What Are the Advantages of Mastering?
You might be asking yourself, Why do I need to master my recordings? Cant I just burn my mixes to an audio CD and be done with it?
Ultimately, though, the goal of mastering is quite simple: To create a CD that sounds great on any system its played on, be it a home stereo, boom-box, car stereo, or the radio.
What is the Mastering Tool Kit?
The Mastering Tool Kitor MTK for shortis one of the factory plug-ins thats included with the VS8F-3. The MTK is not just one effect, but a powerful multi-processor that combines several different effects under one hood.
About the VS8F-2s MTK Processor If youre an experienced V-Studio user, youre probably familiar with the Mastering Tool Kit algorithm available on the VS8F-2 Effects Expansion Board. Conceptually, the new MTK is very similar to the old: They both contain the same types of effects, and their intended usage is the same. However, the VS8F-3s MTK provides the following benefits: Enhanced sound qualityBy taking full advantage of the VS8F-3s powerful 56-bit, 96 kHz-capable processing engine, the new MTK produces superlative audio quality. A software plug-in style user interfaceLike all of the VS8F-3s effects, the new MTKs interface has the intuitive look and feel of a software plug-in effect. If you have a VGA-compatible V-Studio, you can use a mouse to access all of the MTKs parameters at once on a connected VGA display. Informative displaysLevel meter and graphic processing displays give you excellent visual feedback about the processing taking place inside the MTK. If you dont own a VS8F-3 yet, you dont need to feel left out. Many of the concepts presented in this booklet can be applied to using the VS8F-2s MTK, as well as the MTK found in some of BOSSs BR-series recorders.
The VS8F-3s Mastering Tool Kit as seen on a VGA display.
All of the MTKs effects are specially tailored for the sweetening phase of the mastering process. These effects include: a four-band equalizerfor adjusting a mixs tonality. a bass cut filterfor removing unwanted low frequencies. a stereo enhancerfor adding harmonics and sparkle to a mix. a multiband stereo expanderfor emphasizing the dynamic changes in a mix. a multiband stereo compressorfor evening-out the musical dynamics of a mix, adding tightness and punch. a stereo limiterto boost a mixs overall level and maximize the signal. a soft clip processorthat inhibits distortion and adds analog-style warmth to a mix.

Using the MTK

To use the MTK, youll want to insert it on the master bus in the V-Studios Mastering Room. This allows you to capture your MTK-processed mixes as disk images that can be burned onto an audio CD. For instructions on using the Mastering Room, inserting effects, and opening the MTK for editing, see the VS8F-3 Owners Manual and the owners manual for your particular V-Studio.
A Word About Mixing with the MTK Though its possible to use the MTK while mixing your songs, we dont recommend it. Its best to apply its processing in a second step. This approach serves two purposes: It gives you a clean, pre-MTK version of your mix that you can always return to if you like. It frees up the VS8F-3s processing for other effects during mixdown.
Every song is different, and usually requires its own unique processing approach. The factory presets are great starting points, but youll probably get the best results through careful manipulation of the MTKs parameters.
The MTK in Detail Signal Flow
Signals entering the MTK are processed by its effects in a sequential order as shown:
Input L Input R Output L Output R
Navigating the MTK Once opened for editing, youll navigate through the MTKs parameters in the same manner as you would with any other VS8F-3 or VS8F-2 effect. Use the V-Studios F buttons to page through the processors display screens. Highlight a parameter for editing by using the 3,4, 5, and 6 buttons, and then change the selected parameters value by using the VALUE dial. Using the VS8F-3s MTK is even easier if you have a VGA monitor and mouse connected to a VGA-compatible V-Studio. All of the MTKs parameters can be viewed at one time on the VGA display, with easy onscreen manipulation using the mouse. Checking Out the Presets There are a number of factory presets that you can use to get familiar with the MTK, and to use as starting points for your sweetening applications. For information on selecting the MTKs factory presets, see the VS8F-3 Owners Manual and the owners manual for your particular V-Studio model.
The signal flows through one processor and then into the next, one after the other. This type of processing is called serial processing. All of the MTKs effects can be used at once, but any individual effect can be bypassed if you dont want to use it. Each of the MTKs seven different stereo effects processors can be categorized as one of two general types: a tone-shaping processorwhich alters the sound by manipulating the frequency content of the signal. a dynamics processorwhich alters the sound by manipulating the signals volume.

