S6k Mastering Preset Specs sw 3.60 This section contains detailed descriptions of Mastering and Monitoring presets of System 6000 and Mastering 6000. From version 3.60, the Mastering sections contains 3 Banks: - Mastering Stereo - Mastering Surround - Monitor & Format Please note that much of the thinking behind a preset is reflected in what fader assignments have been made. The most important parameters will appear on faders, and are subject to instant adjustment once a recall has been performed.
3 MDW HiRes EQ 5.1 In Level L MDW HiRes EQ 5.1 In Level C George Massenburg upsampling, high resolution six channel Eq. In Level R In Level SL In Level SR In Level LFE F9, decade 1: De-Esser and Dynamic EQ’s 0 De-Ess Parametric Threshold Frequency Low Threshold for more de-essing. Target center frequency of parametric de-esser. 1 De-Ess Shelving Threshold Low Threshold for more de-essing. 2 Curve Frequency Freq. at which de-esser obtains half its cut.
4 DynEQ Threshold Frequency Low Threshold for more Cut. Target center frequency of Cut filter. 5 Dynamic, Parametric Cut filters for Stereo signals. For Dual Mono, unlink L/R on the Setup page. Check targeted frequency range by pressing Side Chain key. De-Esser DynEQ (MS) Curve Frequency M Low Threshold for more Cut on center elements of a mix. Target center frequency of Cut filter used on the M signal. High ratio for more Cut at selected frequency.
2 Limit EBU BrickWall 2 Gain Adjusts static gain. Use to increase or decrease overall loudness. 3 Limit Pop/Rock Gain L Gain/Drive adjustment. Use to increase or decrease overall loudness. 4 Threshold Sets max out level. Activate Upsample to take intersample peaks into account. Gain/Drive adjustment. Use to increase or decrease overall loudness. Profile Delay Select adaptive profile to match processing requirements. Use Voice to prioritize loudness of speech. BrickWall 2 Add up to 7.
Limit Classical BrickWall 2 Preset for use with Classical Music. Best possible preservation of transients with a minimum of distortion at low as well as high frequencies. Preset is bit transparent, and preserves dither and input word length when bit shifted gain controls are used. Word length preservation is indicated with green signs on the display. Gain Gain adjustment. Use to increase or decrease overall loudness. Bit shift at 6 dB intervals to preserve dither and word length.
3 Tape Sim 2 M5k Norm. Trim Gain/Drive adjustment for saturation effect. 4 Dynamic output limiter threshold. Gain/Drive adjustment for the center panned elements of a mix. 6 Comp. Lo Thresh. Comp. Mid Thresh. Comp. Hi Thresh. Threshold of Mid Band relative to Reference Level. Threshold of Hi Band relative to Reference Level. MD3 A classic preset from MD2 of TC M5000. MD3 A preset designed to prevent music from collapsing when played through a matrix decoder such as Dolby Prologic. Norm.
8 Expander Noise Red (MS) MD3 Multiband expander with look-ahead capability and separate processing of the M and S components of a stereo signal. This preset offers more control than #7 and #9, when noise reduction is performed on a stereo source. Exp. All Thresh. M Exp. All Range M Exp. All Release M Exp. All Thresh. S Level, relative to Reference, at which the M part processor is fully open. Max noise reduction performed on the center elements (M part) of a stereo signal.
1 MD4 CD Master (MS) MD4 Five band Compressor and DXP processor with integrated Eq and upsampled, adaptive BrickWall 2 Limiter. The preset provides a spectrally linear starting point for compression in the MS domain. A reference tone at -20 dB will be subjected to a 3 dB increase in level, which may be easily adjusted on the Trim M and Trim S faders. M and S components of a stereo signal can be subject to both static and dynamic adjustments. See additional descriptions at preset 0 above.
