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Cakewalk SONAR 7 PE includes Boost 11

I’m not a regular Cakewalk user but if I had to find a new DAW as a home, that DAW would be SONAR 7. It is not version 7.0 specifically, I have been a fan of Cakewalk’s workflow since Pro Audio 9.0 (prior versions were just too wonky). Cakewalk are doing a great thing by including the new Boost 11 plugin with the PE bundle. Boost 11 is probably not going to replace the Waves Ultra- and Multi- Maximizer plugins for me, but if you don’t have the scratch to drop on those plugins Read the rest of this entry »

Getting The Late 80s CD Sound (Part 3)

Continued from Getting The Late 80s CD Sound (Part 2)

Step 8: Boosting Levels Using Multiband Compression

The master should be sounding pretty good at this point. The only thing left is to get a little more consistency across frequency bands. Add the Waves L3 MultiMaximizer to your track right after Ozone 3. The interface looks pretty scary but we aren’t going to get too carried away. We don’t want to crunch all the dynamics our of the mix like we did in Modern Mastering because we are going for the 80s sound which is quite a bit cleaner and (dare I say) a bit sterile.

Play your track all the way through which will initialize the meters and peak hold boxes on the L3. Check the settings in the peak hold boxes of the Threshold meter (Figure 22). Determine the higher of the two numbers. In our example -4.9 is the higher of the two negative numbers. Subtract 3 from this and enter that value in the Threshold box. -4.9 minus 3 is -7.9 so that is what we enter for the Threshold value (Figure 23). Set the Out Ceiling to -0.1 (Figure 24). We are shooting for a modest 3.0dB of gain reduction. A more modern sounding mix would stand for around 6.0dB of reduction but we want to keep the mix very clean and spacious with lots of dynamic range so we are only bringing things up a little bit. Play back your whole track and inspect the Atten column for the value showing there (Figure 25). We did not quite hit our -3.0dB target but we are very close. This is probably close enough but I’m going to continue and show you how to correct for this in case you are not close enough to be satisfied in your own mix. In our example, we are at -2.9dB of attenuation and are shooting for -3.0dB. The difference is -0.1dB so we take that off the Threshold setting to give us -8.0 (Figure 26). Playing back your whole mix again should give you your target attenuation (Figure 27). If you got closer but not quite there, just figure out the new difference and add it to the Threshold again.

80s mastering figure 22
Figure 22		 80s mastering figure 23
Figure 23		 80s mastering figure 24
Figure 24		 80s mastering figure 25
Figure 25		 80s mastering figure 26
Figure 26		 80s mastering figure 27
Figure 27

You are finished mastering your mix

That is all there is to it. Sit back and enjoy your mix. It is ready for putting on discs or to be compressed for digital distribution.


iZotope Ozone 3 price check


Waves Diamond Native Bundle price check

Sample Songs

You can hear samples of this mastering by listening to the tracks the technique was used on. The project was for the Jasper Mountain bluegrass band. The track is called Cold Rain And Snow and you can listen to the full track at the band’s myspace page.

Getting The Late 80s CD Sound (Part 2)

Continued from Getting The Late 80s CD Sound (Part 1)

Step 5: Mastering Reverb In Ozone 3

A mastering reverb can really help tie your mix together and put a nice polish on it. Mastering reverb is quite a bit different from track reverb. The goal of track reverb is typically to add an audible effect to the source. Mastering reverb has a more transparent goal in mind. Done right, the listener would never be able to detect the actual reverb. However, an A/B comparison should reveal an extra something about the mix with a good mastering reverb applied. You may not be able to put your finger on what that extra something is, but it will be there. We are looking for a subtle, almost undetectable, effect on our mix.

Ozone 3 has a nice mastering reverb built right in, and that is what we will use. Show the reverb by clicking the red circle next to Mastering Reverb and turn it on by clicking next to Active (Figure 9). I like a very natural sheen glossed on top of our mix. The goal is to make the mix sound like you are listening to it in a great sounding room. It should sound like you are listening in a great sounding room even when you are in a bad sounding room. Mastering reverb is one of the steps to accomplishing this. Make sure the reverb is set to Room and not Plate (Figure 10).