About the Input Meters On the left side of the first MTK page (or the upper left-hand corner of the MTK if youre viewing on a VGA monitor), youll see the input meters. These meters show the signal level received at the input of the MTK. You can adjust the level arriving here by using the mixs track faders. Set the level so that the loudest parts of your mix reach between -1 and -4 on the meters. If any part of the mix makes the CLIP indicator light, distortion will occur. If CLIP lights, back off the level until it doesnt. Its important to adjust the MTKs input level properly, as this ensures that youre taking full advantage of the VS8F-3s 56-bit processing.
EQ The MTKs first tone-shaping processor is a powerful EQ, or equalizer, that allows you to raise or lower the volume of specific frequencies within a sound. Using EQ in mastering, you can adjust a mixs tonal balancemaking it brighter or warmer, harsher or sweeter. You can lower the volume of any frequencies you dont like, or emphasize certain frequencies by making them louder. You can even remove an entire range of problem frequencies altogether.
The Tone-Shaping Processors
The MTK provides three different tone-shaping processors (highlighted below) to manipulate the overall tonality or spectral balance of the signal. The MTKs EQ features four separate frequency ranges called bands. Each band allows you to target a specific frequency between 20 Hz and 20 kHz. A variable bandwidthor Q control determines the range of frequencies below and/or above a targeted frequency that are affected by the EQ band. Each band has an adjustable level control, which allows you to raise or lower its frequency range +/- 15 dB. Theres also a display that shows your EQ adjustments in a graphic curve. For overall control, the EQ has a master section with master input and output level controls, as well as a bypass switch.
EQ Types Each of the MTKs four EQ bands can be designated as a specific EQ type that determines the behavior of the band. These are: a parametric or peaking EQthat allows you to target a specific frequency, called the center frequency, and raise or lower its volume. The Q control determines the range of frequencies around the center frequency whose volume is to be affected (the higher the Q setting, the narrower the range of affected frequencies). a shelving EQthat allows you to raise or lower all the frequencies above (high shelf ) or below (low shelf ) a specified frequency. The shelving EQ requires no Q setting. a filterthat allows you to remove an entire range of frequencies. There are several ways a filter can work: A low pass filterremoves all frequency content above a specified cutoff frequency. Its called a low pass filter because it lets all frequencies that are lower than the cutoff frequency pass through unaffected. A high pass filterremoves all frequency content below a specified cutoff frequency. Its called a high pass filter because it lets all frequencies that are higher than the cutoff frequency pass through unaffected.

A band eliminate filterremoves a specified band of frequencies. The Q control determines the width of the filter band.

Selecting the EQ Type

To choose the EQ type for each band, set FREQ (Hz)TYPE so its indicator is lit. Using the selection boxes under the first row of onscreen knobs, you can assign each band to function as one of the following EQ types: PEAKPeaking EQ. LSVLow shelving EQ. HSVHigh shelving EQ. LPF1Low pass filter with a fixed gentle slope. LPF2Low pass filter with an adjustable slope. HPF1High pass filter with a fixed gentle slope. HPF2High pass filter with an adjustable slope. BPFBand pass filter. BEFBand eliminate filter. THRUBypasses the EQ band. For most mastering applications, a good starting point is to set the EQ types as follows: Band 1-LSV, Band 2-PEAK, Band 3-PEAK, and Band 4HSV. However, dont be afraid to experiment to find the types that work best for you.
The low and high pass filters dont drastically cut off all frequency content right at the cutoff frequencythey gradually lower it over a frequency range called a slope. In some instances, the slope can be adjusted with the Q control. A band pass filteronly allows a specified band of frequencies to pass through unaffected, removing all other frequency content below and above the selected band. The Q control determines the width of the filter band.