3 MD4 Limit (MS) MD4 Five-band limiter with soft knee characteristics applied individually to M and S components. The five-band section kicks in when long duration signals between 0 (Lo M) and -12 dBFS (Hi) are detected. The output limiter additionally protects against ultra short peaks, and out of band signals close to its threshold. The preset is unity gain until limiting action starts, and the output stays manageable even for low bandwidth perceptual coders.
6 Parallel Comp (MS) MD4 Five-band parallel M and S compressor with fast transient tracking including look-ahead delay. The preset adds 5.5 dB gain to a -20 dBFS signal, and hits unity gain at -7 dBFS. Trim M Trim S All Thresh. M All Thresh. S Lim. Thresh. L Lim. Thresh. R Overall Gain/Drive control affecting both the “dry” and the “wet” part of the M compo-nents of the signal. Overall Gain/Drive control affecting both the “dry” and the “wet” part of the S compo-nents of the signal.
1 MD4 DXP (MS) MD4 Five band DXP processor for stereo signals with separate processing of the M and S components, plus Eq and upsampled, adaptive BrickWall 2 Limiter. The preset provides a starting point for further adjustments. A reference tone at -20 dB will be subjected to a 3 dB increase in level. Unity gain is hit at Reference Level found on the Setup page. Further increase in low level may be obtained using higher Steer values in each band.
4 DXP Cuba Libre (MS) MD4 Five band DXP processor for stereo signals with basic settings suitable for acoustic music. The preset is more mellow and focused on room detail than preset 3, and developed to make the most out recodings such as the wonderful Cuban music we’re enjoying as an antidote to overly polished and controlled desktop music. Use the Band Gain parameters on the 5Band M and S pages to adjust the spectral balance on centered and wide elements of the mix.
6 DXP Classical MD4 Five band DXP processor with basic settings suitable for classical music, and other types of sensitive music. The preset is spectrally flat, and uses the Dynamic limiter profile for lowest perceivable transient distortion. Low level gain is disabled 20 dB below the DXP threshold at a ratio of 1:1.25. This setting can be changed in the 5Band page. A reference tone at -20 dB will be subjected to a 5 dB increase in level. Unity gain is hit at Reference Level found on the Setup page.
Engine Bank F9, decade 6: DXP Processing (MD4) 0 Madison 03 MD4 Famed preset suitable for preserving the low level space detail in music tending to get lost when data reduction is used. Note that Madision presets do not offset the general M/S balance unless the M and S Trim faders are used. The Madison 03 preset adds 3 dB boost to low levels signals. Unity gain is hit at Reference Level. Trim M Overall Gain/Drive control for center elements of a stereo signal preset at 0 dB.
3 Madison Acoustic 03 MD4 Famed preset suitable for preserving the low level space detail in acoustic music tending to get lost when data reduction is used. Note that Madision presets do not offset the general M/S balance unless the M and S Trim faders are used. The Madison Acoustic 03 preset adds 3 dB boost to low levels signals. Unity gain is hit at Reference Level. Trim M Overall Gain/Drive control for center elements of a stereo signal preset at 0 dB.
Engine Bank F10, decade 0: Static EQ’s (identical with F9, decade 0) 0 Parametric EQ 5.1 In Level L 1 2 In Level C MDW HiRes EQ In Level L 3 In Level C Parametric EQ 5.1 Linked In Level L In Level R EQ5.1 In Level C In Level R In Level R MDW HiRes EQ 5.1 In Level C In Level SL In Level SR In Level LFE Like preset 0, but with the 5 Main channels operating linked together. MDW HiRes EQ MDW HiRes EQ 5.
F10, decade 1: DXP Processing for Multichannel (MDX5.1) 0 MDX5.1 Film Master MDX5.1 48 bit dynamics processor for 5.1 Film Mastering. Limiting points are set to avoid distortion in data reduction codecs such as DTS and Dolby AC3. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Low level gain is set to 3 dB. If more gain is needed, adjust Fader #1 and #2 and/or use higher Steer settings. Channel linking is L-R, Ls-Rs, Center by itself and LFE by itself.