Begin with my settings on your reverb (Figure 11). The Room Size is turned down to 0.3 so it won’t have the sound of a very big room. The goal is subtle so I don’t want to add the sheen of an unnaturally large space. The Room Width is slightly up because our reverb signal is going to be quite low and I want it to have just a touch of extra weight. I like the sound at the default Room Damping level so we will leave it alone. The Pre-delay is set at 3.5 milliseconds to give our room a very live and natural sound. A pre-delay setting this low is similar to the pre-delay characteristic of a bathroom. If you have ever listened to your stereo in the bathroom you may have noticed the music sounding a bit more alive and vibrant. It is a very nice effect to mimic with our mastering reverb. Keep the dry level at 100% and set the wet signal to a mere 10% in keeping with our goal of extreme subtlety (Figure 12). The natural reverberations you hear when you speak or listen to music in a room are so subtle as to be nearly unnoticed by the listener. Keep this in mind as you are auditioning your mastering reverb. There is a natural tendency to want to crank the mastering reverb wet signal louder because it sounds great. Your listeners rooms will add another layer of reverb on top of this so too high a wet level can really work against your mix as a final product.

80s mastering figure 9
Figure 9		 80s mastering figure 11
Figure 11		 80s mastering figure 12
Figure 12
80s mastering figure 10
Figure 10

Step 6: Tuning The Reverb Response.

We talked quite a bit about bass mask in Step 2 of Modern Mastering and adding reverb to the bass frequencies can work against us here. Goose the low frequency cutoff up to 100Hz (Figure 13). This makes sure the fundemental core tones of the kick, bass and low guitar notes will not get muddied up by our reverb. While setting up the basic room sound I alluded to the bathroom sound and that it was a good thing. You may have found yourself thinking, “Yeah, but aren’t bathrooms typically a little bright and harsh sounding?” Yes, quite often they are. The low pass filter will come in handy now. Bring it down to around 5.00kHz to combat this tendency toward harsh brightness(Figure 14). Setting up the reverb bandpass this way will confine the reverberations to the densest portion of our mix and help to widen them a bit. You put a lot of hard work during mixing (right?) to get the lows and highs sounding great so we don’t want to muck them up during mastering! Solo the reverb signal (Figure 15) and have a listen to your mix. Concentrate on the lows and highs to see if there is any mud or harsh glass sounds. Adjust the low and high cutoff points to fix these frequencies if they need it.

80s mastering figure 13
Figure 13		 80s mastering figure 14
Figure 14		 80s mastering figure 15
Figure 15

Step 7: Enhancing The Stereo Image

A nice stereo image is an asset to almost any mix. The tricky part is not overdoing it not getting too carried away. Ozone 3 provides us with a nice multi-band stereo imaging module. Show the stereo imaging controls by clicking the red circle next to Multiband Stereo Imaging and turn it on by clicking next to Active (Figure 16). The default frequency bands at 120Hz, 2.0kHz, and 10.0kHz are great for almost any mix but I do like to bring the bass band up a little bit for reasons we are about to discuss. For this mix I increased the bass band crossover to about 150Hz (Figure 17).

80s mastering figure 16
Figure 16		 80s mastering figure 17
Figure 17

Bass frequencies tend to be perceived by the human ear as very mono-directional. This means we do not have much ability to determine where sources of bass frequencies are coming from. That is why you can stick the subwoofer of your home theater anywhere you want. As long as you can hear the lows, your brain will match them up with the action on screen because it can’t tell where the thumping is exactly coming from. Adding a stereo image to our low frequencies will work against us. I keep ringing the bell of protecting our lows because it is a very important concept to keep in mind at all points during the production process. Conversely, our ears and minds are very good at hearing imaging information in progressively higher frequencies. We are going to use this information to focus our stereo enhancement where it really counts.

Since bass frequencies are mono-directional and can actually be harmed by stereo image, reduce this band to full mono (Figure 18). The bass frequencies should aquire some extra definition and punch from listening positions all around the room. The mid frequencies are going to receive only moderate widening. The lower mids are where you will find the meat of most of the instruments and vocals. Give this band a slightly wider stereo effect (Figure 19). The upper mids contain a lot of the higher harmonics of your instruments and vocals. This frequency band will stand a bit more widening without sounding unnatural (Figure 20). The high band is where most of the air and shimmer comes from. This frequency band will stand the most widening at all and I like to go almost all the way (Figure 21).