EQ Frequency

To choose the target frequencies for the EQ bands, set FREQ (Hz)TYPE so its indicator is unlit. Then, use the selection boxes under the first row of knobs to select the desired target frequency (20 Hz to 20000 Hz (20 kHz)) for each band. EQ Bandwidth (Q)
To choose the volume of each EQ band, set GAIN (dB)Q so its indicator is unlit. Then, use the selection boxes under the second row of knobs to set the desired volume for each band. A band can be boosted or cut over a +/- 15 dB range. The GAIN (dB) setting has no effect when an EQ bands type is set as a filter (LPF1, LPF2, HPF1, HPF2, BPF, or BEF). Master EQ Levels and Bypass These master controls affect the entire EQ: ON/OFFturns the entire EQ section on (lit) or off (unlit). INPUT GAIN (dB)allows you to adjust the volume of the signal arriving at the equalizer. If youve set the MTK input as described previously, using the INPUT meters, youd normally leave this set to 0.0. LEVEL (dB)adjusts the output volume of the EQ. After making the desired EQ adjustments, you should use this control to match the EQs level with the signal level when the EQ is bypassed. Its important to set the output gain properly, otherwise you might overload the effects that follow in the MTK chain, resulting in distortion.
To choose the Q settings for the EQ bands, set GAIN (dB)Q so its indicator is lit. Then, use the selection boxes under the second row of knobs to set the desired Q for each band. The available range is 0.36 (wide bandwidth) to 16.00 (narrow bandwidth). When an EQ bands type is set to LPF2 or HPF2, the Q setting determines the steepness of the filters slope. The Q setting has no effect when an EQ bands type is set to LSV, HSV, LPF1, or HPF1. EQ Gain An EQ bands gain control allows you to adjust the volume of the bands selected frequency range up or down. Turning a bands volume up is called boosting, while turning the bands volume down is called cutting.

Bass Cut Bass Cut is the next tone-shaping processor. Basically, its a high pass filter with a very steep slope. In mastering, Bass Cut is most often used to remove subsonic frequencies, sounds that are below the human hearing range. The Bass Cut effect is very simple, with just two controls: ON/OFFturns the Bass Cut section on (lit) or off (unlit). FREQ(Hz)sets the cutoff frequency below which all frequencies are removed. For most types of music, the default setting (20 Hz) is appropriate.

The Dynamics Processors

A music mix consists of many loud and soft sounds that convey the rhythm and emotion of the performance. These variations are referred to as musical dynamics. The MTK provides a set of four powerful processors for controlling them.
Enhancer The MTKs final tone-shaping processor is the Enhancer. It works by adding musical harmonics at and above a selected frequency. Depending on the setting, the Enhancer adds brilliance, edge, or air to the sound. The Enhancer has the following controls: ON/OFFturns the Enhancer on (lit) or off (unlit). FREQ(Hz)sets the frequency at which the Enhancer begins to act. This can be set anywhere between 200 Hz and 20000 Hz (20 kHz). SENSsets the amount of harmonics added to the signal. MIX LEVEL(dB)sets the amount of the Enhancer effect that is blended with the mix.
The Mechanics of Dynamics Processing A dynamics processor is essentially an automatic volume control. Changes in a signals level trigger the dynamics processor to act, adjusting the volume according to the processors settings. All dynamics processors change a signals level based upon settings determined by the following controls: A threshold level settingtells the processor to start working when the signal reaches a particular level. An attack settingtells the processor how quickly it should respond after the signal reaches the threshold level. A ratio settingtells the processor how much to adjust the signals volume. The higher the ratio, the greater amount of processing. A release settingtells the processor when to stop adjusting the signals volume.
Applying dynamics processing can affect the overall loudness of the signal. To compensate for this, a gain control allows you to adjust the signal volume post-processing. Audio engineers often refer to a post-processor gain control as makeup gain because it makes up for any volume changes caused by the processing. Three Flavors The MTK contains three different types of dynamics processors, all of which are available at once: ExpanderAn expander exaggerates the differences between a signals loudest parts and its softest parts, expanding the signals dynamic range. You can use the expander to make a mixs original dynamics more pronounced, creating more energy and excitement. You can also use it to make unwanted background noises quieter, or remove them altogether by setting the expander to function as a gate. CompressorThe opposite of an expander, a compressor reduces the difference between a mixs loudest and softest parts, compressing the dynamic range. This smooths out volume peaks, making the signal more manageable. Compression can also be used to create a tighter, thicker sound. LimiterA limiter limits the volume of a signals peaks. It functions much like a compressor, but in a more extreme fashion. In mastering, limiting is used to maximize the volume of the mix, creating a loud, in your face sound.