2 Film Xtra Cnt Lift MDX5.1 48 bit dynamics processor for 5.1 Film Mastering. Limiting points are set to avoid distortion in data reduction codecs such as DTS and Dolby AC3. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Low level gain is set to 6 dB on Center channel, and 3 dB on other channels. Channel linking is L-R, Ls-Rs, Center by itself and LFE by itself. The linking setup can be changed on the Link page.
5 Music Xtra Cnt Lift MDX5.1 48 bit dynamics processor for 5.1 Music Mastering. Limiting points are set to avoid distortion in data reduction codecs such as DTS and Dolby AC3. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Low level gain is set to 8 dB on Center channel, and 5 dB on other channels. Channel linking is L-R, Ls-Rs, Center by itself and LFE by itself. The linking setup can be changed on the Link page.
2 Film Remap Curve A9 MDX5.1 48 bit dynamics processor for converting 5.1 Film to Domestic listening. Low level input is boosted, normal level input is untouched, overly hot input is limited. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Low level gain is set to 9 dB for all channels, output limiting at –3 dBFS. Channel linking is LR, Ls-Rs, Center by itself and LFE by itself. The linking setup can be changed on the Link page.
5 Film Remap Curve B9 MDX5.1 48 bit dynamics processor for converting 5.1 Film to Domestic listening. Low level input is boosted, normal level input is boosted less, overly hot input is limited. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Low level gain is set to 9 dB on all channels, normal level gain is set to 4 dB, output limiting at –3 dBFS. Channel linking is L-R, Ls-Rs, Center by itself and LFE by itself.
8 Film Remap Curve C9 MDX5.1 48 bit dynamics processor for converting 5.1 Film to Domestic listening. Low level input is boosted - especially on the C channel to preserve speech intelligibility - normal level input is boosted less, overly hot input is limited. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Low level gain is set to 11 dB on the C channel and 9 dB on other channels, normal level gain is set to 4 dB, output limiting at –3 dBFS.
Engine Bank F10, decade 7: Multichannel Limiters and Soft Clip (MD5.1) 0 5.1 Limit 0dBFS MD5.1 5.1 wideband Limiter with Soft Clip functionality. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. The preset is unity gain until limiting action starts. To apply gain, turn up the Comp All Gain and Comp LFE Gain parameters. Comp. All Gain Master amount of gain make-up to the 5 Main channels. After the multiband sections, but before the limiters. 1 FullRng.
3 5.1 EBU Limit MD5.1 Three-band 5.1 EBU broadcast Soft Knee Limiter with 3 ms look-ahead delay. For low latency applications the delay may be as low as 0.5 ms without compromising the sound. Use the Nominal Delay parameter to adjust. The multiband section kicks in when long duration signals above -12 dBFS are detected, and are linked LFr-RFr-LSr-RSr with Center by itself. Linking can be changed on the Setup page. The output limiters protects against short peaks above -9 dBFS on a sample by sample basis.
1 5.1 Classical Master MD5.1 Multichannel, multiband dynamics processor for optimization of level on DVD classical and acoustic music releases. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. The preset adds 4.5 dB of gain to an input of -20 dBFS, with the mulitband section linked LFr-RFr, LSr-RSr, Center and LFE separate. Linking can be changed on the Setup page. The output limiters protects against short peaks on a sample by sample basis. Comp.
3 5.1 Film to B’Cast Multichannel, multiband dynamics processor for transcoding the dynamic range of feature film to broadcast use. More engines can be loaded with the preset for processing of e.g. 6.1, 7.1 or 10.2 channel formats. Note: Presets based on MDX5.1 provide more flexibility for this application. MD5.1 The preset adds 2.5 dB of gain to an input of -20 dBFS, with the mulitband section linked LFr-RFr-LSr-RSr, Center and LFE separate. Linking can be changed on the Setup page.
