Adobe Audition 3.0.1

[TMTGTR]

AAC ENCODING UPDATE INFO FOR XP!
To amend the AAC Encoding post here:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275372

1) qaac_2.84_LAST XP

2) To Use the Fraunhofer ibfdk-aac I erroneously recommended FFMPEG 7.1 For XP. I foolishly recommended the last version when I HAD NOT TRIED IT WITH Fraunhofer ibfdk-aac! APOLOGIES. Won't happen again!

The last moded version FFMPEG 7 Sept 01 2024 (ffmpeg-7.1-2362-6aafe61-win32-static-xpmod-sse)
does not work with libfdk-aac-2.0.3-win32-xpmod-sse..

So you'll need ffmpeg-6.2-609-238f9de-win32. I use the Static build:
http://web.archive.org/web/20250121...peg-6.2-609-238f9de-win32-static-xpmod-sse.7z

If you want the Shared or dev packages or to browse the collection:
http://web.archive.org/web/20250121092625/https://rwijnsma.home.xs4all.nl/files/ffmpeg/?C=M;O=D

The Fraunhofer ibfdk-aac v 2.0.3
http://web.archive.org/web/20250108182201/https://rwijnsma.home.xs4all.nl/files/ffmpeg/libfdk-aac/libfdk-aac-2.0.3-win32-xpmod-sse.7z or browse the collection.

I recently used Fraunhofer ibfdk-aac (Hence how I discovered my error) to satisfactory results to create a large Constant 576 kbps with a 20 kHz high pass cutoff M4a file.
This could be needed for my next post because you might want to use it but will have to convert it to wav.
(Must have the AAC Plugin for Adobe Audition installed, or here http://web.archive.org/web/20260818125524/https://www.rarewares.org/files/aac/cool_faac-1.28-2.7.zip )

Side note:
• QAAC maximum kbps is 320 with High Pass max 15 kHz (Recommended for for listening)

• libfdk-aac maximum Constatant or Variable kbps is 576 High Pass max 20 kHz (Recommended if file must be converted, re-encoded etc.)

 

[TMTGTR]

Airwindows VST Plugins PART 6 (Sub-Part 1)

A Mastering Chain Using Adobe 3.0.1, Airwindows Plugins and FinalCD SRC Only

Introduction
This post is going to present a method of mastering using Adobe Au 3.0.1 and Airwindows plugins. I’ll be demonstrating my current mastering technique with before and after audio examples. I’ll also introduce using Airwindows UltrasonX and ADClip9 plugins in addition to the Airwindows plugins I’ve mentioned earlier.

This demonstration/presentation is based on a 32-bit wav mixdown of a 24bit-96 kHz wav that was then up-sampled to 192 kHz.
If you are working in 48 kHz I recommend you up-sample to 192 kHz. If working in 44.1 kHz, I recommend you up-sample to 176.4 kHz. Or 192 kHz.
If you stay at 48 kHz or 44.1 kHz forego using the HypersoniX plugin stages as they are designed for 88.2 kHz and above sample rates.

To exactly re-create this demonstration in Adobe Au 3.0.1 you’ll need SpinAudio DX wrapper. Get it here: https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
Or here: https://vetusware.com/download/Spin Audio VST.DX.Wrapperv1.40 1.40/?id=18939

Airwindows Plugins available here: https://www.airwindows.com/
Download the entire zip package to insure latest versions.

FinalCD v.0.29 available here: http://www.sonicillusions2.co.uk/downloads.htm

All these plugins, apps and Adobe Au 3.0.1 are free

The Airwindows Plugins Used In This article:
Hermepass: (With SpinAudio DX Wrapper) For DC Offset Correction
Since it is always subtractive I treat it as a linear plugin.

Pear EQ: Mastering Equalizer
Though not tagged as a nonlinear plugin by Airwindows, EQs can be nonlinear. Despite the fact that I am using the EQ subtractively, I still will apply ultrasonic filtering before it

CreamCoat: Mastering Reverb
Reverb is nonlinear and will always receive ultrasonic filtering before it.

Pressure5: Mastering Single Band Compressor
Compression is nonlinear and will always receive ultrasonic filtering before it.

Pafnuty: (With SpinAudio DX Wrapper): Mastering Exciter
Exciters are nonlinear and will always receive ultrasonic filtering before.

Discontapeity: Mastering Stereoization Imager
Discontapeity is tagged as nonlinear and imaging DSP is a nonlinear function and will always receive ultrasonic filtering before it.

Slew4: Mastering Hi-frequency Compressor
Compression is nonlinear and will always receive ultrasonic filtering before it.
(My decision to add this extra compression stage before maximizer is subjective. I did try it in other places.) Understanding that this plugin is not typical may require you to watch the video on it. You might elect not to use it at all or place it somewhere else, like before or after Pafnuty Exciter stage.

ADClip9: (With SpinAudio DX Wrapper) Mastering Amplitude Maximizer.
A ‘’Maximizer’’ which can be a Compressor, Limiter, Expander, Clipper or combination is always nonlinear and will always receive ultrasonic filtering before.

HypersonX: Multi stage capable ultrasonic filtering before non-linear plugins.
Ultrasonic filtering’s introduction to digital audio in recent years has had a big impact on DSP and for the better IMO. The Airwindows selection is fantastic; also The TDR plugin. There are also commercially available ones.

To quote Chris Johnson, author of Airwindows plugins:
‘’…The Airwindows idea on this is that you should apply the filtering in many stages, just as nonlinearity builds up across many stages, and that’s how you get convincingly analog-like sounds.’’

Ultrasonic: For prepping files before SRC down sampling.

Dark: Dither

Other Things Used
Au Multiband Compressor: by iZotope to use as a crossover.
Either the one that comes with Au 3.0.1 or the one that comes with Au4 that you can get here

FinalCD: v 0.29 for Sample Rate Conversion (SRC)

So what is nonlinear vs. linear?
Linear will affect the audio in a way that will not add harmonics, which can go past the sample rate of the file.

Nonlinear will affect the audio and possibly add harmonics which will go past the file sample rate and thus ‘’Fold back’’ into the audio within the 20 to 20 kHz hearing range (Aliasing).
By first filtering out any frequencies above 20 kHz in the audio with an ultrasonic filter, we can greatly minimize ‘’Unheard’’ audio that would otherwise trigger unwanted aliasing and ‘’Fold back’’.

From Chris Johnson:
Nonlinear
''These plugins add nonlinearities to the signal, which matters if you’re trying to avoid aliasing or filter out ultrasonic sounds that could cause aliasing. This doesn’t mean aliasing will always be obvious: if you have a lower frequency, and a soft saturation, it’ll produce harmonics one at a time, not all at once: those only cause aliasing when the harmonic it makes is actually above the Nyquist frequency (half the sampling rate) and bouncing back down again.''
(Needless to say this rule applies to mixing as well)
**********************************************************************************************
Next is just a log of how I made the files you can download. It may be of interest to some.

How the attached AAC files were made from the original 24-96 wav:
(You can skip this and go to: ''If you want to master my file as I did for this presentation:''
Or ''The Mastering Chain'' if you want to try it out on your own file)

01] Create excerpt wav of song for AAC conversion
Keep Playing_32bit-96 kHz.wav (Original full song)
Window-> Amplitude Statistics (I created shortcut key ''A'')
Mix Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: .003%/.001%

HermepassDX (Using SpinAudio DX Wrapper):
(Cutoff 0.000/Slope 1)
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: 0%/0%

Create Markers (In Samples):
Marker 01: 4704891
Marker 02: 6098849
Copy between Markers
Create new file 32-96
Paste
Peak Amplitude: -4.36 dB/-3.3 dB
DC Offset: .004%/.003%

HermepassDX (Using SpinAudio DX Wrapper):
(Cutoff 0.124500/Slope 1)
Peak Amplitude: -4.47 dB/-3.34 dB
DC Offset: 0%/0%
Save as: Keep Playing_32-96_Excerpt.wav

02] Create 32-48 wav with FinalCD (AAC, MP3 do not encode from 96 kHz directly) using FinalCD SRC From 96 kHz to 48 kHz.
The Command line:
finalcd.exe /32 /f0 /d0 /o48000 "Keep Playing_32-96_Excerpt.wav" "Keep Playing_32-48_Excerpt.wav"

!! FinalCD Saves 32bit 48kHz files as 4-bytePCM Type 1, 32bit !!

In Audition: Save Keep Playing_32-48_Excerpt.wav as 32-bit Normalized Float (type 3) - Default
Analyze Statistics:
Peak Amplitude: -4.47 dB/-3.34 dB
DC Offset: 0%/0%

03] Create 16-48 wav (AAC, MP3 do not encode from 24/32 bit directly)
Dark Dither:
CD 16
DeRez 0

Edit-> Convert Sample Type (F11 Key)
Sample Rate: 48000
Channels: Stereo
Dither: [ ] Un-check!
Bit Depth: 16

Save as: Keep Playing_16-48_Excerpt.wav

04] Create ''Largest CBR'' AAC file (576 kbps) for later wav re-conversion
ffmpeg.exe Commandline:
ffmpeg -i "Keep Playing_16-48_Excerpt.wav" -hide_banner -c:a libfdk_aac -vbr 0 -cutoff 20000 -b:a 576k -afterburner 1 "Keep Playing_16-48_Excerpt_libfdk.m4a"

05] Save as: ''Keep Playing_16-48_Excerpt_Before.m4a''

So now I have the ''Before'' version that you can master yourself into an ''After'' version and compare with the ''After'' Version I uploaded. Or take your own file and jump to ''The Mastering Chain'' section.
**********************************************************************************************
If you want to master my file as I did for this presentation:
Insure that Au option:
Edit-> preferences-> ''Auto-convert all data to 32-bit upon opening'' is checked.
Open ''Keep Playing_16-48_Excerpt_Before.m4a'' in Au.
Analyze Statistics:
Peak Amplitude: -4.43 dB/-3.37 dB
DC Offset: .001%/.001%
Save as: (Windows PCM) ''Keep Playing_32-48_Excerpt_Before.wav''

Correct DC offset

Left Channel​

HermePassDX (Using SpinAudio DX Wrapper):
(Cutoff 0.1245000/Slope 1)

Right Channel​

HermepassDX(Using SpinAudio DX Wrapper):
(Cutoff 0.000/Slope 1)

Analyze Statistics:
Peak Amplitude: -4.34 dB/-3.37 dB
DC Offset: 0%/0%

Save as: (Windows PCM) ''Keep Playing_32-48_Excerpt_Before.wav''
SRC 48kHz -> 192 kHz
The Command line:
finalcd.exe /32 /f1 /d0 /o192000 "Keep Playing_32-48_Excerpt_Before.wav" "Keep Playing_32-192_Excerpt_Before.wav"

Save "Keep Playing_32-192_Excerpt_Before.wav" as 32-bit Normalized Float (type 3) - Default
[!! FinalCD Saves 32bit 192kHz files as 4-bytePCM Type 1, 32bit !! Do not play file before! Most Sound cards do not play fixed point 32-192 files; Windows goes BSOD.]

Analyze Statistics:
Peak Amplitude: -4.34 dB/-3.36 dB
DC Offset: 0%/0%

At this point copy and paste Keep Playing_32-48_Excerpt_Before.wav to create ''Copy of Keep Playing_32-192_Excerpt_Before.wav''
You'll want this for Before/After comparison

(Unfortunately these examples are not as exact as the album track since the mastering will be done on 16 bit and not 24 bit audio; and of course it has been converted to lossy AAC. However if you follow this process you will have a higher quality ''After'' master example than the attached one here since you are making it from ''Scratch'')
**********************************************************************************************
The Mastering Chain
Open Keep Playing_32-192_Excerpt_Before.wav in Au Edit view or your own file.
(After I apply a plugin I keep a log of amplitude statistics {And DC offset}; this comes in handy if I lose my place and can also help Identify different versions of masters).

The Mastering FX chain is done in series, one plugin after another that follows a particular order.