The Power of Multiband Processing To enhance their power in mastering applications, the MTKs expander and compressor function as multiband processors. This allows each of them to process three separate frequency bands at once, with different dynamics settings applied to each band. Its like having three stereo expanders and three stereo compressors, all working independently on different frequency ranges of the mix.
Stereo Input High Mid Low Stereo Output
Heres how it works: Before the signal reaches the dynamics processors, its split into three separate frequency bandslow, mid, and high. The points at which the bands are split are called low and high split points. The frequencies selected for the split points determine the frequency width of the bands. From there, each band is processed with its own expander and compressor. After processing, you can adjust the levels of each the three bands using the MTKs dynamics mixer. In mastering, multiband dynamics processing is an extremely powerful tool, allowing a degree of dynamics control that would be unattainable with a single-band processor. In addition to its powerful level-shaping capabilities, multiband dynamics processing can be used as an equalization tool. Since it manipulates the volume of the different frequency ranges of the mix, the perceived volume of specific tonal elements can be easily emphasized or de-emphasized.
Dynamics Input Controls The dynamics input controlslabeled INPUTallow you to manipulate the audio signal as it arrives at the dynamics section: IN GAIN (dB)sets the volume of the signal entering the dynamics section. D-TIME (ms)allows you to slightly delay the signal arriving at the dynamics processors from 0-10 ms (milliseconds). A longer delay allows the MTK more time to analyze the audio signal, resulting in more accurate dynamics control. This is known as look-ahead processing. LO (Hz)determines the low-to-mid frequency split point for the multiband processors. This can be set from 20 Hz to 800 Hz. HI (Hz)determines the mid-to-high frequency split point for the multiband processors. This can be set from 1600 Hz to 16000 Hz (16 kHz). The dynamics input controls are always active, even if the individual multiband processors are bypassed. Careful adjustment of the split points allow you to zero in on specific mix components (kick drum/bass guitar, lead vocals, cymbals, etc.) for subsequent multiband dynamics processing. 120 Hz for the low split and 4000 Hz for the high split are good starting points. After adjusting the multiband processors, however, youll probably find that you need to readjust the split points to get the sound just right.

The Multiband Processors

The multiband expander and multiband compressor look nearly identical. Each processor has its own graphic dynamics display, and a column of gain reduction meters that indicate the current amount of gain reduction for each band. Under each display, theres a row of four onscreen knobs for controlling the processor. On the left side of each display, theres a column of switches for selecting a band for editing, as well as a switch for bypassing the entire processor. Multiband Expander (EXP) The first multiband processor is the expander, or EXP. The expander works by reducing the volume of signals that fall below a specified threshold. The expander contains the following controls: ON/OFFturns the expander on (lit) or off (unlit). LO, MID, and HIselects the desired band for editing. THRE (dB)sets the threshold for the selected band. The threshold value can be set from -80 dB to 0 dB.
RATIO (:1)sets the ratio of volume reduction applied to the selected band once the signal falls below the threshold. The ratio can be set anywhere from 1.00:1 to :1. When an expander bands ratio is set to :1, it functions as a gate.
The Graphic Dynamics Displays Each multiband processor provides a graphic dynamics display that shows you how the processor is shaping the level of the signal for the selected frequency band.
ATK (ms)sets the attack time for the selected band. This can be set anywhere from 0.00 ms to 800 ms. REL (ms)sets the release time for the selected band. This can be set anywhere from 50 to 8000 ms.
Multiband Compressor (COMP) The second multiband processor is the compressor, or COMP. The converse of the expander, the compressor works by reducing the volume of signals that rise above a specified threshold. The compressor contains the following controls: ON/OFFturns the compressor on (lit) or off (unlit). LO, MID, and HIselects the desired band for editing. THRE (dB)sets the threshold for the selected band. The threshold value can be set from -24 dB to 0 dB. RATIO (:1)sets the ratio of volume reduction applied to the selected band once the signal reaches the threshold. The ratio can be set anywhere from 1.00:1 to :1. When a compressor bands ratio is set to :1, it functions as a limiter. ATK (ms)sets the attack time for the selected band. This can be set anywhere from 0.00 ms to 800 ms. REL (ms)sets the release time for the selected band. This can be set anywhere from 50 to 8000 ms.
The arrow indicates the threshold point. A diagonal line means no gain reduction.
The threshold point is indicated by the intersection of two lines on the display (as shown by the arrow in the illustration above). In the case of the expanders display, the amount of gain reduction is indicated by the angle of the line to the left of the threshold point. In the case of the compressor, the amount of gain reduction is indicated to the right of the threshold point. When there is no threshold point shown on either graphic displayonly a straight diagonal lineno gain reduction will take place in that band.