9 5.1 Cat43 Emulate MD5.1 Multiband 5.1 expander emulating processing and operation of the old two channel Dolby Cat43. The preset is an example of a realtime Cat43 for multichannel signals, with a fader layout resembling that of the orange predecessor. For single channel or stereo work, compare against preset 10-3-9 and 11-5-9. Channels are linked LFr-RFr-LSr-RSr, Center and LFE separate. Linking can be changed on the Setup page. Look-ahead delay is set to 3 ms.
Engine Bank F11, decade 0: Monitoring 0 Monitor Matrix * Toolbox 5.1 Monitor Matrix with Calribrated Loudness listening, and handling any input format from mono to 5.1. The preset is set for a 20 dB attenuation upon recall, so you don’t harm your ears or speakers. Move fader 6 to change that, or consider using an integrated monitoring-metering approach as suggested by SMPTE and EBU. The loudness loop may be closed further when processing is also taken into account.
1 Mon. Main Ch to Sub Toolbox 5.1 This preset gives a presentation of a 5.1 signal, if bass management at the end listener is set for “satellite configuration”, ie. 5 Small Main speakers with all low frequency energy redirected to one single Sub/LFE speaker. Note that the preset allows the LFE input to be or not to be mixed and output with the LF content of the Main channels.
2 Mon. LFE to Main Ch Toolbox 5.1 This preset gives a presentation of a 5.1 signal, if there is no Sub/LFE speaker in the reproduction setup, and all LF energy has to be emitted by the 5 Main speakers. Full Size Main speakers would obviously be needed for this to work as intended. The preset takes into account that for film reproduction, acoustic gain for LFE elements needs to be higher than gain for Main channel elements (see fader 1).
3 Mon. 5.1 to LCRS Toolbox 5.1 This preset gives a presentation of a 5.1 signal if reproduced through an LCRS speaker setup without stereo surrounds and Sub/LFE speaker. The preset does not take into account the reduced channel separation and artefacts associated with steering found in for instance Dolby ProLogic and other 4:2:4 matrixed codecs. Expect a 5.1 signal encoded and decoded through a matrix system to sound worse than the direct transcoding performed by this preset.
4 Mon. 5.1 to Stereo Toolbox 5.1 This preset gives a presentation of a 5.1 signal when reproduced through two channel stereo speakers (normally reffered to as just “stereo”). The channel downmix coefficients may be easily adjusted using parameters assigned to faders 2-4. The main issue here is the relative difference between these three parameters. Default ATSC and EBU downmix coefficients calls for C at -3 dB and SL/SR at -6 dB relative to L and R.
5 Mon. 5.1 to Mono Toolbox 5.1 This preset gives a presentation of a 5.1 signal when reproduced in mono through two speakers (phantom mono). To listen through only one speaker, select Center as Mono Output on the Format page, or use preset 5. The channel downmix coefficients may be easily adjusted using parameters assigned to faders 2-4. The main issue here is the relative difference between these three parameters, and whether or not the 90 degree de-correlation is activated or not.
6 Mon. 5.1 to Mono C Spkr. Toolbox 5.1 This preset gives a presentation of a 5.1 signal when reproduced in mono through one speaker. To listen to mono through two speakers, select L/R as Mono Output on the Format page, or use preset 4. The channel downmix coefficients may be easily adjusted using parameters assigned to faders 2-4. The main issue here is the relative difference between these three parameters, and whether or not the 90 degree de-correlation is activated or not.
9 Spkr. Cal. (Pink Noise) Toolbox 5.1 This preset was created with speaker loudness calibration in mind, and based on the algorithm’s true RMS noise and tone generators. Calibrated loudness will allow you to exhange mixes between studios and colleagues in a meaningful way, and to combat abusive level and distortion from exhausting your headroom. Calibration of the 5 Main speakers should be based on broadband pink noise (default of this preset), or the HPF pink noise also available.
