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
