2013

Mastering 93
faders to change to get the audio results you want, the following section describes the
available faders in detail.
Low tune: Here you can tune the bass processor to a specific input frequency
(between 50 and 150 Hz). This is the preferred frequency at which, for example, a
kick drum or an acoustic/electric bass is played. The phase position of the bass range
can be influenced according to the set frequency, resulting in deeper sounds sounding
more "succinct" and "broader".
Low attack: Using the transient recognition fader the attack behavior of the tuned
range can be increased (fader to the right) or decreased (to the left). You can use this
to create a "hard" or "dynamic" bass foundation or have a range sound "legato" or
"soft.
Low mix: Here the processed bass signal is mixed with the unprocessed input signal.
Please note that material that is already highly modulated may become
overmodulated/distorted. For strong increases in the bass you should, if required,
reduce the source material in order to have enough reserves. It is also recommended
that you use the Audio Cleaning Lab Limiter as the next step.
High tune: This fader specifies the input frequency of the high tone circuitry (between
1 and 10 kHz). A part of the input signal is filtered and a phase lag is created
depending on its frequencies. Simultaneously, the dynamic harmony is enhanced.
When turned to the left you can influence the mids and highs of the signal so that, for
example, the "articulation" of speech and instruments can be edited. The further up
the frequency you go, the more the harmonies or bright sounds, like drum cymbals,
are registered. You can use this to add "shine" or "silkiness" to your recordings.
High stereo width: Use this fader to specify whether the signal that's added to the
high tone processor should be edited in mono, stereo or as a broadened signal if at all.
This way you can specify whether the range should be compiled from the stereo mids
of a recording or from the parts of the pages (for example, room information)
High mix: Here you can specify the amount of data from the high-frequency
processor that should be mixed into the original sound.
Tip: At the beginning when using psycho-acoustic devices there is a danger of
overkill. We recommend regularly toggling from unedited signals to processed ones.
In order to make subtle changes in the sound it is often enough that the change be
just about audible or that when switching off the effect, you get the feeling that
there's something missing. If the effect sounds like it's in the foreground, this usually
means that it's exaggerated too much.