Equalization->
Reverb->
Single or Multiband Dynamics (Compression, Expansion, Limiting)->
Harmonic Exciter->
Stereo Imaging->
Post EQ->
Loudness Maximizer->

The order of the mastering plugins, as well as what plugins to apply are optional. Though I no longer use Ozone, I follow the Ozone/iZotope order listed above (with the exception of Post EQ which I’ll only use if I have to ‘’Fix it in the master’’ which I don’t need to do if I can re-mix):

The first step to good mastering is good MIXING. I can’t emphasize this enough. All good mastering engineers started as mix engineers. It can’t work the other way around.

For my stuff I never say ‘’I’ll fix it in the master’’ because, well I did try in the past and… it sucked. I’ll always recommend people re-mix if they give me a mixdown with problems. Or I can use mix stems(+) and re-mix to a point. Sometimes that is not possible either and I will “”Fix it in the master’’ but I don’t like to if I can avoid.

I attach 2 zip files of before and after audio in .m4a. The music is Bass, Drums, Guitar and Vocals.
Keep Playing_16-48_Excerpt_Before.zip
Keep Playing_16-48_Excerpt_After.zip
A snippet from a soon to be released album. (You can hear a solo acoustic guitar version on my odysee channel.)

This is how I do it. If it’s not for you or you have your own methods, I’m not stopping you. You are invited to take your own audio file and copy this process and see.
For the album I’m mastering, the chain is the same for all 14 song tracks with the one exception being the Maxamizer boost level which is dependent on the amplitude of the wav going into it.

End of Airwindows VST Plugins PART 6 (Sub-Part 1)
The next post will get into the mastering chain details. I’ll try to post this week.

Mix stems (+)
A full mix session from someone else’s DAW is impractical due to different DAW programs and/or plugins. However, If they mix to stems (sub mixes) and give me those with the stem’s track start point I can then possibly improve the mix. Stems are a topic of their own but in short one could create the following (e.g.):

Stem 1: Kick drum
Stem 2: Rest of drums
Stem 3: Bass (Guitar and keys bass if available)
Stem 4: Keys or ‘’Treble’’ keys only
Stem 5: Guitars
Stem 6: Vocals

No set rule on this. One could make a cymbals only stem, guitar solo only stem or keys bass stem etc, But going more than 10 stems is a bit much IMO.

 

[TMTGTR]

Airwindows VST Plugins PART 6 (Sub Part 2)

A Mastering Chain Using Adobe 3.0.1, Airwindows Plugins and FinalCD SRC Only
First I’ll reproduce the log of the mastering done on the attached ‘’Before’’ m4a.

Following That I’ll reproduce the full log as I did it for the album track with details of each step. You can jump right to ''Album Track Mastering Chain Keep Playing Mastering Notes 32-192’' if you want to try this on your own song.

If you want to master my file as I did for this presentation:

The Mastering Chain (For recreating ''Keep Playing_16-48_Excerpt_After.m4a''}

Insure that Au option:
Edit-> preferences-> ''Auto-convert all data to 32-bit upon opening'' is checked.

Open ''Keep Playing_16-48_Excerpt_Before.m4a'' in Au.
Analyze Statistics:
Peak Amplitude: -4.43 dB/-3.37 dB
DC Offset: .001%/.001%
Save as: (Windows PCM) ''Keep Playing_32-48_Excerpt_Before.wav''
Correct DC offset

Left Channel
HermepassDX (Using SpinAudio DX Wrapper):
(Cutoff 0.1245000/Slope 1)

Right Channel
HermepassDX (Using SpinAudio DX Wrapper):
(Cutoff 0.000/Slope 1)
Peak Amplitude: -4.34 dB/-3.37 dB
DC Offset: 0%/0%
(Statistics are for the stereo file)

Save as: (Windows PCM) ''Keep Playing_32-48_Excerpt_Before.wav''

SRC 48kHz -> 192 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f1 /d0 /o192000 "Keep Playing_32-48_Excerpt_Before.wav" "Keep Playing_32-192_Excerpt_Before.wav"

Save "Keep Playing_32-192_Excerpt_Before.wav" as 32-bit Normalized Float (type 3) - Default
[!! FinalCD Saves 32bit 192kHz files as 4-bytePCM Type 1, 32bit !! Do not play file before! Most Sound cards do not play fixed-point 32-192 files; Windows goes BSOD.]

Analyze Statistics:
Peak Amplitude: -4.34 dB/-3.36 dB
DC Offset: 0%/0%

At this point copy and paste Keep Playing_32-48_Excerpt_Before.wav to create ''Copy of Keep Playing_32-192_Excerpt_Before.wav''
You might want this for Before/After comparisons of the .wav files as well as the m4a files.

Open Keep Playing_32-192_Excerpt_Before.wav in Au Edit view.
Apply the following Plugins in order.
(After I apply a plugin I keep a log of amplitude statistics {And DC offset}; besides insuring no extreme clipping, this comes in handy if I lose my place).

HypersonX: A
Peak Amplitude: -4.33 dB/-3.34 dB
DC Offset: 0%/0%

Pear EQ:
High 0.500000
HMid 0.499999
Mid 0.499999
LMid 0.499999
Bass 0.500000
Sub 0.500000
Peak Amplitude: -4.73 dB/-3.69 dB
DC Offset: 0%/0%

HypersonX: B
Peak Amplitude: -4.71 dB/-3.67 dB
DC Offset: 0%/0%

CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 0.180000
Peak Amplitude: -4.54 dB/-4.3 dB
DC Offset: .001%/0%

Correct DC offset

Left Channel Only
HermepassDX:
(Cutoff 0.1245000/Slope 1)
Peak Amplitude: -4.54 dB/-4.3 dB
DC Offset: 0%/0%
(Statistics are for the stereo file)

HypersonX: C
Peak Amplitude: -4.71 dB/-4.29 dB
DC Offset: 0%/0%

Pressure5:
Pressure 0.15
Speed .25
Mewiness 1
PawClaw .5
Output .5
Dry/Wet .75
Peak Amplitude: -3.82 dB/-3.29 dB
DC Offset: 0%/0%

HypersonX: D
Peak Amplitude: -3.82 dB/-3.29 dB
DC Offset: 0%/0%

PafnutyDX Master_Au Crossover.ses:
Track 01-> Keep Playing_32-192_Excerpt_Before.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 14800 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Track 02-> Keep Playing_32-192_Excerpt_Before.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 14800 to 20000 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Mixdown
Delete track wavs and close session (Don't save session, except first time for future use)
In Edit view delete (ctrl + W) Keep Playing_32-192_Excerpt_Before.wav

Save Mixdown.wav As: Keep Playing_32-192_Excerpt_Before.wav
Peak Amplitude: -2.5 dB/-3.16 dB
DC Offset: .167%/.169%

Correct DC offset
Left Channel
HermepassDX:
(Cutoff 0.056000/Slope 1)

Right Channel
HermepassDX:
(Cutoff 0.039500/Slope 1)
Peak Amplitude: -2.52 dB/-3.17 dB
DC Offset: 0%/0%
(Statistics are for the stereo file)

HypersonX: E
Peak Amplitude: -2.53 dB/-3.18 dB
DC Offset: 0%/0%

Discontapeity Master_Au Crossover.ses:
Track 01-> Keep Playing_32-192_Excerpt_Before.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 8000 Hz

Track 02-> Keep Playing_32-192_Excerpt_Before.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 8000 Hz to 20 kHz
Discontapeity: 0.38999

Mixdown
Delete track wavs and close session (Don't save session, except first time for future use)
In Edit view delete (ctrl + W) delete Keep Playing_32-192_Excerpt_Before.wav

Save Mixdown.wav As: Keep Playing_32-192_Excerpt_Before.wav
Peak Amplitude: -2.69 dB/-1.63 dB
DC Offset: 0%/0%

HypersonX: F
Peak Amplitude: -2.71 dB/-1.64 dB
DC Offset: 0%/0%

Slew4:
Compres= 0.639999
Peak Amplitude: -2.71 dB/-1.64 dB
DC Offset: 0%/0%

HypersonX: G
Peak Amplitude: -2.73 dB/-1.66 dB
DC Offset: 0%/0%

ADClip9DX:
Boost= 1.659995 dB {SpinAudio VST Wrapper: 0.092222}
Match: 0
Noise: 1.0
Ceiling: 0.790000
Mode: Boost
Peak Amplitude: -1.07 dB/-.39 dB
DC Offset: 0%/-.001%

A Peak Amplitude like this is because it's such a small snippet. The maximizer will be more consistent on a full song.
(Over the length of a full song, the peak I like to reach is between -.4 dB and -.38 dB)
Small snippets are very difficult with this DC Offset Correct method.
To make that correction I need to mess with Cutoff AND Slope in HermepassDX.

Right Channel Only
HermepassDX:
(Cutoff 0.019000/Slope 0.625000)
Peak Amplitude: -1.07 dB/-.39 dB
DC Offset: 0%/0%
(Statistics are for the stereo file)

Save As: Keep Playing_32-192_Excerpt_After.wav
At this point you now have your master for down sampling.

Before Conversion to 16/48,

Create Temp file for SRC:
Apply Airwindows Ultrasonic Filter
Peak Amplitude:
DC Offset: Ultrasonic should not introduce DC Offset

Save As: Keep Playing_32-192_Excerpt_After Mdu.wav
Mdu = "Mastered + Ultrasonic"

For 16-48 Pre-(->Lossy) Compression Files:

1] SRC 192kHz -> 48 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 /o48000 Keep Playing_32-192_Excerpt_After Mdu.wav Keep Playing_32-48_Excerpt_After.wav

2] In Audition: Save Keep Playing_32-48_Excerpt_After.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude:
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0

4] Truncate 32bit => 16 bit

5] Save As: Keep Playing_16-48_Excerpt_After.wav

Create ''Largest CBR'' AAC file (576 kbps)

ffmpeg.exe Commandline:
ffmpeg -i " Keep Playing_16-48_Excerpt_After.wav" -hide_banner -c:a libfdk_aac -vbr 0 -cutoff 20000 -b:a 576k -afterburner 1" Keep Playing_16-48_Excerpt_After.m4a"

You can now compare with the original m4a files I uploaded.

Album Track Mastering Chain for Keep Playing Mastering Notes 32-192

I’m going to reproduce my original log for the album cut of ‘’Keep Playing’’ and add explanations where I feel necessary.
To reiterate: After I apply a plugin I keep a log of Peak Amplitude and DC Offset statistics; (this comes in handy if I lose my place and can also help identify different versions of masters).

Keep Playing_32bit.wav
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: .003%/.001%
->This is the original 24-bit/96 kHz mix down from the multitrack that was saved as a 32 bit float point file in Au.

HermepassDX: (Within SpinAudio DX Wrapper)
(Cutoff .000/Slope 1)
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: 0%/0%
->DC Offset correction. There are better ways to do DC Offset I’m sure but this is how I do it. To get the most exacting parameters, the SpinAudio DX wrapper is invaluable. I am able to do the corrections 99% of the time with a slope of 1. Most times I can do this with a cutoff of .000. For some reason this plugin will not go to 0 in Au unless it is within the DX wrapper.

Save Keep Playing_32bit.wav
SRC 96kHz -> 192 kHz

finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f1 /d0 /o192000 "Keep Playing_32bit.wav" "Keep Playing_32-192.wav"

!! FinalCD Saves 32bit 192kHz files as 4-bytePCM Type 1, 32bit!!