Gain Reduction Meters Each multiband dynamics processor has a series of gain reduction meters (labeled GR) that indicate in realtime the amount of gain reduction taking place. The GR meters are displayed in three columns. Each column represents one of the three frequency bands, with the left column representing the low band, the middle column the mid band, and the right column the high band. The gain reduction meters are extremely powerful tools that show you how the multiband processors are affecting your signal. Learning how the meters react to changes made to the multiband processors controls are a key to mastering the processors themselves. Dynamics Mixer The dynamics mixerlabeled MIXERallows you to adjust the volume of each frequency band post-processing: HIGH (dB)adjusts the volume of the high frequency band. MID (dB)adjusts the volume of the mid frequency band. LOW (dB)adjusts the volume of the low frequency band. As is the case with the dynamics input controls, the dynamics mixer is always active. Even if the multiband processors are bypassed, the mixer will still control the volume of the individual frequency bands, essentially functioning as a simple EQ.
Limiter The MTKs next dynamics processor is the Limiter. With it, you can maximize the overall volume and impact of your mix. ON/OFFturns the Limiter on (lit) or off (unlit). THRE (dB)sets the Limiters threshold. The threshold value can be set from -24 dB to 0 dB. ATK (ms)sets the Limiters attack time. This can be set anywhere from 0.00 ms to 800 ms. REL (ms)sets the Limiters release time. This can be set anywhere from 50 to 8000 ms. You might be wondering why the Limiter doesnt have a ratio control. Actually, it doesits preset to a fixed ratio of :1. Soft Clip Soft Clip is the final processor in the MTK dynamics section. Essentially, its a limiter that kicks in to reduce high signal levels that might overload the MTKs output section. Additionally, Soft Clips digital processing adds a warmth to the sound thats reminiscent of vintage tubetype processors. Soft Clip has only one control: ON/OFF. When on, it does all of its processing automatically.

Output Section

MTK Master Level The master level controlLEVEL (dB) provides the overall volume control for the MTK.
MTK Usage Tips General Tips
When starting a mastering session, its best to begin with all the MTKs individual effects bypassed. This allows you to listen to the mix with no processing, getting a feel for what you need to do to sweeten it. Then, bring in each MTK processor one at a time, adjusting the controls as you listen. You might want to create an MTK preset that has all its individual processors bypassed, and select it as your starting point for a new mastering session. To one degree or another, all of the MTKs different processors control the volume of the frequency ranges in the signal. Because of this, the processors are extremely interactive, and settings made on one processor can affect the sound of another. For example, changing the ratio and threshold settings on the compressor will often affect the EQ curve you worked so hard to perfect. Or, adding a small high EQ boost might make your nice enhancer setting sound edgy and harsh. Because of all this interactivity, its takes a little patience to achieve the best results. By listening carefully, taking your time, and making subtle adjustments, youll eventually get the hang of how everything works together. And, for your effort, youll be rewarded with quality master tracks.

During mastering, you should set the V-Studios MASTER fader at 0 dB. This allows the MTKs master level to determine the volume of the disk image as its being recorded. Output Meters The output meters provide a visual indication of the signal level at the MTKs output. Normally, youll want the loudest signal levels to reach the -1 indicators. If the CLIP indicators light, use LEVEL (dB) to reduce the volume until they dont light anymore.
The MTKs output meters display the signal level after the MTK master level control, but before the V-Studios MASTER fader.

