A Roland V-Studio equipped with a VS-compatible CD recorder and a VS8F-3 or VS8F-2 effects board allow you to accomplish all of these processes. For detailed information about track editing, creating disk images, and burning audio CDs, see the owners manual for your particular V-Studio.
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.

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.

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.
The expander eliminates low-level noise by automatically turning down the volume (per the threshold and ratio settings) when the noise isnt masked by the music. Since this is a realtime process, you may not always get the result you want. Consequently, you may find that you can achieve more precision results by using the V-Studios Phrase Edit functions to manually remove any noise problems. Here are a few tips to keep in mind when tweaking the multiband processors: In mastering applications, conservative ratio settings work bestDuring mixing, its often appropriate to apply extreme dynamics processing to individual sounds, with ratios at 4:1, 8:1, or higher. However, mastering benefits from a subtler approach. Youll usually achieve the most natural results with ratio settings between 1.25:1 to 2.5:1. Work the thresholdThe threshold control determines when the processor will start reducing gain on a frequency band. Subtle adjustments go a long way, so practice using them to their greatest effect. Use care when adjusting the attack timeOnce the threshold has been reached, the attack time determines how fast the processor will act. For example, if the compressors attack time is too short, youll soften the attack of the percussive elements of the mix, making them sound squashed. Increasing the attack time a little will make the sound punchier. Watch the releaseThe release control determines when the volume reduction stops. If the release time is too long, the processor cant recover quickly enough, resulting in a pumping sound. If the release time is too short, the sound will distort (especially on low frequencies).
Keep an eye on the GR metersThe GR meters tell you when, and how much, the processors altering the sound. Watch them carefully to see how your dynamics settings affect each frequency band. Use the multiband processors like an EQBy adjusting the split points and the output levels of each processing band, youll find you have a great deal of equalization control over the signal. Bypass the bands you dont want to useTo bypass an expander band, set its threshold to -80 dB and its ratio to 1.00:1. To bypass a compressor band, set its threshold to 0 dB. Dont get frustrated!The right dynamics processing for a particular song is achieved with careful adjustment of the threshold, attack, and release controls. Finding the right settings can be hard, especially when youre just starting out. But, with a lot of practice and a little patience, your efforts will pay off. By learning to get your dynamics settings just right, you can take the quality of your master tracks to a new level.

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!

Turn up the volume instead of turning up the bassThe ear is less sensitive to bass frequencies at lower volumes. Instead of adding bass, first try turning up the monitoring level to see if that fixes the problem. Get a second speaker opinionWhen you think youve got it right, check your results on some other speaker systems to see how well things translate. Use the V-Studios Track at Once CD burning option to make one-off test CDs for this purpose. Heres where Rolands DS-series monitors and the VS8F-2 come to the rescue: Using COSM Speaker Modeling, you can instantly check your results on different virtual speakers and save yourself the trouble (and expense) of burning a bunch of test CDs!
Take a breakYour ears get fatigued after long periods of listening. Taking a break will allow your ears to recover so that you can make more accurate mixing and mastering decisions.
About Using Headphones Headphones are useful, and sometimes necessary to avoid bothering neighbors or roommates. (Funny how they dont always appreciate hearing the same song played 500 times in a row!) However, theyre usually not your best choice for making hard mixing and mastering decisions. Most people are going to listen to your music on speakers in an open space, not on headphones, so its usually best to use your studio monitors for final audio judgements.
That said, headphones can be a great aid. For one, their sound is not influenced by the room theyre in, so you can get a consistent (if not absolutely accurate) aural picture of your music. During mixing, theyre great for positioning individual musical elements in the stereo field, and their direct response can help you more easily identify when mix components are working against each other. When youre setting the levels of elements placed at extreme positions in the stereo field, its a good idea to use your speakersheadphones can be very misleading when youre attempting to do this. During the editing process, headphones can make it easier to hear subtle sounds that you might not hear as well in your studio monitors. Theyre also helpful when using the MTK, allowing subtle changes in the processors settings to be more easily heard. Like all artistic judgements, there are no hard-and-fast rules that are right 100% of the time. If you can achieve the results you desire by mixing and mastering using only headphones, by all means do so! Speaker Placement and Room Acoustics Most of us home-recordists set up shop wherever its convenient, and thats often in a spare bedroom, basement, or garage. Unfortunately, these arent always the most optimum environments for critical listening. Countless books and magazine articles have been written on the subject of optimizing your listening environment. We wont attempt to provide any detailed solutions here, but we can offer a few basic things to be aware of.

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.