In Audition: Save Keep Playing_32-192.wav as 32-bit Normalized Float (type 3) - Default

[! Do not play file before: Sound cards do not play fixed point 32-192 files; Windows goes BSOD (96 kHz Does play)]
Peak Amplitude: -2.88 dB/-3.35 dB
DC Offset: 0%/0%
->You might want to make a copy of your converted file incase down the line you need to start over.
->Another 192 kHz consideration is the sound cards buffer size. I find that too high a buffer will cause a BSOD when playing a 192 kHz file on Au/my hardware. 2048 definitely crashes for me. I have my buffer set on 768 ms and it is working. I still need to find the exact setting where the buffer crashes on 192

HypersonX: A
Peak Amplitude: -2.86 dB/-3.24 dB
DC Offset: 0%/0%
->Ultrasonic filtering is cutting off frequencies above 22 kHz. The filter’s slope and frequency start point are 2 parameters that add to its character. The Airwindows HypersonX filter has 7 settings/stages A through G.
The filter gets gradually ‘’lighter’’ as you go from A to G. I first tried this method with the single stage Hypersonic filter from Feb. 2022. I felt there was great improvement. When the multi-stage HypersonX came out a week later, I used it’s stages and it has been a ‘’Go to’’ tool ever since.If only needing to apply a single stage, say on a track of drums, Chris Johnson recommends the center ‘’D’’ stage. The multi-staging is only if using more than one instance like mastering.

PearEQ:
High 0.500000
HMid 0.499999
Mid 0.499999
LMid 0.499999
Bass 0.500000
Sub 0.500000
Peak Amplitude: -3.21 dB/-3.49 dB
DC Offset: 0%/0%
->The setting is a very subtle and classic ‘’Smile’’ curve and is purely subtractive in amplitude. I am of the school of subtractive EQ unless there is no other choice.
Though PearEQ is not tagged as non-linear on the Airwindows site, I am of the belief that digital EQs can be non-linear. And though I am being subtractive in amplitude (I think additive amplitude can create harmonics that would cause aliasing), I put in the first ultrasonic filter stage here regardless of what EQ I’m using and how I use it.

HypersonX: B
Peak Amplitude: -3.2 dB/-3.28 dB
DC Offset: 0%/0%

CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 0.180000
Peak Amplitude: -4.54 dB/-4.3 dB
DC Offset: .001%/0%
->I actually use convolution reverb, which exceeds what I’m doing in this thread (for now).
So I did a test with CreamCoat to see if I could come close to my convolution plugin and I was really impressed with the results; almost indistinguishable. This further re-enforces my belief that CreamCoat is an excellent reverb plugin.
->Putting reverb on a master is a big deal and entirely subjective. The iZotope metaphor is “…like a final coat of varnish on a painting.’’ I apply it very subtly and I will high pass the effect around 400 Hz. CreamCoat does not have an EQ section that I can discern. I think the algorithm has its own type of built-in filtering so low end is not reverberating with a ‘’muddy’’ tone.

HypersonX: C
Peak Amplitude: -3.16 dB/-3.28 dB
DC Offset: 0%/0%

Pressure5:
Pressure 0.15
Speed .25
Mewiness 1
PawClaw .5
Output .5
Dry/Wet .75
Peak Amplitude: -2.23 dB/-2.6 dB
DC Offset: 0%/0%
->In my earlier days I always used 4-band compression for mastering. Through my own experimentation and reading more knowledgeable people on the Internet, I have come to the belief that multi-band compression in mastering is for corrective purposes. IOW, if the mix is good, a single band compression stage will work where multi-band could actually muck it up (as I learned the hard way). That said, you can do wonders with multi-band if you need to ‘’Fix it in the master.’’
->If Multi-band were needed, I’d recommend using the Au Crossover method with 2-4 bands of Pressure5 and trying Airwindows Acceleration2 after it on your highest band. I forgoe the use of Acceleration2 here because I'll be using Slew4 later.

HypersonX: D
Peak Amplitude: -2.24 dB/-2.6 dB
DC Offset: 0%/0%

PafnutyDX Master_Au Crossover.ses:
Track 01-> Insert Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 14800 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Track 02-> Insert Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 14800 to 20000 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Mixdown
Delete track wavs and close session
(Don't save session; except first time to keep template)
In Edit view delete Keep Playing_32-192.wav

Save Mixdown.wav As: Keep Playing_32-192.wav
Peak Amplitude: -1.98 dB/-2.11 dB
DC Offset: .174%/.117%
->A few things:
• You do not have to make a unique copy for track 2
• You can always continue working on the mixdown and keep your original wav up to the point of PafnutyDX Master_Au Crossover.ses
• Exciters will almost always introduce DC Offset
• After writing the post about Pafnuty, I decided to change my method and take my own advice and use the 14.8 kHz crossover method vs a single band apply as shown in the ‘’Gearspace’’ preset. They are different. The single band apply is a bit ‘’Thicker’’ the crossover method though ‘’Thinner’’, more… hmmm-… ‘’In tune’’? I’m going with the crossover method.

HypersonX: E
Peak Amplitude: -2.53 dB/-2.72 dB
DC Offset: 0%/0%

Discontapeity Master.ses:
Track 01-> Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 8000 Hz

Track 02-> Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 8000 Hz to 20 kHz
Discontapeity: 0.38999

Mixdown
Delete track wavs and close session
(Don't save session; except first time to keep template)

In Edit view delete Keep Playing_32-192.wav
Save Mixdown.wav As: Keep Playing_32-192.wav
Peak Amplitude: -1.95 dB/-2.05 dB
DC Offset: 0%/0%
->I get into more detail about using Discontapeity as a stereo imager in this post

HypersonX: F
Peak Amplitude: -1.98 dB/-2.07 dB
DC Offset: 0%/0%

Slew4:
Compres= 0.639999
Peak Amplitude: -1.98 dB/-2.07 dB
DC Offset: -.001%/-.001%
->Subjective use and placement. (My decision to add this extra compression stage before maximizer is subjective. I did try it in other places.) Understanding that this plugin is not typical may require you to watch the video on it. You might elect not to use it at all or place it somewhere else, like before or after Pafnuty Exciter stage.

HermepassDX:
(Cutoff .000/Slope 1)
Peak Amplitude: -1.98 dB/-2.08 dB
DC Offset: 0%/0%

HypersonX: G
Peak Amplitude: -2.02 dB/-2.09 dB
DC Offset: 0%/0%
->Fortunately my current chain uses exactly the number of stages of HypersonX. If I had needed more, I’d test using G again or using D and continuing down or something, I really don’t know.

ADClip9DX:
Boost= 0.202499 dB {SpinAudio VST Wrapper: 0.112500}
Match: 0
Noise: 1
Ceiling: 0.790000
Mode: Boost
Peak Amplitude: -.38 dB/-.38 dB
DC Offset: 0%/0%
->This is the sonic maximizer stage. I do not ‘’Brick’’ my masters and aim only to bring up their amplitude to a ceiling of between -.38 dB and -.42 dB while keeping the amplitude dynamics as untouched as possible.
->The Boost and Ceiling parameters are going to vary from song to song. As you can see before the ADClip9 stage the amplitude peaks are at -2.02 dB/-2.09 dB.
I’m going to apply a 2.02 (Approx) boost to get the file to 0 dB; if my ceiling is set to 1.0 that is what I should see. Now it’s a matter of tweaking the ceiling parameter until I get that sweet spot between -.38 dB and -.42 dB.
It takes a few apply and undo to get it.
Save As: Keep Playing_32-192Md.wav
->Md = "Mastered"

Create Temp file for SRC:
Airwindows Ultrasonic Filter
Peak Amplitude: -.39 dB/-.4 dB
DC Offset: 0%/0%
->This is an interesting stage in the chain. On some songs the Peak Amplitude can really jump up after applying the filter. If that’s the case, I’ll set ADClip9 Ceiling to Peak Amplitude of -.44 or -.45 dB. (If making a 24-192 kHz DVD-A file, I'll aim the Ceiling for between -.38 dB and -.42 dB since there will bw no applying Ultrasonic stage after).
Save As: Keep Playing_32-192Mdu.wav
->Mdu = "Mastered + Ultrasonic"

For 16-44.1 CDA Files:
1] SRC 192kHz -> 44.1 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 Keep Playing_32-192Mdu.wav Keep PlayingMd44.wav

2] In Audition: Save Keep PlayingMd44.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.41 dB/-.41 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0

4] Cut 9 frames@ CD Frame 3:14:00
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Keep Playing_16-44.1
7] TT DYNAMIC RANGE METER:
DR= 10
->I never see dither introduce Peak Amplitude or DC offset change
->After using the Mdu temp files they can be deleted unless you are making 48 and 96 kHz versions.
->If working on 44.1kHz for CD, after dither, here is where you want to cut or add CD frames for a perfectly sized file for CD burning. Adobe Au-> Edit View ->view-> Display Time Format-> Compact Disc 75fps –> cut to the closest end frame.
e.g. If song is 00:04:33:27 you need to either cut it to 00:04:33:00 or add 1 second of silence making it 00:04:34:27 and cut to 00:04:34:00. (Otherwise the CD burning software will decide where to cut the frame...)
I do this on my 48kHz, 96kHz and 192kHz files also for convenience. DVD-A Spec does not require Frame cutting AFAIK
->The TT Dynamic Range Meter step is a carryover since I began mastering many years ago. I personally like I and frankly it don’t lie. can only be used on 16 bit 44.1 kHz files.
Loudness standards have changed over the years and there are a few free VST loudness meters out there like Audiocation_ACR128

For 16-48 Pre-(->Lossy) Compression Files:
1] SRC 192kHz -> 48 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 /o48000 Keep Playing_32-192Mdu.wav Keep Playing48.wav

2] In Audition: Save Keep Playing48.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.41 dB/-.41 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0

4] Cut 9 frames@ CD Frame 3:14:00
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Keep Playing_16-48

For 24-96 DVD-A Files:
1] SRC 192kHz -> 96 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 /o96000 Keep Playing_32-192Mdu.wav Keep Playing96.wav

2] In Audition: Save Keep Playing96.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.39 dB/-.4 dB
DC Offset: 0%/0%

3] Dark Dither:
HD 24
DeRez 0

4] Cut 9 frames@ CD Frame 3:14:00
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Save as: (24 bit) Keep Playing_24-96_DVD-A
->To truncate 32 bit to 24 bit integer you must use the ‘’Options’’ button in the Save as dialog in Au.
Delete unneeded files:
Keep Playing_32-192Mdu.wav
Keep PlayingMd44.wav
Keep PlayingMd48.wav
Keep PlayingMd96.wav

I Attach a PDF of the original mastering log sans convolution reverb and comments:
Keep Playing_Mastering Notes.zip

 

[TMTGTR]

Oops! I double uploaded the above
Keep Playing_Mastering Notes.zip
Ya only need one.
Can't take it down because there are no administrators answering our messages.

 

[TMTGTR]

I made another mistake in my post of the above subject regarding:
ADClip9DX:
Boost= 0.202499 dB {SpinAudio VST Wrapper: 0.112500}
I presume anyone following this caught it.
It should read:
ADClip9DX:
Boost= 2.02499 dB {SpinAudio VST Wrapper: 0.112500}
Mistake is also in the attached files above.

 

[TMTGTR]

Airwindows VST Plugins PART 6 (Sub Part 3)

A Mastering Chain Using Adobe 3.0.1, Airwindows Plugins and FinalCD SRC Only
I couldn’t leave ‘’Well Enough’’ alone! And I’m glad for it!

In addition to sharing information with the XP and Audio communities, this thread has morphed a little as a place where I can reflect on my own experience.

I thought I’d be moving on to other topics in this thread, but sure enough, I was re-reading and analyzing these last few posts and decided to test out not one, but two steps in the mastering chain I have been demonstrating.

Firstly, it is time to join the 21st century and embrace Mid-Side mixing. I have used the technique enough times but seemed to shy away for mastering… No longer.

Secondly, when Chris Johnson says plugin XYZ is his favorite of that Airwindows type to date, it makes sense to investigate it.

So I did a lot of testing and A/B comparisons and I feel it imperative to change two things in the mastering Chain: The EQ and the Compression stages.

The M-S EQing adds more depth to the track. The new compressor has less ‘’Digital Harshness’’

So I present a new and IMO improved mastering chain that I applied to my song ‘’Keep Playing’’ (Hopefully without typos!).

