' removed. This can be used
to adjust the stereo "spread" as well.
When
the Image switch is selected in addition to the Engage switch,
the sound stage can be altered from front to back. The vocalist
and other centered program material can be brought forward
or back on the sound stage. This allows repositioning of
key elements in the mix. In many instances the vocalist can
even be eliminated without adversely changing the music bed.
Image Control is a very powerful tool. Small changes can
make drama results in the final product.
Sidechain
Some
common challenges for the mastering engineer are the presence
of overbearing sibilance (hot s's), resonant bass frequencies,
offending or harsh frequencies as the gain or intensity of
mix elements are increased, and the intermittent buildup
of too much information in a specific frequency bond. These
problems can be attacked by the use of the sidechain. The
sidechain signal is sent to either the internal or external
equalizer. The problematic frequency region is then increased
in gain so as to trigger the compressor at a designated level
relative to the gain structure of the total mix. In other
words, as the target frequency starts to get louder, the
compressor reduces the amount of level increase of that target
frequency. This keeps that frequency contained but allows
allof the other frequencies to be unaffected. (tip: use some
drastic EQ to pinpoint the target frequency. For example,
use a small Q with a large cut to eliminate the problem area.
This will temporarily affect the overall sound adversely
but will identify the correct region to boost on the sidechain.
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PRACTICAL
APPLICATIONS
Some
recent applications on actual mastering projects include
these tips and tricks:
A
recent project had 9 live songs recorded at the same time
and place, and the client requested that a tenth song be
added to the project from another live session that was recorded
earlier. The 10th song had a great deal more ambience than
the other 9 songs. By using the Image Control feature on
the Masterpiece, I simply reduced the inherent ambience on
the 10th track to match the rest of the project. Only took
a minute to accomplish the "impossible".
I
mastered a bluegrass project. They were happy with the mastering,
but not with their performance on an acapella intro. They
returned to the studio and re-cut the intro. They brought
the new intro to me and asked me to edit it on the front
of the song and replace the old intro. Well, the new intro
had less reverb on it than the old intro and song. With a
small turn of the ambience control knob, I increased the
inherent ambience to match the old intro and song.
By
selecting the low option on the input filter of the Tape
Texture feature, you can make the bottom end huge. I usually
prefer the 100 Hz setting but sometimes the 200 Hz option
is preferable. The low frequency range [usually bass guitar
and kick drum] gets big and fat, but the overall output is
not effected much, if any. It doesn't react like EQ; It is
more of an increase in density.
Another
project was a live to 2-track tube Ampex recording for a
well-known alterative rock band. During mastering it was
discovered that on one short section, there was some over-modulation
and accompanying low mid distortion that was unpleasant and
unexpected. Only one take was available and no remix option
as it was recorded live. Panic was in the air! I said, "Let
me try something". On the next pass the distortion disappeared.
What did you do? they exclaimed! I used the Sidechain to
duck the offending frequency band. The Masterpiece saved
the day!
Using
the Input Filter section on the Vari-phase feature select
the midband only. Reverse the phase of the midband, and turn
the Rotation controls all the way to the right. At this setting
there will be no apparent change when the Vari-phase in engaged.
As you rotate the Rotation controls to the left, the program
material is "scooped" without using EQ. In other
words, it is thinned out especially in the low mid region
where things get too crowded at times. It can add just the
right amount of clarity to the recording in an unusual way.
Another
project, done in a small studio, appeared to have some problem
with the high end. I suspected some phasing discrepancies.
I selected the high range on the Vari-phase feature, and
did a small adjustment. It sounded better! To check it, I
did a mono playback and when I engaged the Vari-phase with
the setting that I thought sounded better, the volume increased.
This proved that I had corrected some high end phasing problems
in just a few minutes without meters or special tools-just
the Masterpiece.
In
September of 2004 I mastered a CD that was recorded on a
Roland 2480. It was 70's rock style Christian project with
a great singer/songwriter with a "Rock Star"
voice. I did not have the Masterpiece at that time, but they
were happy with the end result. Recently the producer called
and said that another song had been written and recorded and
they want to master it to be included as the title cut on the
CD before it's release. I mastered the new song using the Masterpiece
and "tweaked" another song that we had mastered previously.
Upon hearing the two newly mastered songs, the difference was
so dramatic, that they now want to re-master all of the CD
using the Masterpiece before it is released.
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