01454356 '01-1-E3-51T

CAUTION
Install the circuit board only into the specified unit. Remove only the specified screws during the installation.....

s IMPORTANT NOTES

OWNERS MANUAL
Thank you for purchasing the Roland VS8F-2 effect expansion board. The VS8F-2 is an expansion board which adds effect functionality to your device. For more about equipment which is able to use the VS8F-2, please contact a nearby Roland service center or your dealer. When the VS8F-2 is installed into your device, effect functionality will become available. For details on installation and on the algorithms/patches which can be used, refer to the owner's manual of your device. The VS8F-2 cannot be used with the Roland VS-880. The Roland VS8F-1 must be used with the VS-880. Copyright 1997 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Before using this unit, carefully read the sections entitled: USING THE UNIT SAFELY and IMPORTANT NOTES. These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owners manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
In addition to the items listed under USING THE UNIT SAFELY, please read and observe the following:

Placement

Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

Handling the board

To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board. Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged. When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors. Save the bag in which the board was originally shipped, and put the board back into it whenever you need to store or transport it.

Making connections

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

USING THE UNIT SAFELY

* In the interest of product improvement, the specifications and/or contents of this package are subject to change without prior notice.
Used for instructions intended to alert the user to WARNING the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled. The q symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power-cord plug must be unplugged from the outlet.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

Information

AFRICA

CRISTOFORI MUSIC PTE LTD

Blk 3014, Bedok Industrial Park E, #02-2148, SINGAPORE 489980 TEL: 243 9555

PANAMA

SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: (507) 315-0101

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

JORDAN

AMMAN Trading Agency
Prince Mohammed St. P.O. Box 825 Amman 11118 JORDAN TEL: (06) 4641200

Al Fanny Trading Office

P.O. Box 2904, El Horrieh Heliopolos, Cairo, EGYPT TEL: (02) 4185531

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339

PARAGUAY

Distribuidora De Instrumentos Musicales
J.E. Olear y ESQ. Manduvira Edeficio, El Dorado Planta Baja Asuncion PARAGUAY TEL: 595-21-492147

NORWAY

Roland Scandinavia Avd. Kontor Norge
Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 273 0074

KUWAIT

Easa Husain Al-Yousifi
Abdullah Salem Street, Safat KUWAIT TEL: 5719499

REUNION

Maison FO - YAM Marcel
25 Rue Jules Hermann, Chaudron - BP491 Ste Clotilde Cedex, REUNION ISLAND TEL: 16

LEBANON

A. Chahine & Fils
P.O. Box 16-5857 Gergi Zeidan St. Chahine Building, Achrafieh Beirut, LEBANON TEL: (01) 335799

THAILAND

Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2, Bangkok 10100, THAILAND TEL: (02) 2248821

VIDEO Broadcast S.A.

Portinari 199 (ESQ. HALS), San Borja, Lima 41, REP. OF PERU TEL: 51-14-758226

POLAND

P. P. H. Brzostowicz
UL. Gibraltarska 4. PL-03664 Warszawa POLAND TEL: (022) 19
ALWAYS OBSERVE THE FOLLOWING WARNING
Before using this unit, make sure to read the instructions below, and the Owners Manual..... Do not open or perform any internal modifications on the unit..... Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information..... Never use or store the unit in places that are: Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are Damp (e.g., baths, washrooms, on wet floors); or are Humid; or are Dusty; or are Subject to high levels of vibration..... In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit..... Protect the unit from strong impact. (Do not drop it!)..... Before installing the VS8F-2, you must first always turn off the specified unit and unplug its power cord.....

SOUTH AFRICA

That Other Music Shop (PTY) Ltd.
11 Melle St., Braamfontein, Johannesbourg Republic of SOUTH AFRICA P.O.Box 32918, Braamfontein 2017 Republic of SOUTH AFRICA TEL: (011) 403 4105

VIETNAM

Saigon Music
138 Tran Quang Khai St., District 1 Ho Chi Minh City VIETNAM TEL: (08) 844-4068

PORTUGAL

Tecnologias Musica e Audio, Roland Portugal, S.A.
RUA DE SANTA CARARINA 131/133, 4000-450 PORTO PORTUGAL TEL: (022) 208 4456
Al Emadi Co. (Badie Studio & Stores)
P.O. Box 62, DOHA QATAR TEL: 4423-554

URUGUAY

Todo Musica S.A.
Cuareim 1844, Montevideo, URUGUAY, CP11200 TEL: 5982-924-2335

VENEZUELA

Musicland Digital C.A.
Av. Francisco de Miranda, Centro Parque de Cristal, Nivel C2 Local 20 Caracas VENEZUELA TEL: (02) 285 9218

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre Claremont 7700 Republic of SOUTH AFRICA P.O. Box 23032 Claremont, Cape Town SOUTH AFRICA, 7735 TEL: (021) 674 4030

AUSTRALIA/ NEW ZEALAND

AUSTRALIA
Roland Corporation Australia Pty., Ltd.
38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA TEL: (02) 9982 8266

ROMANIA

FBS LINES
Plata Libertatii 1. RO-4200 Cheorgheni TEL: (066) 164-609

SAUDI ARABIA

aDawliah Universal Electronics APL
Corniche Road, Aldossary Bldg., 1st Floor SAUDI ARABIA P.O.Box 2154, Alkhobar 31952 SAUDI ARABIA TEL: (03) 898 2081