Album Track Mastering Chain for Keep Playing Mastering Notes 32-192
(UPDATED)

I’m going to reproduce my original log for the album cut of ‘’Keep Playing’’ and add explanations where I feel necessary.
To reiterate: After I apply a plugin I keep a log of Peak Amplitude and DC Offset statistics; (this comes in handy if I lose my place and can also help identify different versions of masters).

Keep Playing_32bit.wav
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: .003%/.001%
->This is the original 24-bit/96 kHz mix down from the multitrack that was saved as a 32 bit float point file in Au.

HermepassDX: (Within SpinAudio DX Wrapper)
(Cutoff .000/Slope 1)
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: 0%/0%
->DC Offset correction. There are better ways to do DC Offset I’m sure but this is how I do it. To get the most exacting parameters, the SpinAudio DX wrapper is invaluable. I am able to do the corrections 99% of the time with a slope of 1. Most times I can do this with a cutoff of .000. For some reason this plugin will not go to 0 in Au unless it is within the DX wrapper.

Save Keep Playing_32bit.wav
SRC 96kHz -> 192 kHz

finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f1 /d0 /o192000 "Keep Playing_32bit.wav" "Keep Playing_32-192.wav"

!! FinalCD Saves 32bit 192kHz files as 4-bytePCM Type 1, 32bit!!

In Audition: Save Keep Playing_32-192.wav as 32-bit Normalized Float (type 3) - Default

[! Do not play file before: Sound cards do not play fixed point 32-192 files; Windows goes BSOD (96 kHz Does play)]
Peak Amplitude: -2.88 dB/-3.35 dB
DC Offset: 0%/0%
->You might want to make a copy of your converted file incase down the line you need to start over.
->Another 192 kHz consideration is the sound cards buffer size. I find that too high a buffer will cause a BSOD when playing a 192 kHz file on Au/my hardware. 2048 definitely crashes for me. I have my buffer set on 768 ms and it is working. I still need to find the exact setting where the buffer crashes on 192

HypersonX: A
Peak Amplitude: -2.86 dB/-3.24 dB
DC Offset: 0%/0%
->Ultrasonic filtering is cutting off frequencies above 22 kHz. The filter’s slope and frequency start point are 2 parameters that add to its character. The Airwindows HypersonX filter has 7 settings/stages A through G.
The filter gets gradually ‘’lighter’’ as you go from A to G. I first tried this method with the single stage Hypersonic filter from Feb. 2022. I felt there was great improvement. When the multi-stage HypersonX came out a week later, I used it’s stages and it has been a ‘’Go to’’ tool ever since.If only needing to apply a single stage, say on a track of drums, Chris Johnson recommends the center ‘’D’’ stage. The multi-staging is only if using more than one instance like mastering.

Pear EQ: Mid-Side Master.ses:
Track 01 Keep Playing_32-192.wav

FX
EveryTrimDX: Preset: Mid Master
Left: 0
Right: 0
Mid: 0
Side: -12 dB
Master: - 2.23199 dB {SpinAudio VST Wrapper: 0.407000}

Pear EQ: Preset: Mid Master
High 0.479999
HMid 0.479999
Mid 0.479999
LMid 0.499999
Bass 0.500000
Sub 0.500000

Track 02 Keep Playing_32-192.wav

FX
EveryTrimDX: Preset: Side Master
Left: 0
Right: 0
Mid: -12 dB
Side: 0 dB
Master: - 0.72000 {SpinAudio VST Wrapper: 0.470000}

Pear EQ: Preset: Side Master
High 0.500000
HMid 0.500000
Mid 0.499999
LMid 0.479999
Bass 0.479999
Sub 0.479999

Mixdown
Delete track wavs and close session don't save session

In Edit view delete Keep Playing_32-192.wav

Save Mixdown.wav As: Keep Playing_32-192.wav
Peak Amplitude: -3.28 dB/-3.5 dB
DC Offset: 0%/0%
->The setting is a (Combined) subtle and classic ‘’Smile’’ curve and is purely subtractive in amplitude. Being a Mid-Side set of curves the approach is to cut more high frequencies on the Mid and keep the low frequencies, while on the Side cutting the lows and keeping the high frequencies.
Low frequencies tend to be perceived as mono while high frequencies are perceived as stereo (even from a mono source unless created within a controlled environment).
->I am of the school of subtractive EQ unless there is no other choice.
Though PearEQ is not tagged as non-linear on the Airwindows site, I am of the belief that digital EQs can be non-linear. And though I am being subtractive in amplitude (I think additive amplitude can create harmonics that would cause aliasing), I put in the first ultrasonic filter stage here regardless of what EQ I’m using and how I use it.

HypersonX: B
Peak Amplitude: -3.2 dB/-3.29 dB
DC Offset: 0%/0%

CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 0.180000
Peak Amplitude: -3.16 dB/-3.26 dB
DC Offset: 0%/0%
->I actually use convolution reverb, which exceeds what I’m doing in this thread (for now).
So I did a test with CreamCoat to see if I could come close to my convolution plugin and I was really impressed with the results; almost indistinguishable. This further re-enforces my belief that CreamCoat is an excellent reverb plugin.
->Putting reverb on a master is a big deal and entirely subjective. The iZotope metaphor is “…like a final coat of varnish on a painting.’’ I apply it very subtly and I will high pass the effect around 400 Hz. CreamCoat does not have an EQ section that I can discern. I think the algorithm has its own type of built-in filtering so low end is not reverberating with a ‘’muddy’’ tone.

HypersonX: C
Peak Amplitude: -3.15 dB/-3.3 dB
DC Offset: 0%/0%

Dynamics3:
Thresh: 0
Attack:
Attack: 0.381999
Release: 0.617999
Inv/Wet 0.490000
Peak Amplitude: -2.37 dB/-2.46 dB
DC Offset: .003%/.003%
->This is the Compression stage
->In my earlier days I always used 4-band compression for mastering. Through my own experimentation and reading more knowledgeable people on the Internet, I have come to the belief that multi-band compression in mastering is for corrective purposes. IOW, if the mix is good, a single band compression stage will work where multi-band could actually muck it up (as I learned the hard way). That said, you can do wonders with multi-band if you need to ‘’Fix it in the master.’’
->If Multi-band were needed, I’d recommend using the Au Crossover method with 2-4 bands of Dynamics3 and trying Airwindows Acceleration2 after it on your highest band.
->It appears that Dynamics3 introduces a little DC Offset.

HermepassDX:
(Cutoff .000/Slope 1)
Peak Amplitude: -2.37 dB/-2.46 dB
DC Offset: 0%/0%

HypersonX: D
Peak Amplitude: -2.39 dB/-2.61 dB
DC Offset: 0%/0%

PafnutyDX Master_Au Crossover.ses:
Track 01-> Insert Keep Playing_32-192.wav

FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 14800 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Track 02-> Insert Keep Playing_32-192.wav

FX:
Au Multiband Compressor Crossover: (Solo Band 4) 14800 to 20000 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Mixdown
Delete track wavs and close session
(Don't save session; except first time to keep template)
In Edit view delete Keep Playing_32-192.wav

Save Mixdown.wav As: Keep Playing_32-192.wav
Peak Amplitude: -2.27 dB/-2.15 dB
DC Offset: .165%/.161%
->This is the Exciter stage
->A few things:
• You do not have to make a unique copy for track 2
• You can always continue working on the mixdown and keep your original wav up to the point of PafnutyDX Master_Au Crossover.ses
• Exciters will almost always introduce DC Offset
• After writing the post about Pafnuty, I decided to change my method and take my own advice and use the 14.8 kHz crossover method vs a single band apply as shown in the ‘’Gearspace’’ preset. They are different. The single band apply is a bit ‘’Thicker’’ the crossover method though ‘’Thinner’’, more… hmmm-… ‘’In tune’’? I’m going with the crossover method.

HermepassDX:
(Cutoff 0.022500/Slope 1)
Peak Amplitude: -2.27 dB/-2.16 dB
DC Offset: 0%/0%

HypersonX: E
Peak Amplitude: -2.3 dB/-2.26 dB
DC Offset: 0%/0%

Discontapeity Master.ses:
Track 01-> Keep Playing_32-192.wav

FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 8000 Hz

Track 02-> Keep Playing_32-192.wav

FX:
Au Multiband Compressor Crossover: (Solo Band 4) 8000 Hz to 20 kHz
Discontapeity: 0.38999

Mixdown
Delete track wavs and close session
(Don't save session; except first time to keep template)

In Edit view delete Keep Playing_32-192.wav
Save Mixdown.wav As: Keep Playing_32-192.wav
Peak Amplitude: -2.24 dB/-1.97 dB
DC Offset: 0%/0%
->This is the Stereo Imaging aka Stereoization stage
->I get into more detail about using Discontapeity as a stereo imager in this post

HypersonX: F
Peak Amplitude: -2.98 dB/-2.15 dB
DC Offset: 0%/0%

Slew4:
Compres= 0.639999
Peak Amplitude: -2.28 dB/-2.18 dB
DC Offset: -.001%/-.001%
->Subjective use and placement. (My decision to add this extra compression stage before maximizer is subjective. I did try it in other places.) Understanding that this plugin is not typical may require you to watch the video on it. You might elect not to use it at all or place it somewhere else, like before or after Pafnuty Exciter stage.

HermepassDX:
(Cutoff .000/Slope 1)
Peak Amplitude: -2.28 dB/-2.18 dB
DC Offset: 0%/0%

HypersonX: G
Peak Amplitude: -2.33 dB/-2.31 dB
DC Offset: 0%/0%
->Fortunately my current chain uses exactly the number of stages of HypersonX. If I had needed more, I’d test using G again or using D and continuing down or something, I really don’t know.

ADClip9DX:
Boost= 2.2310012 dB {SpinAudio VST Wrapper: 0.128334}
Match: 0
Noise: 1
Ceiling: 0.787000
Mode: Boost
Peak Amplitude: -.4 dB/-.4 dB
DC Offset: 0%/0%
->This is the Sonic Maximizer stage. I do not ‘’Brick’’ my masters and aim only to bring up their amplitude to a ceiling of between -.38 dB and -.42 dB while keeping the amplitude dynamics as untouched as possible.
->The Boost and Ceiling parameters are going to vary from song to song. As you can see before the ADClip9 stage the amplitude peaks are at -2.33 dB/-2.31 dB. So I’m going to bring that up by boosting to 0 dB and applying the ceiling to get the -.4 dB I aim for.
I’m going to apply a 2.31 dB (Approx) boost to get the file to 0 dB; if my ceiling is set to 1.0 that is what I should see. Now it’s a matter of tweaking the ceiling parameter until I get that sweet spot between -.38 dB and -.42 dB.
It takes a few apply and undo to get it.