Bypass Tips

During mastering (and when using any effects processing, for that matter), the ON/OFF switch is one of the most important tools you have at your disposal. Here are a few tips for using it effectively: During processing, compare the processed and bypassed sounds oftenThis tells you if the processing that youre doing is really helping, or hurting, the final result. Listen to the processed and unprocessed signals at equal levelMuch of the processing youll do in the MTK is going to add volume to the signal. Consequently, when an MTK processor is bypassed, the unprocessed sound may be quite a bit lower in volume. To accurately compare the two, adjust the MTK output sections Level (dB) control to match their volumes as you listen. You dont have to use them allOften, youll find that you can get the results you need by using just one or two of the MTKs effects and bypassing the rest.

EQ Tips

Using EQ in mastering is a lot different than using EQ in the mixing process. In mixing, EQ is applied in an isolated fashion to individual sounds. In mastering, however, youre applying EQ to an entire musical presentation. As such, a single EQ change affects many different sounds at once. Here are a few things to keep in mind during the process: Only use as much EQ as necessaryAvoid the temptation to over-EQ. Just because there are four EQ bands, you dont have to use them all. You can bypass a single EQ band by setting its type to THRU.
Equalization in mastering is a balancing actApplying EQ in one frequency range has a pronounced effect on the perceived EQ of other frequency ranges. Because of this, there are often a couple of different ways to get a similar result. For example, if you want to warm up the sound a little, you might boost slightly with a peak EQ in the 250500 Hz range. Then again, you could get a similar result by cutting slightly in the 2-4 kHz area. Be aware of this interaction, and keep it in mind while working. Cut frequencies instead of boosting them if possible Generally, its best to remove frequencies rather than to add them. This results in a cleaner, more natural sound, with less potential for distortion. This isnt to say that all boosting is badits just good practice to try to accomplish your EQ goals with a frequency cut first. Work the QWhen using a peak-type EQ, the setting of the Q control determines the width of the affected range of frequencies above and below the EQ bands center frequency. Most of the time, a wide Q sounds the most natural. For surgically eliminating problem frequencies, however, a narrower Q is the ticket. Avoid excessive EQ boostsIf you must boost an EQ band, be cautious. Boosting a bands gain excessively can cause more problems than it fixes. (Of course there are exceptions to this rule, so let your ears be the final judge.) Use excessive EQ boostsWhat? Didnt we just say not to do that? Well, theres one application where excessive EQ boosts are good: As an aid in identifying and fixing problem frequencies in the mix. Heres how: Set an EQ band as a peak-type EQ, and set its Q to a narrow bandwidth. Raise the gain on the band to a high level, around 10.0 or so. If the sound distorts, back it down a little.

While the music is playing, sweep the EQ bands center frequency to find the offending frequency. Once the offending frequency is found, lower the EQ bands gain to a negative value to reduce the level of that frequency. Then, adjust the bands Q to a value that achieves the most natural sound.

Enhancer Tips

Add a little airThe Enhancer is best used to add a little sparkle and air to the sound. The result is different than what youd get by simply turning up the high-end of the EQ, as harmonics are actually being added to the signal. The best results are usually achieved by setting FREQ (Hz) to 4000 or higher. A little goes a long wayThe Enhancer is a seductive effect, one that can add a lot of energy and zing to a mix. As such, its easy to get carried away with it. Be careful about how much you add, as extreme settings can sound unnatural and harsh.
Use shelving EQs to boost the low and high frequencies When adjusting the low and high frequency extremes of the sound (mastering engineers call these the corner frequencies), shelving EQs sound the most natural. If you want to bring up the overall level of the bottom end, use a low shelf EQ set in the 60-120 Hz range. If you want to add some air and sparkle, use a high shelf EQ set in the 10-14 kHz range. Fix it in the mixIf you find youre trying to fix drastic tonal problems at the mastering stage, you might want to think about going back and remixing the song entirely.

Multiband Processor Tips

The MTKs multiband expander and multiband compressor give you an enormous amount of control over the impact of the musical presentation. You can use one or the other, or both at the same time. Some general rules of thumb are: If you want to enhance the musics impact and punchuse the multiband compressor. If you want to enhance the energy of the musicuse the multiband expander. If you want to tame uneven dynamicsuse the multiband compressor. If you want to eliminate noise at the beginning and end of a song, or during a silent moment in the songuse the multiband expander.