80s mastering figure 18
Figure 18		 80s mastering figure 19
Figure 19		 80s mastering figure 20
Figure 20		 80s mastering figure 21
Figure 21

Our mix is sounding very full with a subtle, yet pleasant, stereo image. We have done all we are going to do with Ozone 3 and are now going to focus on the Waves MultiMaximizer.

Continued in Getting The Late 80s CD Sound (Part 3)

Getting The Late 80s CD Sound (Part 1)

The Modern Mastering series focused, as its name implies, on a very modern sound. This is great for mastering metal, rock, pop, dance, and other very modern styles, but it is not really what you would want for some more down to earth styles. I recently worked on a bluegrass EP and did not want to be so heavy handed in the mastering. I also did not want to go the route of gimmicky and try for a very dirty 30s or 40s kind of sound. I wanted to keep it clean but not squeeze the life out of the tracks. I decided to go for the kind of sound heard on compact discs around 1989. Very commercial and polished, yet retaining much of the dynamic range and air surrounding the music.

Plugins used in this tutorial:

  • iZotope Ozone 3
  • Waves L3 Multimaximizer
iZotope Ozone 3
iZotope Ozone 3

Izotope Ozone 3 is a powerful interface combining all required mastering tools in one system. This makes it easier to use and it sounds better because processing is done via 64-bit DSP until final output. From the warm sound of tube-modeled equalizers to the pure transparency of linear phase filters, the Ozone 3 provides the tools and the technology you need to deliver top-notch audio masters.
Waves Diamond Native Bundle
Waves Diamond Native Bundle

A comprehensive collection of audio processing tools, Diamond brings unparalleled signal processing power to your studio, for tracking, mixing, mastering, creative sound design, and audio restoration.

Step 1: The Stereo Mix (Review)

There are a few key points to keep in mind from Modern Mastering. If these don’t seem familiar, feel free to review that article at your leisure.

  • Start your mastering process with a great sounding mix
  • Render this mix to a stereo file
  • Do your mastering work in a new project with your stereo mix down

Step 2: Leverage Ozone’s Frequency Guide

Add the Ozone 3 plugin as the first effect on your master track. When the Ozone window presents itself you may be greeted with the Preset Manager view. Just press the cancel button. We are going to go the fun route and start from scratch. Show the EQ by clicking the red circle next to Paragraphic Equalizer and turn it on by clicking next to Active (Figure 1). The EQ window serves several purposes all at once. It shows the frequency curve of any EQ you have applied (red line), it shows a realtime FFT style frequency response of your audio (jagged green line during playback), and it can show a few different frequency response guides (gray or pink depending on which you choose). It is the frequency response guide we are concerned with first.

You may have noticed while listening to popular albums or heard industry members talk about the commercial sound. Part of what makes the commercial sound is engineers tendencies to gently roll off the high frequencies. The nice folks at iZotope have been kind enough to provide us guidelines that can be overlaid on the frequency response to help us roll of our highs at about the same rate. Click the Snapshots button (Figure 2). On the right side of the dialog that pops up you will see settings for a 6dB Guide and a Pink Guide (a 3dB guide). The dB rating refers to how quickly the high end rolls off. The Pink Guide was provided to reflect the more modern trend toward brighter mixes so it rolls off gradually. Our target is a sound from nearly 20 years ago so we are going to stick with the 6dB Guide. Turn on the guide by clicking Show (Figure 3). You should now see a gray line below the red line. This gray line represents the gradual high end fall off rate of the commercial sound (Figure 4).

80s master: figure 1
Figure 1		 80s master: figure 3 real
Figure 3		 80s master: figure 4 real
Figure 4
80s master: figure 2
Figure 2

Step 3: Eliminate Low Sub Rumble and Bass Mask

We talked about eliminating bass mask in Modern Mastering. The same theory applies here and it will be dealt with the same way. You can adjust the equalizer by grabbing the pairs of green arrows and dragging but I like a little more precision approach. Access the detailed EQ controls by clicking Show Info (Figure 5). Set up Node 1 (Ozone calls them EQ nodes instead of EQ bands) as a high pass filter at 30Hz and a Q of 0.70 (Figure 6). The red line should change to reflect these new settings (Figure 7).