Create Temp file for SRC:
Airwindows Ultrasonic Filter
Peak Amplitude: -.39 dB/-.41 dB
DC Offset: 0%/0%

Save As: Keep Playing_32-192Mdu.wav
->Mdu = "Mastered + Ultrasonic"
->This is an interesting stage in the chain. On some songs the Peak Amplitude can really jump up after applying the filter. If that’s the case, I’ll set ADClip9 Ceiling to Peak Amplitude of -.44 or -.45 dB. (If making a 24-192 kHz DVD-A file, I'll aim the Ceiling for between -.38 dB and -.42 dB since there will bw no applying Ultrasonic stage after).
->I go into more depth on the subject of pre-filtering before SRC In these two Posts:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275388
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275398

For 16-44.1 CDA Files:
1] SRC 192kHz -> 44.1 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 Keep Playing_32-192Mdu.wav Keep PlayingMd44.wav

2] In Audition: Save Keep PlayingMd44.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.42 dB/-.41 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0

4] Cut 9 frames@ CD Frame 3:14:00
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Keep Playing_16-44.1
7] TT DYNAMIC RANGE METER:
DR= 10
->I never see dither introduce Peak Amplitude or DC offset change
->After using the Mdu temp files they can be deleted unless you are making 48 and 96 kHz versions.
->If working on 44.1kHz for CD, after dither, here is where you want to cut or add CD frames for a perfectly sized file for CD burning. Adobe Au-> Edit View ->view-> Display Time Format-> Compact Disc 75fps –> cut to the closest end frame.
e.g. If song is 00:04:33:27 you need to either cut it to 00:04:33:00 or add 1 second of silence making it 00:04:34:27 and cut to 00:04:34:00. (Otherwise the CD burning software will decide where to cut the frame...)
I do this on my 48kHz, 96kHz and 192kHz files also for convenience. DVD-A Spec does not require Frame cutting AFAIK
->The TT Dynamic Range Meter step is a carryover since I began mastering many years ago. I personally like I and frankly it don’t lie. can only be used on 16 bit 44.1 kHz files.
Loudness standards have changed over the years and there are a few free VST loudness meters out there like Audiocation_ACR128

For 16-48 Pre-(->Lossy) Compression Files:
1] SRC 192kHz -> 48 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 /o48000 Keep Playing_32-192Mdu.wav Keep Playing48.wav

2] In Audition: Save Keep Playing48.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.42 dB/-.4 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0

4] Cut 9 frames@ CD Frame 3:14:00
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Keep Playing_16-48

For 24-96 DVD-A Files:
1] SRC 192kHz -> 96 kHz
finalcd.exe_v0.29 Commandline:
finalcd.exe /32 /f0 /d0 /o96000 Keep Playing_32-192Mdu.wav Keep Playing96.wav

2] In Audition: Save Keep Playing96.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.41 dB/-.4 dB
DC Offset: 0%/0%

3] Dark Dither:
HD 24
DeRez 0

4] Cut 9 frames@ CD Frame 3:14:00
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Save as: (24 bit) Keep Playing_24-96_DVD-A
->To truncate 32 bit to 24 bit integer you must use the ‘’Options’’ button in the Save as dialog in Au.
Delete unneeded files:
Keep Playing_32-192Mdu.wav
Keep PlayingMd44.wav
Keep PlayingMd48.wav
Keep PlayingMd96.wav

I Attach a PDF of the original mastering log sans convolution reverb and comments:
Keep Playing_Mastering Notes (Updated).zip

 

[TMTGTR]

Airwindows VST Plugins PART 6 (Sub Part 4)

A Mastering Chain Using Adobe 3.0.1, Airwindows Plugins and FinalCD SRC Only
On Second Thought:
So after espousing the wonderful attributes of a new mastering chain using a new Mid-Side EQ method and a new Compression method. I dived into applying this approach to a few songs…

The good news is the Mid-Side EQ is working out fine.
More good news Dynamics3 is a fantastic compressor for mixing, especially on kick drum, bass guitar and bass keys. Wow!

The bad news is I over-stepped in my assessment of Dynamics3 being a good choice for mastering. I got ‘’Lucky’’ on the first song but then it became evident that at least for me, Dynamics3 had to be replaced. So I’m back to Pressure5 for single band mastering compression.

To continue highlighting my embarrassment, I must amend my mastering method to say that dithering can (very rarely) change amplitude statistical data and I will put note of it in my mastering chain. I have never seen dither create DC Offset. I know this now because I have been more diligent in taking data on the mastering chain of late due to this thread.

I want to emphasize checking for DC Offset after cutting the file end.

I also simplify the chain method by continuing the chain with Mixdown.wav files instead of deleting them.

All in all I think I’m done on this topic and will be living with this mastering method for some time. I do want to try a Pressure5/Multi-band experiment; it’s on my ‘’To Do’’ list.

I have a tendency to sometimes jump the gun. I’ll be sticking to tried and true tips and not experiment in real time on this thread.

So without further adieu, I present a (Hopefully) the final ‘’Mastering Chain Using Adobe 3.0.1, Airwindows Plugins and FinalCD SRC Only’’

Album Track Mastering Chain for Keep Playing Mastering Notes 32-192
(UPDATED v2.0)

I’m going to reproduce my original log for the album cut of ‘’Keep Playing’’ and add explanations where I feel necessary.
To reiterate: After I apply a plugin I keep a log of Peak Amplitude and DC Offset statistics; (this comes in handy if I lose my place and can also help identify different versions of masters).

Keep Playing_32bit.wav
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: .003%/.001%
->This is the original 24-bit/96 kHz mix down from the multitrack that was saved as a 32 bit float point file in Au.

HermepassDX: (Within SpinAudio DX Wrapper)
(Cutoff .000/Slope 1)
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: 0%/0%
->DC Offset correction. There are better ways to do DC Offset I’m sure but this is how I do it. To get the most exacting parameters, the SpinAudio DX wrapper is invaluable. I am able to do the corrections 99% of the time with a slope of 1. Most times I can do this with a cutoff of .000. For some reason this plugin will not go to 0 in Au unless it is within the DX wrapper.

Save Keep Playing_32bit.wav
SRC 96kHz -> 192 kHz

finalcd.exe_v0.29 Command line:
finalcd.exe /32 /f1 /d0 /o192000 "Keep Playing_32bit.wav" "Keep Playing_32-192.wav"

!! FinalCD Saves 32bit 192kHz files as 4-bytePCM Type 1, 32bit!!

In Audition: Save Keep Playing_32-192.wav as 32-bit Normalized Float (type 3) - Default

[! Do not play file before: Sound cards do not play fixed point 32-192 files; Windows goes BSOD (96 kHz does play)]
Peak Amplitude: -2.88 dB/-3.35 dB
DC Offset: 0%/0%
->Another 192 kHz consideration is the sound cards buffer size. I find that too high a buffer will cause a BSOD when playing a 192 kHz file on Au/my hardware. 2048 definitely crashes for me. I have my buffer set on 768 ms and it is working. I still need to find the exact setting where the buffer crashes on 192

HypersonX: A
Peak Amplitude: -2.86 dB/-3.24 dB
DC Offset: 0%/0%
->Ultrasonic filtering is cutting off frequencies above 22 kHz. The filter’s slope and frequency start point are 2 parameters that add to its character. The Airwindows HypersonX filter has 7 settings/stages A through G.
The filter gets gradually ‘’lighter’’ as you go from A to G. I first tried this method with the single stage Hypersonic filter from Feb. 2022. I felt there was great improvement. When the multi-stage HypersonX came out a week later, I used it’s stages and it has been a ‘’Go to’'’ tool ever since. If only needing to apply a single stage, say on a track of drums, Chris Johnson recommends the center ‘’D’’ stage. The multi-staging is only if using more than one instance like mastering.

Pear EQ: Mid-Side Master.ses:
Track 01 Keep Playing_32-192.wav
FX
EveryTrimDX: Preset: Mid Master
Left: 0
Right: 0
Mid: 0
Side: -12 dB
Master: - 2.23199 dB {SpinAudio VST Wrapper: 0.407000}

Pear EQ: Preset: Mid Master
High 0.479999
HMid 0.479999
Mid 0.479999
LMid 0.499999
Bass 0.500000
Sub 0.500000

Track 02 Keep Playing_32-192.wav
FX
EveryTrimDX: Preset: Side Master
Left: 0
Right: 0
Mid: -12 dB
Side: 0 dB
Master: - 0.72000 {SpinAudio VST Wrapper: 0.470000}

Pear EQ: Preset: Side Master
High 0.500000
HMid 0.500000
Mid 0.499999
LMid 0.479999
Bass 0.479999
Sub 0.479999

Mixdown (Mixdown.wav)
Delete track wavs and close session don't save session (Except first time to keep template).
Peak Amplitude: -3.28 dB/-3.5 dB
DC Offset: 0%/0%
->The setting is a (Combined) subtle and classic ‘’Smile’’ curve and is purely subtractive in amplitude. Being a Mid-Side set of curves the approach is to cut more high frequencies on the Mid and keep the low frequencies, while on the Side cutting the lows and keeping the high frequencies.
Low frequencies tend to be perceived as mono while high frequencies are perceived as stereo (even from a mono source unless created within a controlled environment).
->I am of the school of subtractive EQ unless there is no other choice.
Though PearEQ is not tagged as non-linear on the Airwindows site, I am of the belief that digital EQs can be non-linear. And though I am being subtractive in amplitude (I think additive amplitude can create harmonics that would cause aliasing), I put in the first ultrasonic filter stage here regardless of what EQ I’m using and how I use it.

HypersonX: B
Peak Amplitude: -3.2 dB/-3.29 dB
DC Offset: 0%/0%

CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 0.180000
Peak Amplitude: -3.16 dB/-3.26 dB
DC Offset: 0%/0%
->I actually use convolution reverb, which exceeds what I’m doing in this thread (for now).
So I did a test with CreamCoat to see if I could come close to my convolution plugin and I was really impressed with the results; almost indistinguishable. This further re-enforces my belief that CreamCoat is an excellent reverb plugin.
->Putting reverb on a master is a big deal and entirely subjective. The iZotope metaphor is “…like a final coat of varnish on a painting.’’ I apply it very subtly and I will high pass the effect around 400 Hz. CreamCoat does not have an EQ section that I can discern. I think the algorithm has its own type of built-in filtering so low end is not reverberating with a ‘’muddy’’ tone.

HypersonX: C
Peak Amplitude: -3.15 dB/-3.3 dB
DC Offset: 0%/0%

Pressure5:
Pressure 0.15
Speed .25
Mewiness 1
PawClaw .5
Output .5
Dry/Wet .75
Peak Amplitude: -2.21 dB/-2.64 dB
DC Offset: 0%/0%
->This is the Compression stage
->In my earlier days I always used 4-band compression for mastering. Through my own experimentation and reading more knowledgeable people on the Internet, I have come to the belief that multi-band compression in mastering is for corrective purposes. IOW, if the mix is good, a single band compression stage will work where multi-band could actually muck it up (as I learned the hard way). That said, you can do wonders with multi-band if you need to ‘’Fix it in the master.’’
->If Multi-band were needed, I’d recommend using the Au Crossover method with 2-4 bands of Pressure5 and trying HypersoniX ''D'' ->Airwindows Acceleration2 after it on your highest band.

HypersonX: D
Peak Amplitude: -2.22 dB/-2.64 dB
DC Offset: 0%/0%

PafnutyDX Master_Au Crossover.ses:
Track 01-> Insert Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 14800 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Track 02-> Insert Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 14800 to 20000 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Mixdown (Mixdown (2).wav)
Delete track wavs and close session don't save session (Except first time to keep template).
Peak Amplitude: -2.11 dB/-2.14 dB
DC Offset: .175%/.171%
->This is the Exciter stage
->A few things:
• More About using the Au Multiband Crossover here
• You do not have to make a unique copy for track 2
• Exciters will almost always introduce DC Offset
• After writing the post about Pafnuty, I decided to change my method and take my own advice and use the 14.8 kHz crossover method vs. a single band apply as shown in the ‘’Gearspace'' preset. They are different. The single band apply is a bit ‘’Thicker’’ the crossover method though ‘’Thinner’’, more… hmmm-… ‘’In tune’’? I’m going with the crossover method.

HermepassDX:
(Cutoff 0.0250/Slope 1)
Peak Amplitude: -2.11 dB/-2.14 dB
DC Offset: 0%/0%

HypersonX: E
Peak Amplitude: -2.13 dB/-2.15 dB
DC Offset: 0%/0%

Discontapeity Master.ses:
Track 01-> Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 8000 Hz

Track 02-> Keep Playing_32-192.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 8000 Hz to 20 kHz
Discontapeity: 0.38999
Mixdown (Mixdown (3).wav)
Delete track wavs and close session don't save session (Except first time to keep template).
Peak Amplitude: -2.08 dB/-2.09 dB
DC Offset: 0%/0%
->This is the Stereo Imaging aka Stereoization stage
->I get into more detail about using Discontapeity as a stereo imager in this post

HypersonX: F
Peak Amplitude: -2.11 dB/-2.11 dB
DC Offset: 0%/0%

Slew4:
Compres= 0.639999
Peak Amplitude: -2.11 dB/-2.11 dB
DC Offset: -.001%/-.001%
->Subjective use and placement. (My decision to add this extra compression stage before maximizer is subjective. I did try it in other places.) Understanding that this plugin is not typical may require you to watch the video on it. You might elect not to use it at all or place it somewhere else, like before or after Pafnuty Exciter stage.