RUSSIA

Slami Music Company
Sadojava-Triumfalnaja st., Moscow, RUSSIA TEL: 2193

EUROPE

AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74, A-6063 RUM, AUSTRIA TEL: (0512) 260
Technical Light & Sound Center
Khaled Ibn Al Walid St. P.O. Box 13520 Damascus - SYRIA TEL: (011) 2235 384
Beijing Xinghai Musical Instruments Co., Ltd.
6 Huangmuchang Chao Yang District, Beijing, CHINA TEL: (010) 6774 7491
Roland Electronics de Espaa, S. A.
Calle Bolivia 239, 08020 Barcelona, SPAIN TEL: (93) 308 1000

NEW ZEALAND

Roland Corporation (NZ) Ltd.
97 Mt. Eden Road, Mt. Eden, Auckland 3, NEW ZEALAND TEL: (09) 3098 715
BELGIUM/HOLLAND/ LUXEMBOURG Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE
Danvik Center 28, 2 tr. S-Nacka SWEDEN TEL: (08) 702 0020

TURKEY

Barkat muzik aletleri ithalat ve ihracat Ltd Sti
Siraselviler cad.Guney is hani 8486/6, Taksim. Istanbul. TURKEY TEL: (0212) 2499324

HONG KONG

Tom Lee Music Co., Ltd. Service Division
22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911

CENTRAL/LATIN AMERICA

ARGENTINA
Instrumentos Musicales S.A.
Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057

DENMARK

Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: (039)16 6200

SWITZERLAND

Roland (Switzerland) AG Musitronic AG
Gerberstrasse 5, Postfach, CH-4410 Liestal, SWITZERLAND TEL: (061) 921 1615

U.A.E.

Zak Electronics & Musical Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg., No. 14, Grand Floor DUBAI U.A.E. TEL: (04) 3360715
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 498 3079

FRANCE

Roland France SA
4, Rue Paul Henri SPAAK, Parc de l'Esplanade, F St. Thibault, Lagny Cedex FRANCE TEL: 73 500

BRAZIL

Roland Brasil Ltda.
R. Coronel Octaviano da Silveira 203 05522-010 Sao Paulo BRAZIL TEL: (011) 3743 9377

UKRAINE

TIC-TAC
Mira Str. 19/108 P.O. Box Munkachevo, UKRAINE TEL: (03131) 414-40

NORTH AMERICA

CANADA
Roland Canada Music Ltd. (Head Office)
5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (0604) 270 6626

INDONESIA

PT Citra IntiRama
J1. Cideng Timur No. 15J-150 Jakarta Pusat INDONESIA TEL: (021) 6324170

FINLAND

Roland Scandinavia As, Filial Finland
Lauttasaarentie 54 B Fin-00201 Helsinki, FINLAND TEL: (9) 682 4020

COSTA RICA

JUAN Bansbach Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: (506)258-0211

UNITED KINGDOM

Roland (U.K.) Ltd.
Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 700139

Cosmos Corporation

1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855

GERMANY

Roland Elektronische Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090
Roland Canada Music Ltd. (Toronto Office)
Unit 2, 109 Woodbine Downs Blvd, Etobicoke, ON M9W 6Y1 CANADA TEL: (0416) 213 9707

Comercial Fancy S.A.

Avenida Rancagua #0330 Providencia Santiago, CHILE TEL: 56-2-373-9100

MIDDLE EAST

BAHRAIN

Moon Stores

Bab Al Bahrain Road, P.O. Box 20077 State of BAHRAIN TEL: 211 005

MALAYSIA

Bentley Music SDN BHD
140 & 142, Jalan Bukit Bintang 55100 Kuala Lumpur,MALAYSIA TEL: (03) 2443333

GREECE

STOLLAS S.A. Music Sound Light
155, New National Road 26422 Patras, GREECE TEL: 061-435400

U. S. A.

Roland Corporation U.S.
5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

EL SALVADOR

OMNI MUSIC
75 Avenida Notre YY Alameda, Juan Pablo 2, No. 4010 San Salvador, EL SALVADOR TEL: (503) 262-0788
PHILIPPINES G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

MEXICO

Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (525) 80

HUNGARY

Intermusica Ltd.
Warehouse Area DEPO Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011

CYPRUS

Radex Sound Equipment Ltd.
17 Diagorou St., P.O. Box 2046, Nicosia CYPRUS TEL: (02) 453 426

SINGAPORE

Swee Lee Company
150 Sims Drive, SINGAPORE 387381 TEL: 748-1669

IRELAND

Roland Ireland
Audio House, Belmont Court, Donnybrook, Dublin 4. Republic of IRELAND TEL: (01) 2603501

ISRAEL

Halilit P. Greenspoon & Sons Ltd.
8 Retzif Ha'aliya Hashnya St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666
La Casa Wagner de Guadalajara s.a. de c.v.
Av. Corona No. 202 S.J. Guadalajara, Jalisco Mexico C.P.44100 MEXICO TEL: (3) 613 1414
As of November 1, 2000 (Roland)