80s master: figure 5
Figure 5		 80s master: figure 6
Figure 6		 80s master: figure 7
Figure 7

With our basic high pass filter in place, you can play back your mix and sweep the frequency higher and lower while listening to the bass. You want to find the frequency where the bass notes just start to clean up without losing their body. Leave the frequency set at this point. In the modern approach we added a second low frequency band at this point to put some extra punch into the bass. We will skip that step this time. Remember, the goal is a slightly more vintage sound (can we call late 80s vintage yet?) where albums were not just a continuous barrage of bass frequencies. Balance and a natural sound are key here.

Step 4: Balance The EQ Across The Spectrum

We turned on that nice 6dB Guide and it is time to put it to work. Play back your track and watch the dancing frequency meter (green line, Figure 8). Focus on any extreme changes in the overall trend of the actual frequency response of your source material. Study Figure 8 and make a few judgments about how this mix might sound and see if you can spot any problem areas. My thoughts are below the image.

80s master: figure 8
Figure 8

Looking at our frequency response we can make several observations:

  • The high end has a fairly smooth drop off already
  • The high end drop off is just a bit steeper than the guide, just a very tiny bit
  • There is a bit of a bass spike around 75-80Hz
  • Between the bass spike and high frequency drop off, the mids are fairly consistent

The bass spike might typically be something we are worried about, but this is a bluegrass mix. A traditional bluegrass band has no drummer and the pulse of the music comes from the stand up bass. This bass spike is right around between the low E and low A on the bass. Keeping our goals in mind for the current mix we see this bass spike is not actually a problem but a desired attribute of the music. It is worth pointing out that blindly following a tutorial without keeping your specific needs in mind will rarely yield optimal results. Always apply these techniques according to the needs of the music you are working on.

The high frequency drop off is already very smooth. It is just a bit faster than our guide, visually, but audibly it is still very smooth. Also notice there are no extreme bumps or peaks in the high end drop off. Around 17kHz the drop off does increase a bit but listening to the recording reveals no problem in this area. If you do notice an unnatural drop in the extreme high frequencies you could fix that in this mix by adding a high shelf at 20kHz with a 2dB boost and a Q of 1.5 or so.

As previously noted, the mids are looking, and sounding, great already. This highlights how much starting with a quality mix can really make the mastering process easier.

Continued in Getting The Late 80s CD Sound (Part 2)

Modern Mastering (Part 2)

Continued from Modern Mastering Part 1

STEP 6: Multiband Compression

Add the Waves Linear Multiband processor to the track right after the REQ4. Click the Load button on the LinMB interface and choose Basic Multi from the drop down list. Play your entire track without stopping playback. You now have some numbers registered in the various boxes around the interface.

STEP 7: Initial Settings

At the bottom of each of the five bands you will see a value in the peak hold box (Figure 11). Enter the value from the peak hold box into the Thrsh row. Do this for all five channels, entering the values from the peak hold box into the Thrsh box (Figure 12). Next, set the Adaptive box to -12.00 (Figure 13).

Modern Mastering: Figure 11
Figure 11
Modern Mastering: Figure 12
Figure 12
Modern Mastering: Figure 13
Figure 13

STEP 8: Eliminate Clipping

Again, play the whole track without stopping playback. Check the value in the Trim button (Figure 14). If it’s a positive number or 0.0 skip to Step 9. If it’s negative, adjust the gain slider to show the value from the trim box (Figure 15). This will eliminate any clipping in the output stage just like we did in Step 4 for the EQ.

Modern Mastering: Figure 14
Figure 14		 Modern Mastering: Figure 15
Figure 15

STEP 9: Mega Crunch Time

Have a listen through your tune. Things should be starting to really sound nice at this point. In fact, if everything has gone well, we’re pretty much finished. The only thing left is to pump the levels up to be a little more uniform so we’re ready to put the track on a CD. If you stop now, you will have about 75% of the modern radio sound. Time to give it that last 25%.

Add the Waves L2 as the final processor on your track. Play the song through all the way without stopping so we can get the L2 setup. Once you’ve played it through you’ll see the peak hold boxes across the bottom showing some numbers (Figure 16). Find the highest number. We will choose -2.3 becuase it’s the higher of the two negative numbers. Subtract 6.0 from this number and put that value into the Threshold slider. After subtracting 6.0 from -2.3 to get -8.3 that value is entered in the slider (Figure 17).