Bass Cut Tips

The normal use of the MTKs Bass Cut is to remove subsonics, those very low frequencies that are felt more than heard. Subsonics can only be reproduced when played through a sound system that includes a subwoofer. Some systems that dont have a subwoofer expend energy by trying to reproduce subsonics anyway, even if theyre not audible. As such, removing them can actually make the music sound better by increasing the systems available power or headroom. If your music contains a lot of low-frequency energy, and is intended to be played on sound systems with a subwoofer, you may want to turn the Bass Cut off. For most types of music, however, a Bass Cut setting of 20 Hz is usually appropriate.

Limiter and Soft Clip Tips
Making it loudYouve probably noticed that many commercially released CDs (especially those in the pop and R&B genres) are maximized in level. This is accomplished in the mastering process by using the Limiter. The Limiter works by lowering the volume of the musics peaks, allowing you increase the average signal level before clipping. The peaks are controlled using the threshold control, and the average level is increased post-limiting by adjusting the MTKs output level control.
Theres currently a great deal of controversy among audio engineers over the pros and cons of excessive limiting and making your CD as loud as possible. Unfortunately, its often necessary to allow your music to compete in the pop music world. Be careful though: Applying too much limiting to your music can make it fatiguing and unpleasant to listen to. Keep it transparentIn mastering, the goal of limiting is to raise the perceived volume transparently so that you dont hear any audible side-effects of the process itself. This is usually best achieved with very fast attack and release settings. Dont overdo itUse care when working with the Limiter. Too much limiting can make the music loud, but small and wimpy at the same time. If you need a little extra volume, use Soft ClipIn addition to its signal warming effect, Soft Clip adds a bit of volume boost to the signal.

Listening Considerations

The ultimate goal of mixing and mastering is to create a final product that sounds great on any sound system. Your V-Studio provides you with the tools necessary to complete that task, but there are a few things outside of the box that can have a big influence on the quality of your master CDs.

Your Speakers

While mixing and mastering, you rely on your speakers to tell you the truththat is, to provide an accurate sonic picture on which you can base your sound-shaping decisions. When you think of it this way, your speakers are among the most critical components in your audio chain.

Roland DS-8 Monitors

Watch Those Output Meters!
Keep the output hot, but dont clip the metersIf the signal causes the output meters clip indicators to light, the sound will distort. Back off the output sections Level (dB) control so that the signals loudest parts reach -1 on the output meters. We mentioned this earlier, but it bears repeating: During mastering, you should set the V-Studios MASTER fader at 0 dB to allow the MTK output sections Level (dB) control to determine the volume of the disk image as its recorded.

At the listening position, your ears should be horizontally level with the mid-point between each speakers woofer and tweeter.
There are lots of companies that offer reasonably-priced acoustic treatment products. Two of the most popular for home and project studios are Auralex (www.auralex.com) and Real Traps (www.realtraps.com). At their sites, you can also find a lot of information on the causes ofand solutions forcommon home-studio acoustics problems. If All Else Fails. If youre planning to go to the expense of mass-producing a CD of your V-Studio music and havent yet had a chance to perfect your home-brewed mastering skills, you may want to consider letting a professional mastering engineer do the work on your project. This allows you to benefit from the experience of someone who does mastering for a living, and also provides a fresh set of ears for objective listening. You should try to sit in on the mastering session as well, so you can observe the pros approach to the mastering process. Youll benefit greatly from the tips that you pick up, enhancing your future V-Studio mastering experiences and the work youll do with the MTK.
Place your monitors on stands or wall mounts designed for that purpose. Avoid placing them on shelves or tables.
Room Treatment Due to the way that sound waves reflect off of walls, the listening room itself greatly influences the sounds you hear. A low ceiling and parallel walls can conspire to create all sorts of tonal anomalies such as standing waves and comb filtering. These wreak havoc on your mixing and mastering decisions, because youre making adjustments based upon a skewed acoustical picture. Fortunately, with a little experimentation and a few relatively inexpensive acoustic treatments, you can set up your listening environment so that youre much better equipped to make accurate aural decisions. Acoustic treatments work by absorbing and diffusing sound waves. With proper selection and placement, such treatments can minimize your rooms acoustic problems.

