23 - Mastering Suite

These sophisticated dynamics programs come from the “Masderring Lab” Library, created by the inventor of the “Distressor.” They are designed for stereo digital I/O and set for your two track mixes as well as being very useful for individual sources. These algorithms will often allow complex mastering operations to be performed on the H9000 alone, saving the expense of otherwise little-used outboard equipment.

#2310 Bigger And Brighter

NOTE: Cut low freq to prevent pumping. The left two faders are separate left and right input levels. First meter is compression, the 2nd is limiting. An output level adjust is on the right. A stereo compressor is preceded by a selectable EQ, followed by a limiter and 5 section EQ. The compressor can be frequency conscious using expert params. Stereo in, stereo out.

The left two faders are separate left and right input levels. First meter is compression, the 2nd is limiting. An output level adjust is on the right.

A stereo compressor is preceded by a selectable Eq, followed by a limiter and 5 section Eq. The compressor can become frequency concious using expert parms.

NOTE: Cut low freq to prevent ‘pumping’.

Effect Type

Suggested Use

Max Sample Rate

In/Out

{N}

[H][B]

96kHz

2, 2

#2311 Class A Distortion4

This is a 2nd harmonic generator. A Low Pass circuit must be used to limit input bandwidth to distortion cell to prevent aliasing. The left two faders are separate left and right input levels. The fader on right is output level. Meter 1 indicates left distortion (THD) meter 2 the right Use amt fader to control 2nd harmonic distortion. Stereo in, stereo out.

Use amt fad- er to control 2nd harmonic distortion.

Effect Type

Suggested Use

Max Sample Rate

In/Out

{Z}

[B]

96kHz

2, 2

#2312 Compress & De-ess

A stereo compressor is followed by a compressor that limits a band or a shelving response. Use as a de-esser or other versatile (turn knob right) frequency conscious processor. The left two faders on the Main page are separate left & right input levels. First meter is compression, the 2nd is H.F. limiting. Output level adjust is on the right. Duplicate controls & meters are found on different pages for convenience. They will always match. 12dB of internal headroom is allowed for processing of full scale signals. Often you can just adjust the input levels to drive into compression. Press Parameter key for more info -> The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free operation. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emphasis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flexibility. Select new HELP or Parameter-> This preset is set up so the first comp ressor gently compresses the source while the D-S part does its job limit- ing the high frequency in a band centered on 9 kHz. Push other HELP button or Param key–> For Dat to Dat mastering. Hook output of source dat (either AES or SP/DIF) to system’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF inputs and outputs. Connect digital output of system to destination Dat with unit in record pause. System will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flex- ible to go from HD through the system back to destination Dat. 44.1 or 48kHz. This EQ is before compression. Fader to right of De-Essing> is high freq balance. Stereo in, stereo out.

The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free op- eration. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emph- asis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flex- ibility. Select new HELP or Parameter->

This preset is set up so the first comp ressor gently compresses the source while the D-S part does its job limit- ing the high frequency in a band cen- tered on 9 kHz. Push other HELP button or Param key–>

For Dat to Dat mastering. Hook output of source dat (either AES of SP/DIF) to DSP4000’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital out- put of DSP4000 to destination Dat with unit in record pause. DSP 4000 will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flex- ible to go from HD through the DSP4000 back to destination Dat. 44.1 or 48kHz.

This EQ is before comp- ression.

Gain Red>

De-essing>

Effect Type

Suggested Use

Max Sample Rate

In/Out

{C}{Y}

[G][B][K]

96kHz

2, 2

#2313 Compress Highs Only

A stereo compressor is followed by a compressor that limits a band or a shelving response. Use as a de-esser or other versatile (turn knob right) frequency conscious processor. The left two faders on the Main page are separate left & right input levels. First meter is compression, the 2nd is H.F. limiting. Output level adjust is on the right. Duplicate controls & meters are found on different pages for convenience. They will always match. 12dB of internal headroom is allowed for processing of full scale signals. Often you can just adjust the input levels to drive into compression. Press Parameter key for more info -> The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free operation. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emphasis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flexibility. Select new HELP or Parameter-> This preset is set up so the first comp ressor gently compresses the source while the D-S part does its job limiting the high frequency in a band cen- tered on 9 kHz. Push other HELP button or Param key–> For Dat to Dat mastering. Hook output of source dat (either AES or SP/DIF) to system’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital out- put of system to destination Dat with unit in record pause. System will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flexible to go from HD through the system back to destination Dat. 44.1 or 48kHz. This EQ is before compression. Fader to right of De-Essing> is high freq balance. Stereo in, stereo out.

