TC Electronic MD4 HD handleiding
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16 MD4 HD NATIVE User Manual
If you do not get the desired result, you could also try some dierent crossover
frequencies. Keep in mind that you have 5 independent bands – why should a
bass drum signal aect the mid and high bands when its peak is in the low end?
Click on the XOVERS button in the row below the control knobs, and the Focus
Fields will show the 4 crossover frequencies. You could start out by using 100 Hz,
400 Hz, 1.6 kHz and 6.3 kHz if applied on drums, or 125 Hz, 500 Hz, 2 kHz and 8
kHz, if applied on a full range mix.
Click the XOVER button again to return to the Assigned Focus Fields.
Note: Sometimes it is easier to adjust the Attack and Release times and the
Crossover frequencies by using extreme values for Threshold and Ratio during
setup. This will make the eect of your settings much easier to hear.
6.2 Limiter
The Limiter is actually yet another compressor. It uses a very fast attack time and
has a ratio of 1 to innity. But why is the Limiter necessary?
For the compressor to be used as a musical tool, the set attack times are relatively
long (from 1 to 100 ms). This gives the disadvantage that certain peaks can pass.
Therefore a limiter with an attack time of as little as 0.1 ms and a ratio of 1 to
innity prevents nearly all overshoots.
You may want to use the Limiter carefully, as a limiter is always a somewhat
“drastic” tool to apply to your audio. If on a full mix, just a couple of dB should be
enough to limit strong peaks. If on a channel, feel free to sculpt your sound but
beware that the more compressed and limited it is, then the less “life” and more
“ear-fatiguing” it will most likely sound.
6.3 Modern Mastering, Loudness and True-
Peaks
The MD4 HD NATIVE is a multi-band dynamics-multi-tool, highly suitable for the
mastering process, with many ways to make your mix sound better, but if not
used wisely, there are many ways of making it sound worse!
There is a risk of becoming speed-blind in the tuning process, and at rst prefer
an over-compressed and loud-sounding track. This is a situation that can be
avoided by:
• • Knowing your music genre deeply
• • Using relevant reference tracks for comparison
• • Ensuring calibrated monitoring levels
• • Using an optimized monitoring environment
The resulting Loudness and Dynamic Compression are two of the most important
properties of a track, adjusted nally in mastering. These two properties can be
regarded as counterparts to each other. In other words, it is important to:
• • Decide how loud your tracks should be
• • Design the dynamic prole of your music
Due to the xed 0 dBFS ceiling in digital audio, louder tracks have less dynamics,
and “weaker” tracks will potentially have more dynamics.
We recommend that you do not hyper-compress and limit your tracks to the
extreme in the mastering process, in order to achieve a loud track. If you overdo
it, it will potentially reduce the audio quality of your work. And often, there
is even a penalty in playback stages so your loud track may end up sounding
weaker, rather than louder.
6.3.1 Loudness
The Loudness approach to music mastering is based upon similar methods
introduced more than a decade ago by the industry producing audio for TV.
Loudness measures how loud we actually hear audio, which is dierent from
“level” PPM meters that look at transients only. The Loudness method includes
K-ltering that emulates human hearing, where bass aects the perceived
loudness level less, and where frequencies from approximately 2 kHz and up
aect the perceived loudness level more.
Loudness is a modern, but still well-rehearsed reference method, which is
standardized in BS-1770, and many music streaming services refer to this
standard, or similar proprietary methods.
Loudness is measured on the LUFS metering scale. LUFS stands for "Loudness
Units Full Scale." The scale does not measure sound as a dB meter or a VU meter
would. Rather, it accounts for how the human ear (and brain) perceives the
loudness of a track. That is also why there is only one loudness value or level,
instead of one per channel.
Loudness examples: Some Streaming Services will aim for -16 LUFS loudness
when they play back music tracks with “Sound Check” enabled. The AES
community recommend streaming music between -20 and -16 LUFS. Often
you will see songs that measure -14, -12, -10 or even -8 LUFS and it will vary for
example by music genre.
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Productinformatie
| Merk | TC Electronic |
| Model | MD4 HD |
| Categorie | Niet gecategoriseerd |
| Taal | Nederlands |
| Grootte | 8045 MB |