Modern Mastering: Figure 16
Figure 16		 Modern Mastering: Figure 17
Figure 17

STEP 10: Fine Tuning

Adjust the Out Ceiling slider of L2 to a value of -0.1 (Figure 18). Now play back the whole track and keep an eye on the Atten column (see Figure 19). Keep an eye on the peak box at the bottom of the Atten area. Ideally you want it to hit -6.0 exactly. If it hits below -6.0, then turn the Threshold setting up by the amount it’s under. For example, if it’s hitting -6.2, then turn the Threshold up by 0.2. If it’s hitting above -6.0 then turn the Threshold down by an equivalent amount. For example, if it’s hitting -5.7, then turn the Threshold down by 0.3. If you want to be picky, keep adjusting until you can play the song all the way through without touching anything and have the Atten peak hit exactly -6.0. You don’t really have to hit exactly -6.0 if you don’t want, you decide how close is close enough. I have decided for this example that -5.9 is close enough (Figure 20).

Modern Mastering: Figure 18
Figure 18		 Modern Mastering: Figure 19
Figure 19		 Modern Mastering: Figure 20
Figure 20

Step 11: Conclusion

That’s it! You’re now done mastering. You can mix this whole processed file down to a new stereo file and use it to make CDs, mp3 files, or whatever you want to do with it! Listen back to the track and enjoy it. At this point, stop nitpicking. Just enjoy it for what it is and just pay enough attention that you hear any major flaws that make it sound like an amateur recording.

Plugins

Waves Platinum Native Bundle price check

Sample Songs

My Malhavok album was mastered using this technique. You can hear samples of the results on Ben R Vesco - Malhavok

  • Ben R Vesco - Malhavok - Atrophy Atrophy
  • Ben R Vesco - Malhavok - Choking Choking
  • Ben R Vesco - Malhavok - Judgement Judgement
  • Ben R Vesco - Malhavok - User User
  • Ben R Vesco - Malhavok - Never Never

After listening to the sound samples I hope you’ll agree that applying these techniques can make your home studio sound like some of the tracks coming out of some professional recording studios.

    Modern Mastering (Part 1)

    Modern music has a mastering style with a very limited dynamic range. Limited dynamic range does not mean the music has limited range. This modern mastering style just means the quiet parts are nearly as loud as the loud parts. Psycho-acoustically, our ears and minds can still tell the difference between the quiet and loud parts. The primary difference is this mastering technique allows the quiet parts to be heard much better.

    Plugins used in this tutorial:

    • Waves Renaissance EQ 4 band
    • Waves Linear Multiband Compressor
    • Waves L2.
    Waves Platinum Native Bundle Hybrid CD Win/Mac
    		 Waves Platinum Native Bundle
    The Waves Platinum Native Bundle gives you all the essential tools plus sweetening and mastering processors and sound design mindbenders. Combines all the processors from the award winning Gold bundle, plus new Masters and Renaissance Maxx processors. Visit us online for a complete list of included tools.

    A lot of home recordings suffer from three main problems. The first is something I call bass mask. The second is not enough sparkle in the highs. Lastly is a general imbalance across the frequency spectrum. Now for some more specifics.

    STEP 1: The Stereo Mix

    The first step is to mix your song to the best of your ability. Make a good effort to get the song sounding as good as possible. You would think this should go without saying. No doubt you have heard the phrase, “We’ll fix it in the mix.” Hopefully you have also learned that “fix it in the mix” is usually not a great idea. It is much hard to “fix it in the mix” than it is to just record it right in the first place. Some mix engineers also have an attitude of, “We’ll fix it in the mastering.” This is also not usually a good idea. Strive to mix it correctly in the first place. Mastering is not the time to fix problems in your mix. Mastering is time to take your awesome mix and make it phenomenal. You can’t polish a turd. You can try, but it will still stink.

    Render your mix to a stereo file. Don’t be scared by the word “render” if you are not familiar with the term. Some other names in software and the industry for the same process are: mix down, export, and bounce. The goal is to have your whole mix in a single stereo file .Create a new project in your recording software with that stereo file on track 1.