The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free op- eration. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emph- asis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flex- ibility. Select new HELP or Parameter->

This preset is set up so the first comp ressor acts as a peak limiter, rarely if ever active. The D-S part is set up as a shelve so that above a frequency, everything is compressed. This is a popular method to allow greater am- ounts of compression before low freq- uencies (like kick drum) ‘pump’ source. Push other HELP button or Param key–>

For Dat to Dat mastering. Hook output of source dat (either AES of SP/DIF) to DSP4000’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital out- put of DSP4000 to destination Dat with unit in record pause. DSP 4000 will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flex- ible to go from HD through the DSP4000 back to destination Dat. 44.1 or 48kHz.

This EQ is before comp- ression.

Gain Red>

De-essing>

Effect Type

Suggested Use

Max Sample Rate

In/Out

{C}{Y}

[G][V]

96kHz

2, 2

#2314 Dirty Master Box 4

A stereo compressor is followed by a compressor that limits the high frequency response. Can be used as a de-esser. The left two faders are separate left and right input levels. First meter is compression, the 2nd is H.F. limiting. An output lvl adjust is on the right. Fader to right of De-Essing is > high freq balance. Use ‘amt’ fader to control 2nd harmonic distortion. Distortion is turned off at -96. Stereo in, stereo out.

Use ‘amt’ fader to control 2nd harmonic distortion. Distortion is turned off at -96.

De-essing>

Gain Red>

Effect Type

Suggested Use

Max Sample Rate

In/Out

{Y}

[G][B][K]

96kHz

2, 2

#2315 Fatten The Bass

A stereo compressor is followed by a compressor that limits a band or a shelving response. Use as a de-esser or other versatile (turn knob right) frequency conscious processor. The left two faders on the Main page are separate left & right input levels. First meter is compression, the 2nd is H.F. limiting. Output level adjust is on the right. Duplicate controls & meters are found on different pages for convenience. They will always match. 12dB of internal headroom is allowed for processing of full scale signals. Often you can just adjust the input levels to drive into compression. Press Parameter key for more info -> The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free operation. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emphasis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flexibility. Select new HELP or Parameter-> This preset is set up so the first comp ressor gently compresses the source while the D-S part does its job limiting the high frequency in a band cen- tered on 9 kHz. Push other HELP button or Param key–> For Dat to Dat mastering. Hook output of source dat (either AES or SP/DIF) to unit’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF inputs and outputs. Connect digital output of system to destination Dat with unit in record pause. System will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors: after editing, it is usually more flexible to go from HD through the unit back to destination Dat. 44.1 or 48kHz. This EQ is before compression. Fader to right of De-Essing> is high freq balance. Stereo in, stereo out.

The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free op- eration. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emph- asis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flex- ibility. Select new HELP or Parameter->

This preset is set up so the first com- pressor doesn’t really do anything but the second compresses the frequencies below 200. The lows are boosted but controlled with the fast attack and release, helping keep the kick drum from pumping the rest of the low end.

For Dat to Dat mastering. Hook output of source dat (either AES of SP/DIF) to DSP4000’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital out- put of DSP4000 to destination Dat with unit in record pause. DSP 4000 will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flex- ible to go from HD through the DSP4000 back to destination Dat. 44.1 or 48kHz.

This EQ is before compression.

Gain Red>

De-essing>

Effect Type

Suggested Use

Max Sample Rate

In/Out

{Y}

[H][B]

96kHz

2, 2

#2316 Grunge Compress

A stereo compressor is followed by a compressor that limits a band or a shelving response. Use as a de-esser or other versatile (turn knob right) frequency conscious processor. The left two faders on the Main page are separate left & right input levels. First meter is compression, the 2nd is H.F. limiting. Output level adjust is on the right. Duplicate controls & meters are found on different pages for convenience. They will always match. 12dB of internal headroom is allowed for processing of full scale signals. Often you can just adjust the input levels to drive into compression. Press Parameter key for more info -> The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free operation. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emphasis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flexibility. Select new HELP or Parameter-> This preset is set up so the first comp ressor gently compresses the source while the D-S part does its job limiting the high frequency in a band centered on 9 kHz. Push other HELP button or Param key–> For Dat to Dat mastering. Hook output of source dat (either AES or SP/DIF) to system’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF inputs and outputs. Connect digital output of system to destination Dat with unit in record pause. System will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flexible to go from HD through the system back to destination Dat. 44.1 or 48kHz. This EQ is before compression. Fader to right of De-Essing> is high freq balance. Stereo in, stereo out.