The End

We hope youve enjoyed this booklet on using the VS8F-3s Mastering Tool Kit. Keep an eye out for more VS8F-3 Workshop booklets, available for downloading at www.RolandUS.com. For the latest V-Studio updates and support tools, visit the Roland U.S. Web site at www.RolandUS.com. If you need personal assistance, call our amazing Product Support team at 323-890-3741.

VS8F-3

Plug-In Effect Expansion Board
Put Plug-In Power In Your V-Studio!
The VS8F-3 Plug-In Effect Expansion Board is an easy and affordable way to add powerful plug-in effect processing to your V-Studio. Each board is capable of loading two high-quality plug-ins from Roland and 3rd party developers (sold separately). To get you started, there are five Roland plug-ins included right out of the box. And the sound quality is top-notchthanks to 56-bit internal processing and up to 96kHz sound quality.
Here are just a few of the optional plug-ins coming to the V-Studio platform.

Antares

IK Multimedia

Auto-Tune VS

Auto-Tune VS corrects intonation problems in vocals or solo instruments in real time, without distortion or artifacts, while preserving all of the expressive nuances of the original performance. Use preset scales or create custom scales to match any harmonic structure.

T-RackS

T-RackS gives musicians a complete set of mastering tools modeled after rare, vintage analog EQs and dynamics processors. Offering great sound quality and results while being very easy to use, its no wonder T-RackS has become one of the most popular mastering suites available.
*Product pictured is a prototype model.

Massenburg DesignWorks

Universal Audio
Open platform card adds powerful plug-in processing to the latest V-Studios Superb sound quality: 56-bit processing and up to 96kHz sampling rate Runs 2 stereo (4 mono) plug-ins at 48kHz or 1 stereo (2 mono) plug-in(s) at 96kHz
Includes 5 Roland plug-ins, plus support for optional 3rd party plug-ins Install up to two plug-ins per card 3rd party developers include Antares, IK Multimedia, Massenburg, Universal Audio and more

VS-LA2A

Designed by the same manufacturer of the classic hardware version, the VS-LA2A is an exacting emulation of this legendary compressor, but made for your V-Studio. And operation is simple, thanks to a dedicated Limit/Compress switch and Input/Peak Reduction knobs.
Each VS8F-3 includes five high-quality Roland plug-ins that can be installed from a CD-ROM included in the box. Use the Pre-Amp Modeling plug-in to warm up any input or track, or improve your vocals with the Vocal Channel Strip, which can be inserted into two mono channels simultaneously. The new Tempo Mapping Effect makes it easy to create tempo-synced delays, while the Mastering Tool Kit provides all the EQ and dynamics tools needed for tight, punchy mixes. 2004 Roland Corp. U.S.
To use a VS8F-3 with a V-Studio, the software must be updated via a CD-ROM included in the box. Compatibility will be immediately available for the popular, top-of-the-line VS-2480 Series, VS-2400CD and the new VS-2000CD. Software updates for the VS-1680, VS-1880 and VS-1824 are planned for April 2004, giving plug-in processing power to all of Rolands most popular V-Studios.
Includes Five Roland Plug-Ins!
Compatible with Many V-Studios
Massenburg DesignWorks High Resolution EQ
Simply one of the best EQs available, the Massenburg DesignWorks High Resolution EQ brings unprecedented clarity, fast response and smoothness to any mix. This 4-band fully parametric EQ uses up to 96kHz processing for pristine sound quality with plenty of analog character.

VS-1176LN

This software version of Universal Audios classic limiting amplifier offers ultra-fast attack time and analog warmth perfect for a variety of dynamics processing applications. Like the original, the VS-1176N supports the popular All Buttons mode.
*Note that the plug-ins shown are based on the appearance when used with the VS-Series optional VGA monitor. As the plug-ins are still under development, actual product appearance and specifications are subject to change.

Faxback Number 10721

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Each VS8F-3 includes five high-quality Roland plug-ins that can be installed from a CD-ROM included in the box. Use the Pre-Amp Modeling plug-in to warm up any input or track, or improve your vocals with the Vocal Channel Strip, which can be inserted into two mono channels simultaneously. The new Tempo Mapping Effect makes it easy to create tempo-synced delays, while the Mastering Tool Kit provides all the EQ and dynamics tools needed for tight, punchy mixes.

2004 Roland Corp. U.S.

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