Engine Bank F11, decade 2: Format Down Conversion for Production Audio 0 5.1 to LCRS Toolbox 5.1 The Toolbox 5.1 algortithm can be used for monitoring as well as production purposes. The F11 decade 0 bank holds monitoring presets, while decade 2 is for examples of production presets. This algorithm’s resolution is 48 bit fixed point, and when no special functions are turned on, it is bit transparent. For a bit transparent bypass of all 5.1 channels, move the Fader to 0.0 dB, or press the Bypass key.
1 5.1 to Stereo Toolbox 5.1 This preset transcodes a 5.1 signal to two channel stereo. The channel downmix coefficients may be easily adjusted using parameters assigned to faders 2-4. The main issue here is the relative difference between these three parameters. Default ATSC and EBU downmix coefficients calls for C at -3 dB and SL/SR at -6 dB relative to L and R. The absolute numbers are a matter of headroom management. Note: The LFE input signal is discarded with this preset.
3 5.1 to Binaural This preset prepares a 5.1 signal for headphone reproduction through the use of the Engage algorithm. The algorithm is tuned for AKG240DF headphones, so this selection should be used as default, and unless another specific model is specified. Engage Note: Advanced versions of Engage are used for headphone mix optimization and In Flight Entertainment, and carry License protection.
1 UnWrap Intimate This particular preset can be used as a starting point for upconverting material where intimacy needs preservation, but slightly less dry than preset 0. UnWrap Frontal image width: Solo LCR channels on the Output page when setting Level, Center channel and L/R processing parameters. Compare against Bypass if you wish to achieve the same overall image width as the two channel input. Basic description of the UnWrap algorithm at preset 0. L/R Processing Controls frontal image width.
4 UnWrap Wide This preset can be used as a starting point for upconverting material where extra spaciousness complements the soure. UnWrap Frontal image width: Solo LCR channels on the Output page when setting Level, Center channel and L/R processing parameters. Compare against Bypass if you wish to achieve the same overall image width as the two channel input.
6 LtRt Centered This preset turns an LtRt mix into 5.1 without the steering artefacts normally associated with LtRt decoding. The preset is suitable for film and music, but preset 8 may be a better choice for the latter. UnWrap Basic description of the UnWrap algorithm at preset 0. L/R Processing Controls frontal image width. Turn this parameter to 0% to leave L and R completely unaltered. 7 LFE Cut Freq. Hi cut filter frequency applied to derive an LFE signal from the input.
Engine Bank F11, decade 5: BackDrop Noise Reduction 0 BackDrop (Startup) BackDrop BackDrop noise reduction was designed to provide the maximum amount of realtime noise reduction without audibly altering the underlying signal. This decade of presets provide starting points for different types of restoration and clean-up work. BackDrop license is required to recall any of these presets.
2 MultiBand Noise Reduction BackDrop This preset offers an enhanced set of controls compared to preset 1 or 2. The MultiBand model used provides three independent noise reduction engines split across three frequency bands. Xover frequencies are accessed from the Model page. The MultiBand model is a good choice for higher levels of noise and when you need a high degree of precision in where you apply the noise reduction.
4 Gentle Noise Reduction BackDrop This preset provides a good choice for subtle reduction of random noise such as tape hiss, thermal or quantization types. Basic description of the BackDrop algorithm at preset 0. Aggression Max Reduction Basilar Dispersion Transient Recov. Trim Start Trim End Together with Max Reduction, this parameter controls how much noise reduction is applied. Sets the max number of dB BackDrop is allowed to remove.
7 Buzz Remove BackDrop This MultiType preset gives you the ability to de-compose the noise in realtime, and apply reduction specifically to buzz and hum elements. Basic description of the BackDrop algorithm at preset 0. Note that MS or channel unlinked processing is also available in MultiType mode. Buzz Aggress. Room Aggress. Hiss Aggress. Max Reduction Basilar Dispersion Transient Recov. Amount of noise reduction applied to tonal components, e.g.