HermepassDX:
(Cutoff .000/Slope 1)
Peak Amplitude: -2.11 dB/-2.11 dB
DC Offset: 0%/0%

HypersonX: G
Peak Amplitude: -2.15 dB/-2.12 dB
DC Offset: 0%/0%
->Fortunately my current chain uses exactly the number of stages of HypersonX. If I had needed more, I’d test using G again or using D and continuing down or something, I really don’t know.

ADClip9DX:
Boost= 2.120022 dB {SpinAudio VST Wrapper: 0.117779}
Match: 0
Noise: 1
Ceiling: 0.787000
Mode: Boost
Peak Amplitude: -.4 dB/-.4 dB
DC Offset: 0%/0%
->This is the Sonic Maximizer stage.
->I do not ‘’Brick’’ my masters and aim only to bring up their amplitude to a ceiling of between -.38 dB and -.42 dB while keeping the amplitude dynamics as untouched as possible.
->The Boost and Ceiling parameters are going to vary from song to song. As you can see before the ADClip9 stage the amplitude peaks are at -2.15 dB/-2.12 dB. So I’m going to bring that up by boosting to 0 dB and applying the ceiling to get the -.4 dB I aim for.
I’m going to apply a 2.12 dB (Approx) boost to get the file to 0 dB; if my ceiling is set to 1.0 that is what I should see. (Though for some reason ADClip9 will not go past -.01 dB on some files without a more extreme boost. If that’s the case, I settle for the –0.1 dB ceiling).
Now it’s a matter of tweaking the ceiling parameter until I get that sweet spot between -.38 dB and -.42 dB.
It takes a few apply and undo to get it.

Save As: Keep Playing_32-192Md.wav
->Md = "Mastered"

Create Temp file for SRC:
Airwindows Ultrasonic Filter
Peak Amplitude: -.39 dB/-.41 dB
DC Offset: 0%/0%

Save As: Keep Playing_32-192Mdu.wav
->Mdu = "Mastered + Ultrasonic"
->This is an interesting stage in the chain. On some songs the Peak Amplitude can really jump up after applying the filter. If that’s the case, I’ll set ADClip9 Ceiling to Peak Amplitude of -.44 or -.45 dB. (If making a 24-192 kHz DVD-A file, I'll aim the Ceiling for between -.38 dB and -.42 dB since there will be no applying Ultrasonic stage after).
->I go into more depth on the subject of pre-filtering before SRC In these two Posts:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275388
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275398

For 16-44.1 CDA Files:
1] SRC 192kHz -> 44.1 kHz
finalcd.exe_v0.29 command line:
finalcd.exe /32 /f0 /d0 Keep Playing_32-192Mdu.wav Keep PlayingMd44.wav

2] In Audition: Save Keep PlayingMd44.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.42 dB/-.41 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0
Peak Amplitude: -.41 dB/-.42 dB
DC Offset: 0%/0%

4] Cut 9 frames@ CD Frame 3:14:00
Peak Amplitude: -.41 dB/-.42 dB
DC Offset: 0%/0%
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Keep Playing_16-44.1

7] TT DYNAMIC RANGE METER:
DR= 10
->If working on 44.1kHz for CD, after dither, here is where you want to cut or add CD frames for a perfectly sized file for CD burning. Adobe Au-> Edit View ->view-> Display Time Format-> Compact Disc 75fps –> cut to the closest end frame.
e.g. If song is 00:04:33:27 you need to either cut it to 00:04:33:00 or add 1 second of silence making it 00:04:34:27 and cut to 00:04:34:00. (Otherwise the CD burning software will decide where to cut the frame...)
I do this on my 48kHz, 96kHz and 192kHz files also for convenience. DVD-A Spec does not require Frame cutting AFAIK
->The TT Dynamic Range Meter step is a carryover since I began mastering many years ago. I personally like it and frankly it don’t lie. Can only be used on 16 bit 44.1 kHz files.
Loudness standards have changed over the years and there are a few free VST loudness meters out there like Audiocation_ACR128

For 16-48 Pre-(->Lossy) Compression Files:
1] SRC 192kHz -> 48 kHz
finalcd.exe_v0.29 command line:
finalcd.exe /32 /f0 /d0 /o48000 Keep Playing_32-192Mdu.wav Keep Playing48.wav

2] In Audition: Save Keep Playing48.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.4 dB/-.43 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0
Peak Amplitude: -.4 dB/-.43 dB
DC Offset: 0%/0%

4] Cut 9 frames@ CD Frame 3:14:00
Peak Amplitude: -.4 dB/-.43 dB
DC Offset: 0%/0%
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Keep Playing_16-48

For 24-96 DVD-A Files:
1] SRC 192kHz -> 96 kHz
finalcd.exe_v0.29 command line:
finalcd.exe /32 /f0 /d0 /o96000 Keep Playing_32-192Mdu.wav Keep Playing96.wav

2] In Audition: Save Keep Playing96.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%

3] Dark Dither:
HD 24
DeRez 0
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%

4] Cut 9 frames@ CD Frame 3:14:00
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Save As: (24-bit) Keep Playing_24-96_DVD-A
->To truncate 32 bit to 24 bit integer you must use the ‘’Options’’ button in the Save as dialog in Au.
And select 24-bit packed int (type 1, 24-bit) Make sure Enable Dithering box is UNCHECKED.

Delete unneeded files:
Mixdown.wav
Mixdown (2).wav
Mixdown (3).wav
Keep Playing_32-192Mdu.wav
Keep PlayingMd44.wav Keep PlayingMd48.wav
Keep PlayingMd96.wav
->Keep Playing_32-192Md.wav is the 32/192 master file. If making a stereo 24-bit/192 kHz DVD-A, no need to apply ultrasonic filter/SRC. Just apply dither, cut and save as 24-bit packed int (type 1, 24-bit). Make sure Enable Dithering box is UNCHECKED.

I Attach a PDF of the original mastering log sans convolution reverb and comments:
Keep Playing_Mastering Notes (Updated v2.0).zip
I Attach a PDF of this Post:
A Mastering Chain Using Adobe 3.0.1, Airwindows Plugins and FinalCD SRC Only.pdf.zip

 

[TMTGTR]

Alternate Application Of Cream Coat Reverb
(Or any reverb without a built-in EQ section)

Putting a highpass filter before a reverb is a common practice.
I really like the Airwindows CreamCoat VST reverb. But it does not have a filter/EQ section. So I did a little
shoot out with a bunch of Airwindows highpass filters and I like ZHighpass2. I believe ZHighpass2 compliments CreamCoat very well.

A cool thing about ZHighpass2 is it has built in ultrasonic filtering (so you do not need to place an instance of e.g. HypersonX or UltrasonX before it).
However, I put a stage of HypersonX after ZHighpass2 and before CreamCoat.

If using my mastering approach, or just to audition (no pun) different settings, you'll have to create a two track session, find what you like and mix down.

Here's an example approach:
Track 01 Yourfile.wav
Track 02 Yourfile.wav
FX
ZHighpass2 (Has internal Ultrasonic Filtering)
Input: 0.100000
Freq: This is what you play with. Start with 0 and move up just until you hear the bass get thin.
Output: 1.000000
Poles: 0.500000
->
HypersonX ''D'' if inside a multi-track mix; if using my mastering approach, your file should have HypersonX ''B'' already, so don't add the ''D'' stage here.
->
CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 1.000000
This is just an example setting. except for wetness (Always at 1.0) you can make a lot of adjustments.
->
PurestGain w/ SpinAudio DX Wrapper or any (Preferably double precision [64-bit]) volume adjustment plugin..
Gain: Start at -9 dB for tracking, -16 dB for mastering
Slow Fad: 1.0
This is for your final reverb mix amount.

In a multi-track mix you have more routing options.

ZHighpass2
https://www.airwindows.com/zhighpass2/

CreamCoat Reverb
https://www.airwindows.com/creamcoat/

Always download the full package of plugins to insure the latest builds. (e.g. download Retro 32 Bit Windows VST2s.zip)

 

[TMTGTR]

My Essential Utilities Part 11

AxiomX MasterLister 2.2

http://axiomx.com/masterlister.htm

Doing image backups has never been my thing though I should get around to it. A quick and easy way to make lists of my installed plugins in their directories for backup is AxiomX MasterLister 2.2.

I keep a list of my VST plugins directory, SpinAudio VST_DX Wrapper Instances directory, Audio_Tools Program Files directory, and the Au Program directory E.g.:

C:\Program Files\Audio_Tools\VST Plugins
C:\Program Files\Audio_Tools\SpinAudio VST_DX Wrapper\Instances
C:\Program Files\Audio_Tools
C:\Program Files\Adobe\Audition

I also keep a backup of my current Adobe Au 3.0.1 customized settings:
C:\Documents and Settings\YOUR USER NAME\Application Data\Adobe\Audition\3.0
I’ll update these lists about once a month or if I make any changes.
Of course you can backup any directory of your choosing. AxiomX MasterLister is a great system app.

UniExtract (AKA Universal Extractor v 2.0 RC 4) for XP

http://web.archive.org/web/20230603051322/https://update.bioruebe.com/uniextract/files/nightly.zip

The MasterLister 2.2 app comes with a bulky setup install. I use an older version of UniExtract which I believe is one of the last versions supporting XP (Timestamp 29.01.2023, newest version is 15.10.2023). If you have not used UniExtract it can make life much easier.
Last UniExtract (AKA Universal Extractor v 2.0 RC 4) for XP, Timestamp (See properties tab) 29.01.2023.
Just apply it to the setup.exe file, wait a few seconds and then just take the ''Main'' Folder, rename to AxiomX MasterLister or something and you have it ''Portable''.

I'll be referencing UniExtract often from now on.

 

[TMTGTR]

Adobe Audition 3.0.1 Updates On WaybackMachine

Additional Adobe 3.0 Update links.
Though I had searched the WaybackMachine many time for the original Adobe Audition 3.0 update files (that are on the first post of this thread), I could not find them.. Apparently they are there but can't be found unless using the exact link from Adobe.
So if Adobe decides to take their server down or change the address again, one could only find the files by having the original links and putting them in WaybackMachine. (I presume since this thread was started, other people may have put the files on their servers as well?)

Here are other links for the files and I'm attaching a copy of ''Adobe Audition 3.0 Troubleshooting'' PDF

Update to Adobe Audition 3.0.1
http://web.archive.org/web/20260908...om/pub/adobe/audition/win/3.x/audition301.zip

A post 3.0.1 Amplitude Statistics (Stats.XFM) "plugin"
http://web.archive.org/web/20190923.../audition/win/3.x/Aud3AmplitudeStatistics.zip

A patch for Vista64 O/S
http://web.archive.org/web/20260923...dobe/audition/win/3.x/Audition3Vista64Fix.zip

WaybackMachine Full Capture Pages:
audition301.zip
http://web.archive.org/web/20111201...om/pub/adobe/audition/win/3.x/audition301.zip

Aud3AmplitudeStatistics.zip
http://web.archive.org/web/20260000.../audition/win/3.x/Aud3AmplitudeStatistics.zip

Audition3Vista64Fix.zip
http://web.archive.org/web/20260000...dobe/audition/win/3.x/Audition3Vista64Fix.zip

 

[TMTGTR]

My Essential Utilities Part 12

Pitch Perfect v0.3.2

https://www.softpedia.com/get/Multimedia/Audio/Other-AUDIO-Tools/pitch-perfect.shtml

No nonsense program. Sometimes I need an audible pitch reference when I’m on my DAW. Don’t want to open a MIDI device or go get my guitar across the room. This is the last version.