The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free op- eration. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emph- asis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flex- ibility. Select new HELP or Parameter->

Extremely fast attack and release times add some distortion to this one. This preset uses the first compressor as a peak limiter, rarely if ever active. The D-S part is set up as a shelf, so that everything above a given frequency is compressed. Push other HELP button or Param key–>

For Dat to Dat mastering. Hook output of source dat (either AES of SP/DIF) to DSP4000’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital out- put of DSP4000 to destination Dat with unit in record pause. DSP 4000 will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flex- ible to go from HD through the DSP4000 back to destination Dat. 44.1 or 48kHz.

This EQ is before compression.

Gain Red>

De-essing>

Effect Type

Suggested Use

Max Sample Rate

In/Out

{C}{Y}

[G][B][K]

96kHz

2, 2

#2317 Manual Tape Flange2

Rock the Knob to get the flange. Old style flanger. Dual mono in, dual mono out.

Effect Type

Suggested Use

Max Sample Rate

In/Out

{M}

[G][B]

96kHz

2, 2

#2318 Masderring Lab 22

NOTE: Cut low freq to prevent pumping. The left two faders are separate left and right input levels. First meter is compression, the 2nd is limiting. An output level adjust is on the right. A stereo compressor is preceded by a selectable EQ, followed by a limiter and 5 section EQ. The compressor can be made frequency conscious by using expert params. Stereo in, stereo out.

The left two faders are seperate left and right input levels. First meter is compression, the 2nd is limiting. An output level adjust is on the right.

A stereo compressor is preceded by a selectable Eq, followed by a limiter and 5 section Eq. The compressor can become frequency concious using expert parms.

NOTE: Cut low freq to prevent ‘pumping’.

Effect Type

Suggested Use

Max Sample Rate

In/Out

{Y}

[C][G][B][K]

96kHz

2, 2

#2319 Radio Check

NOTE: Cut low freq to prevent pumping. The left two faders are separate left and right input levels. First meter is compression, the 2nd is limiting. An output level adjust is on the right. A stereo compressor is preceded by a selectable EQ, followed by a limiter and 5 section EQ. The compressor can be frequency conscious using expert params. Stereo in, stereo out.

The left two faders are seperate left and right input levels. First meter is compression, the 2nd is limiting. An output level adjust is on the right.

A stereo compressor is preceded by a selectable Eq, followed by a limiter and 5 section Eq. The compressor can become frequency conscious using expert params.

NOTE: Cut low freq to prevent ‘pumping’.

Effect Type

Suggested Use

Max Sample Rate

In/Out

{Y}

[H][B]

96kHz

2, 2

#2320 Radio Compress

A stereo compressor is followed by a compressor that limits a band or a shelving response. Use as a de-esser or other versatile (turn knob right) frequency conscious processor. The left two faders on the Main page are separate left & right input levels. First meter is compression, the 2nd is H.F. limiting. Output level adjust is on the right. Duplicate controls & meters are found on different pages for convenience. They will always match. 12dB of internal headroom is allowed for processing of full scale signals. Often you can just adjust the input levels to drive into compression. Press Parameter key for more info -> The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free operation. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emphasis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flexibility. Select new HELP or Parameter-> This preset is set up so the first compressor gently compresses the source while the D-S part does its job limit- ing the high frequency in a band centered on 9 kHz. Push other HELP button or Param key–> For Dat to Dat mastering. Hook output of source dat (either AES or SP/DIF) to DSP4000’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital output of system to destination Dat with unit in record pause. System will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flexible to go from HD through the system back to destination Dat. 44.1 or 48kHz. This EQ is before compression. Fader to right of De-Essing> is high freq balance. Stereo in, stereo out.

The unit must be 100%% wet or in Studio (no mix) mode for proper, comb free operation. Designed for use in digital domain. Analog inputs (turn knob right) will probably write to digital outputs with emphasis on. Emphasized digital inputs will be stripped of their ‘emph- asis on’ bits, although emphasis is rare in professional 44.1 kHz masters. Future revisions will allow more flex- ibility. Select new HELP or Parameter->

High ratio & fast attack/release times are typical of pop radio compression. The first compressor acts as a peak limiter. The D-S part is set up as another full-bandwidth compressor, with a lower threshold and ratio but equally fast envelope settings. Push new HELP button or Param key–>

For Dat to Dat mastering. Hook output of source dat (either AES of SP/DIF) to DSP4000’s Digital inputs. Hit Setup to change audio mode (turn knob right->) to the desired AES/EBU or S/P DIF in- puts and outputs. Connect digital out- put of DSP4000 to destination Dat with unit in record pause. DSP 4000 will indicate it is receiving digital input under setup/audio page. For Hard Disks Editors After editing, it is usually more flex- ible to go from HD through the DSP4000 back to destination Dat. 44.1 or 48kHz.

This EQ is before compression.

Gain Red>

De-essing>

Effect Type

Suggested Use

Max Sample Rate

In/Out

{C}{Y}

[H]

96kHz

2, 2