WizCalc v0.35 by Bjoern Bojahr

https://bjoernbojahr.de/wizcalc.html

An Oldie but goodie. I’ve had this one since w98/Cool Edit. Many different calculations in one app.

V-B TimeCalc

https://vb-audio.com/OldFreeware/index.htm

Does what it says. Three size options wow!

 

[TMTGTR]

Full Mid-Side Mastering

With the success of the M-S approach to PearEQ I could not help but to want more.
By processing the Mid and the Side files separately, one achieves a sonic depth otherwise unavailable.
I am now in the process of re-mastering my album due to the worthwhile improvement in sonority.

Using this method takes twice the time time since it requires mastering two separate files before a final re-combining.

This process hinges on the use of a quality freeware VST plugin from Voxengo Labs called MSED (Current version 3.13) which calculates in double precision (64-bit) in a 32-bit engine like Adobe 3.0.1.
https://www.voxengo.com/product/msed/

The installer for MSED is for me a bit much, so I extracted MSED.dll using UniExtract:
http://web.archive.org/web/20230603051322/https://update.bioruebe.com/uniextract/files/nightly.zip
Otherwise you can use the installer and have a dedicated Voxengo program directory, or after install, copy MSED.dll to a back up location, and uninstall the Voxengo Program.

I also have used other excellent freeware form Voxengo:
Span FFT frequency spectrum analyzer (Free version)
https://www.voxengo.com/product/span/

r8brain free Sample Rate Converter
https://www.voxengo.com/product/r8brain/

Many more great Free and Pro VST plugins:
https://www.voxengo.com/group/all-vst-plugins-download/

I must express my appreciation to people like Aleksey Vaneev of Voxengo, Chris Johnson of Airwindows and Tom Browne of Sonic Illusions for making their software Double precision and XP friendly. Thank you.

The following is my approach and if you've read my previous posts (Sans my terrible typos!) you'll see that things are mostly the same with some updated comments... But what a difference!
I always document the DC Offset and amplitude statistics. This makes it easier if I lose my place among other things. The statistics here will differ from yours. I include them for reference. Aside from MSED, FinalCD and abandonware as noted, all plugins are by Chris Johnson of Airwindows.com
****************************
Full Mid-Side Mastering

Song_32bit.wav
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: .003%/.001%
->This is the original 24-bit/96 kHz mix down from the multitrack that was saved as a 32 bit float point file in Au. As you can see there is a slight DC offset that I'll correct here. I tend to always make a correction if need be at any stage in the chain.

HermepassDX: (Within SpinAudio DX Wrapper)
(Cutoff .000/Slope 1)
Peak Amplitude: -2.83 dB/-3.3 dB
DC Offset: 0%/0%
->DC Offset correction. There are better ways to do DC Offset correction I’m sure but this is how I do it. To get the most exacting parameters, the SpinAudio DX wrapper is invaluable. I am able to do the corrections 99% of the time with a slope of 1. Most times I can do this with a cutoff of .000. For some reason this plugin will not go to 0 in Au unless it is within the DX wrapper.

Save As: Song_32bit.wav

SRC 96kHz -> 192 kHz
->I upsample to 192 kHz as I feel the trade off to be worth it. Regardless of what your mixdown file's sample rate is FinalCD should handle it without problem.

finalcd.exe_v0.29 Command line:
finalcd.exe /32 /f1 /d0 /o192000 "Song_32bit.wav" "Song_32-192.wav"

!! FinalCD Saves 32bit 192kHz files as 4-bytePCM Type 1, 32bit!!

In Audition: Save Song_32-192.wav as 32-bit Normalized Float (type 3) - Default

[! Do not play file before: Most sound cards do not play fixed point 32-192 files; Windows goes BSOD (96 kHz does play)]
Peak Amplitude: -2.88 dB/-3.35 dB
DC Offset: 0%/0%
->Another 192 kHz consideration is the sound cards buffer size. I find that too high a buffer will cause a BSOD when playing a 192 kHz file on Au/my hardware. 2048 definitely crashes for me. I have my buffer set on 768 ms and it is working. I still need to find the exact setting where the buffer crashes on 192.

Now it's time to create the first of our two files, the Mid File:

MSED:
Preset-> Factory ROM-> Default
Click ''SIDEMUTE''-> OK
Peak Amplitude: -3.61 dB/-3.61 dB
DC Offset: 0%/0%
->You should now have a two channel mono file.

Save As: Song_32-192_Mid.wav

HypersonX: A
Peak Amplitude: -3.6 dB/-3.6 dB
DC Offset: 0%/0%
->Ultrasonic filtering is cutting off frequencies above 22 kHz. The filter’s slope and frequency start point are 2 parameters that add to its character. The Airwindows HypersonX filter has 7 settings/stages A through G.
The filter gets gradually ‘’lighter’’ as you go from A to G. I first tried this method with the single stage Hypersonic filter from Feb. 2022. I felt there was great improvement. When the multi-stage HypersonX came out a week later, I used it’s stages and it has been a ‘’Go to’'’ tool ever since. If only needing to apply a single stage, say on a track of drums, Chris Johnson recommends the center ‘’D’’ stage. The multi-staging is only if using more than one instance like mastering.

PearEQ: Preset: Mid Master
High 0.479999
HMid 0.479999
Mid 0.479999
LMid 0.499999
Bass 0.500000
Sub 0.500000
Peak Amplitude: -4.08 dB/-4.08 dB
DC Offset: 0%/0%
->This is ‘’Half’’ of a classic smile EQ curve where it will be a downhill slope. The Side file EQ will look like an uphill climb. But both curves are subtractive to neutral in amplitude.
->The EQ stage is one of the most integral parts of the advantage to M-S mastering. My shootouts with many EQs still makes PearEQ my favorite. A close second is Airwindows Baxandall3, but it is additive in amplitude (An input gain control would be nice here rather than needing a separate gain plugin before) and I still prefer the tonality of PearEQ.
Reverb: Now you have a few choices:

(Option 1: No reverb Stage) Go to:
HypersonX: B
Peak Amplitude: -4.03 dB/-4.03 dB
DC Offset: 0%/0%

(Option 2 HypersoniX stage ''B''-> CreamCoat Reverb)
HypersonX: B
Peak Amplitude: -4.03 dB/-4.03 dB
DC Offset: 0%/0%
->
CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 0.180000
Peak Amplitude: -3.16 dB/-3.26 dB
DC Offset: 0%/0%

(Option 3 Creating a CreamCoat Reverb Master Session)
CreamCoat Reverb Master.ses:
Track 01 Song_32-192_Mid.wav
Track 02 Song_32-192_Mid.wav
FX
Airwindows) ZHighpass2 (Has internal Ultrasonic Filtering)
Input: 0.100000
Freq: This is what you play with. Start with 0 and move up just until you hear the bass get thin. I used 0.7
Output: 1.000000
Poles: 0.500000
->
HypersonX: B
->
CreamCoat Reverb:
Select: 3
Regen: 0.479999
DeRez: 0.889999
Predly: 0.000000
Wetness: 1.000000
This is just an example setting. Except for wetness (Always at 1.0) you can make a lot of adjustments.
->
PurestGain: w/ SpinAudio DX Wrapper(*)
Gain: -23 dB
Slow Fad: 1.0
This is for your final reverb mix amount.
-> (*) Or any (Preferably) double precision [64-bit]) volume adjustment plugin like Dsound PEQ.
->You do not have to make a unique copy for track 2.
->Using a reverb plugin will now change your mono Mid file into a stereo file.
->Another option(s) is to apply reverb only to the Side file or apply different reverbs to the Mid and Side files.
-> I discuss using a highpass EQ on reverb here.

I'll continue having used Option 3

Mixdown to: Mixdown.wav
Peak Amplitude: -3.16 dB/-3.26 dB
DC Offset: 0%/0%

HypersonX: C
Peak Amplitude: -3.15 dB/-3.3 dB
DC Offset: 0%/0%

Pressure5:
Pressure 0.15
Speed .25
Mewiness 1
PawClaw .5
Output .5
Dry/Wet .75
Peak Amplitude: -2.21 dB/-2.64 dB
DC Offset: 0%/0%
->This is the Compression stage.
->In my earlier days I always used 4-band compression for mastering. Through my own experimentation and reading more knowledgeable people on the Internet, I have come to the belief that multi-band compression in mastering is for corrective purposes. IOW, if the mix is good, a single band compression stage will work where multi-band could actually muck it up (as I learned the hard way). That said, you can do wonders with multi-band if you need to ‘’Fix it in the master.’’
->If Multi-band were needed, I’d recommend using the Au Crossover method with 2-4 bands of Pressure5 and trying HypersoniX ''D'' ->Airwindows Acceleration2 after it on your highest band. More About using the Au Multiband Crossover here

HypersonX: D
Peak Amplitude: -2.22 dB/-2.64 dB
DC Offset: 0%/0%

PafnutyDX Master_Au Crossover Session:
Track 01-> Mixdown.wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 14800 Hz
->
PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Track 02-> Mixdown.wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 14800 to 20000 Hz

PafnutyDX: (Within SpinAudio DX Wrapper)
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fith: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Nineth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Eleventh: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Twelfth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Thirteenth: 0.000000 {SpinAudio VST Wrapper: 0.500000}
Inv/Wet: 0.549999 {SpinAudio VST Wrapper: 0.775000}

Mixdown to: Mixdown (2).wav
Delete track wavs and close session don't save session (Except first time to keep template).
Peak Amplitude: -2.11 dB/-2.14 dB
DC Offset: .175%/.171%
->This is the Exciter stage
->A few things:
• More About using the Au Multiband Crossover here
• You do not have to make a unique copy for track 2
• Exciters will almost always introduce DC Offset
• After writing the post about Pafnuty, I decided to change my method and take my own advice and use the 14.8 kHz crossover method vs. a single band apply as shown in the ‘’Gearspace'' preset. They are different. The single band apply is a bit ‘’Thicker’’ the crossover method though ‘’Thinner’’, more… hmmm-… ‘’In tune’’? I’m going with the crossover method.

HermepassDX:
(Cutoff 0.0250/Slope 1)
Peak Amplitude: -2.11 dB/-2.14 dB
DC Offset: 0%/0%

HypersonX: E
Peak Amplitude: -2.13 dB/-2.15 dB
DC Offset: 0%/0%

Discontapeity Master Session
Track 01-> Mixdown (2).wav
FX:
Au Multiband Compressor Crossover: (Solo Bands 1-3) 20 to 8000 Hz

Track 02-> Mixdown (2).wav
FX:
Au Multiband Compressor Crossover: (Solo Band 4) 8000 Hz to 20 kHz
Discontapeity: 0.38999

Mixdown to: Mixdown (3).wav
Peak Amplitude: -2.08 dB/-2.09 dB
DC Offset: 0%/0%
->This is the Stereo Imaging aka Stereoization stage.
->I get into more detail about using Discontapeity as a stereo imager in this post

HypersonX: F
Peak Amplitude: -2.11 dB/-2.11 dB
DC Offset: 0%/0%

Slew4:
Compres= 0.639999
Peak Amplitude: -2.11 dB/-2.11 dB
DC Offset: -.001%/-.001%
->Subjective use and placement. (My decision to add this extra compression stage before maximizer is subjective. I did try it in other places.) Understanding that this plugin is not typical may require you to watch the video on it. You might elect not to use it at all or place it somewhere else, like before or after Pafnuty Exciter stage.

HermepassDX:
(Cutoff .000/Slope 1)
Peak Amplitude: -2.11 dB/-2.11 dB
DC Offset: 0%/0%

HypersonX: G
Peak Amplitude: -2.15 dB/-2.12 dB
DC Offset: 0%/0%
->Fortunately my current chain uses exactly the number of stages of HypersonX. If I had needed more, I’d test using G again or using D and continuing down or something, I really don’t know.

Close All Sessions
Close All wavs except Mixdown (3).wav
Save As: Song_32-192_Mid.wav
->Half the work is done. Now it's on to creating the Side file.

Creating the second of our two files, the Side File:
->The process is nearly identical to the Mid file creation. Differences can be found in Pear EQ settings, zHighpass2 Frequency to taste, and DC offsets may require different correction parameters.

Song_32-192.wav
Peak Amplitude: -2.88 dB/-3.35 dB
DC Offset: 0%/0%
->A good reason to keep those amplitude stats. If they didn't match when you created Song_32-192.wav, something went wrong, start over.
MSED:
Preset-> Factory ROM-> Default
Click ''MIDMUTE''-> OK
Peak Amplitude: -10.18 dB/-10.18 dB
DC Offset: 0%/0%
->You should now have a two channel mono file much lower in amplitude than your Mid file.
Save As: Song_32-192_Side.wav

HypersonX: A
Peak Amplitude: -10.18 dB/-10.18 dB
DC Offset: 0%/0%

Pear EQ: Preset: Side Master
High 0.500000
HMid 0.500000
Mid 0.499999
LMid 0.479999
Bass 0.479999
Sub 0.479999
Peak Amplitude: -10.54 dB/-10.54 dB
DC Offset: 0%/0%

From this point, now follow the Mid file processing chain above from where I write: ‘’Reverb: Now you have a few choices:’’
After saving Mixdown (3).wav to
Song_32-192_Side.wav
it's time to re-combine the Mid and Side.

Mixdown:
Track 01 Song_32-192_Mid.wav
Track 02 Song_32-192_Side.wav

Mixdown.wav
Peak Amplitude: -1.99 dB/-1.96 dB
DC Offset: 0%/0%

ADClip9DX:
Boost= 1.960001 dB {SpinAudio VST Wrapper: 0.108889}
Match: 0
Noise: 1
Ceiling: 0.786000
Mode: Boost
>This is the Sonic Maximizer stage.
->I do not ‘’Brick’’ my masters and aim only to bring up their amplitude to a ceiling of between -.38 dB and -.42 dB while keeping the amplitude dynamics as untouched as possible.
->The Boost and Ceiling parameters are going to vary from song to song. As you can see before the ADClip9 stage the amplitude peaks are at -1.99 dB/-1.96 dB. So I’m going to bring that up by boosting to 0 dB and applying the ceiling to get the -.4 dB I aim for.
I’m going to apply a -1.96 dB (Approx) boost to get the file to 0 dB; if my ceiling is set to 1.0 that is what I should see. (Though for some reason ADClip9 will not go past -.01 dB on some files without a more extreme boost. If that’s the case, I settle for the –0.1 dB ceiling).
Now it’s a matter of tweaking the ceiling parameter until I get that sweet spot between -.38 dB and -.42 dB.
It takes a few apply and undo to get
-> If at this point your mixdown is too hot and you have clipping, I would do the following:
Say my mixdown shows
Peak Amplitude: .68 dB 100 Clips/.66 dB 100 Clips
DC Offset: 0%/0%

I'm looking for a -.4 db ceiling so I do the following:
Mixdown:
Track 01 Song_32-192_Mid.wav
FX
Purest GainDX:
Gain: -1.08 {SpinAudio VST Wrapper: 0.486500}
Slo Fad: 1.0

Track 02 Song_32-192_Side.wav
FX
Purest GainDX:
Gain: -1.08 {SpinAudio VST Wrapper: 0.486500}
Slo Fad: 1.0

Now my mixdown.wav
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%

At this point I may still use ADClip9DX but very sparingly,
e.g.
ADClip9DX:
Boost= 0.150011 dB {SpinAudio VST Wrapper: 0.008334}
Match: 0
Noise: 1
Ceiling: 0.785500
Mode: Boost

Save As: Song_32-192MD.wav
->Md = "Mastered"

Create Temp file for SRC:

Airwindows Ultrasonic Filter
Peak Amplitude: -.37 dB/-.43 dB
DC Offset: 0%/0%

Save As: Song_32-192MDu.wav
->Mdu = "Mastered + Ultrasonic"
->This is an interesting stage in the chain. On some songs the Peak Amplitude can really jump up after applying the filter. If that’s the case, I’ll set ADClip9 Ceiling to Peak Amplitude of -.44 or -.45 dB. (If making a 24-192 kHz DVD-A file, I'll aim the Ceiling for between -.38 dB and -.42 dB since there will be no applying Ultrasonic stage after).
->I go into more depth on the subject of pre-filtering before SRC In these two Posts:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275388
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275398

For 16-44.1 CDA Files:
1] SRC 192kHz -> 44.1 kHz
finalcd.exe_v0.29 command line:
finalcd.exe /32 /f0 /d0 Song_32-192Mdu.wav SongMd44.wav

2] In Audition: Save SongMd44.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.42 dB/-.41 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0
Peak Amplitude: -.41 dB/-.42 dB
DC Offset: 0%/0%
->Dark dither very rarely will change Peak Amplitude. However there are dither programs that do.

4] Cut 9 frames@ CD Frame 3:14:00
Peak Amplitude: -.41 dB/-.42 dB
DC Offset: 0%/0%
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.

5] Truncate 32bit => 16 bit

6] Save As: Song_16-44.1

7] TT DYNAMIC RANGE METER: DR= 12
->If working on 44.1kHz for CD, after dither, here is where you want to cut or add CD frames for a perfectly sized file for CD burning. Adobe Au-> Edit View ->view-> Display Time Format-> Compact Disc 75fps –> cut to the closest end frame.
e.g. If song is 00:04:33:27 you need to either cut it to 00:04:33:00 or add 1 second of silence making it 00:04:34:27 and cut to 00:04:34:00. (Otherwise the CD burning software will decide where to cut the frame...)
I do this on my 48kHz, 96kHz and 192kHz files also for convenience. DVD-A Spec does not require Frame cutting AFAIK
->The TT Dynamic Range Meter step is a carryover since I began mastering many years ago. I personally like it and frankly it don’t lie. Can only be used on 16 bit 44.1 kHz files.
Loudness standards have changed over the years and there are a few free VST loudness meters out there like Audiocation_ACR128

For 16-48 Pre-(->Lossy) Compression Files:
1] SRC 192kHz -> 48 kHz
finalcd.exe_v0.29 command line:
finalcd.exe /32 /f0 /d0 /o48000 Song_32-192Mdu.wav Song48.wav

2] In Audition: Save Song48.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.4 dB/-.43 dB
DC Offset: 0%/0%

3] Dark Dither:
CD 16
DeRez 0
Peak Amplitude: -.4 dB/-.43 dB
DC Offset: 0%/0%
->Dark dither very rarely will change Peak Amplitude. However there are dither programs that do.
4] Cut 9 frames@ CD Frame 3:14:00
Peak Amplitude: -.4 dB/-.43 dB
DC Offset: 0%/0%
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.
->Though not needed on non-CD files, I like to cut all files to the same frame as the 44.1 kHz file. This makes it easier to anyone whom might want to transfer 16-48 and DVD-A files to a CD; one less step.

5] Truncate 32bit => 16 bit

6] Save As: Song_16-48

For 24-96 DVD-A Files:
1] SRC 192kHz -> 96 kHz
finalcd.exe_v0.29 command line:
finalcd.exe /32 /f0 /d0 /o96000 Song_32-192Mdu.wav Song96.wav

2] In Audition: Save Song96.wav as 32-bit Normalized Float (type 3) - Default
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%

3] Dark Dither:
HD 24
DeRez 0
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%
->Dark dither very rarely will change Peak Amplitude. However there are dither programs that do.

4] Cut 9 frames@ CD Frame 3:14:00
Peak Amplitude: -.4 dB/-.42 dB
DC Offset: 0%/0%
->Check the stats here. Very rarely the stats can show a small DC Offset! It could mean you cut the file too sharp. If that’s the case, add a second of silence and cut at the rounded CD frame and check again.
->Though not needed on non-CD files, I like to cut all files to the same frame as the 44.1 kHz file. This makes it easier to anyone whom might want to transfer 16-48 and DVD-A files to a CD; one less step.

5] Save As: (24-bit) Song_24-96
->To truncate 32 bit to 24 bit integer you must use the ‘’Options’’ button in the Save as dialog in Au.
And select 24-bit packed int (type 1, 24-bit) Make sure Enable Dithering box is UNCHECKED.
Delete unneeded files:
Mixdown.wav
Mixdown (2).wav
Mixdown (3).wav
Song_32-192Mdu.wav
SongMd44.wav
SongMd48.wav
SongMd96.wav
->Song_32-192Md.wav is the 32/192 master file. If making a stereo 24-bit/192 kHz DVD-A, no need to apply ultrasonic filter/SRC. Just apply dither, cut and save as 24-bit packed int (type 1, 24-bit). Make sure Enable Dithering box is UNCHECKED.
I attach this tutorial in PDF: Full Mid-Side Mastering By TMTGTR.pdf

 

[TMTGTR]

As I ponder the above, I wonder if there is a quality improvement that can be made (After DC Offset correction) by first making the Mid & Side files from the 32-96 original and THEN Sample Rate Convert the 2 files to 32-192 wavs...
I'll test that out ASAP...

 

[TMTGTR]

Well I did the test and.under the conditions I used (see previous post); it appears to make no difference if the Mid and Side files are made before or after the 192 upsample. Amplitude statistics are identical, and listening reveals no difference to me. I'm sure there are engineers who could have saved me the trouble, and explained why. It does add to my admiration for the FinalCD SRC program.

 

[TMTGTR]

This website is having big difficulties and there is no response from administrators (They stopped allowing uploading pictures and attachments).

Regarding this thread '' Adobe Audition 3.0.1'', I'm intending to move to winworldpc(dot)com (thanks to BelicoseBloke for the tip).

I'd like to first port the 4 pages here onto the other forum before adding new stuff.

Hopefully this week.
I'll update here as long as I can, but only news of the move.

I am assembling a ton of new links and tips in the mean time:
More software
Assembling/Tweaking a custom XP DAW (Applicable to a DVW (Digital Video Workstation)
Audio engineering experiences
And more....

I will be posting as TMTGTR

 

[TMTGTR]

It's in the works, looking to start this week. Will do a re-cap/streamline of the 4 pages here then the new stuff...

 

[TMTGTR]

So I've moved this thread here:
https://forum.winworldpc.com/discussion/16258/adobe-audition-3-0-1

By re-writing the pages, it's giving me a chance to be more concise in less words. Better for everyone.
I'll try to catch up with a page a day and then I'll go back to 1~2x week with new stuff.

Always a chance the Moderators there will not like the audio engineering stuff and only want focus on the software so we'll see...

6 1/2 months and 12,000 views.
I never thought about it ever getting that large; but it has given me the impetus to want to keep sharing. I also inadvertently found better ways to do these engineering things by re-examining them for posting. All in all a very good deal for me, and hopefully for you.

I wish XPforums did not become so unresponsive to those of us who keep/kept? it going, but since Ian left things just went downhill.

I'll still be haunting xpforums at least to see if it revives to its former self; and dropping an update about he other forum on this thread now and then.

So if this thread is up your alley, come to the new Adobe Audition 3.0.1 thread at winworldpc. Hey you can even join to tell me if I got something wrong, or to give some related info/tips, or ask a question...

 

[TMTGTR]

I'm not just cutting and pasting. I'm consolidating information to make it easier and more straight forward.
But I'm also updating. The 2 new AAC encoding posts have much have much more information than can be found here.
https://forum.winworldpc.com/discussion/comment/188603/#Comment_188603
https://forum.winworldpc.com/discussion/comment/188625/#Comment_188625

The WavPack Post same
https://forum.winworldpc.com/discussion/comment/188585/#Comment_188585

 

[TMTGTR]

New updated SRC Article
https://forum.winworldpc.com/discussion/comment/188635/#Comment_188635
Plenty of additions.