    STEP 2: Eliminate Bass Mask

    Bass mask is basically what it sounds like. The bass frequencies tend to be overwhelming. In an attempt to get our recordings sounding really phat, we tend to pump up the lows in the kick drum and bass. This has the overall effect of muddying up the mix and making everything sound too bassy. Listen to your favorite CD’s. They sound nothing like that. During the mixing process you should keep this in mind. But lack of punch and muddiness in the low frequencies can still be a problem. Listen critically to your stereo mix. Does it suffer from some bass mask? We’re going to address that now. If you have no idea how to tell, follow this step anyway and do a comparison when we’re done.

    We are going to doctor the low frequencies a bit in our mastering process. Add the Waves Renaissance EQ 4 band as the first plugin on the track with your stereo mix. Set up band 1 as a high pass filter at 30Hz (Figure 1). Start playback of your mix. Sweep the frequency up and down (slowly) as the song plays back. Find the frequency where the low instruments (typically kick drum and bass) are just starting to lose their low end punch. Leave band 1 set to that frequency. Yes, leave band 1 set to a point where your low instruments have started to lose their low end punch! This is where band 2 comes in.

    Set band two to a typical bell shaped curve at 200Hz, boosted 2.5dB with a Q of 1.5 (Figure 2). You will see it makes a hump in the yellow line (Figure 3). Move the frequency down toward band 1 until the slope of the high pass transitions smoothly into the hump of band 2 (Figure 4). Now play back your mix and massage the gain of band 2 up and down from 2.5dB until you find the setting that gives you back the punch we eliminated with band 1. It is important not to overdo the boost. You want to give your mix back the punch we took out, not add new punch that never existed in the first place. Our mix sounded great before we started mastering, right?

    The high pass filter of band 1 eliminates the low sub frequencies that muddy up our mix. Our slight boost just above that restores any missing frequency content and keeps our mix sounding punchy and defined. Your bands 1 and 2 should now look similar to Figure 5 (though your frequencies and boost may differ slightly).

    Modern Mastering: Figure 1
    Figure 1    		 Modern Mastering: Figure 2
    Figure 2    		 Modern Mastering: Figure 3
    Figure 3    		 Modern Mastering: Figure 5
    Figure 5
    Modern Mastering: Figure 4
    Figure 4

    STEP 3: Add Some Sparkle

    Here we are going to bring up the highs to help with sparkle on the cymbals and general brightness of the mix. Turn band 3 of the REQ4 off by clicking the purple light so it becomes grey (Figure 6). Then set up band 4 at 17.5kHz (17500Hz) with a 2.5dB boost and a Q of 1 (Figure 7). Listen back to your mix and focus on how the air sounds. Sweep the frequency down a bit just to the point where you can hear the “air” around the instruments a little better and the cymbals are barely affected at their highest range. Your bands 3 and 4 will now look similar to Figure 8 (though your frequency may differ).

    Modern Mastering: Figure 6
    Figure 6    		 Modern Mastering: Figure 7
    Figure 7    		 Modern Mastering: Figure 8
    Figure 8

    STEP 4: Adjust EQ For Hotter Signal

    Boosting EQ always has the potential to take a sound that is not clipping and push it hot enough to make it clip. The Waves plugins have a semi-automated way to help us monitor and resolve the situation. Play your track all the way through. Now consult the meters which will be showing some numbers and the red light at the top may be illuminated (Figure 9). If the red light is not on, the number in the box above it will be positive or 0.0 which means you had no clipping in the output signal and should skip to STEP 5. If the light is on the number above it will be negative (in Figure 9 it is showing -3.1). The number represents the amount of available headroom. A negative value means we have clipping in the output stage of the EQ. Click directly on the number in the box. The number will change and the output faders will be auto-adjusted down by the proper amount. Notice the faders are now set to the number that was in the box (in Figure 10 the faders are now set to -3.1). The output faders have been automatically adjust to the perfect amount to prevent clipping in the output stage without unnecessarily lowering the signal too much.

    Modern Mastering: Figure 9
    Figure 9    		 Modern Mastering: Figure 10
    Figure 10

    STEP 5: Listen And Assess

    Play your track all the way through again. This time, do some critical listening and focus on the interaction of highs and lows within the rest of the mix. Decide if you like the way it’s starting to sound. It’s possible we boosted the highs (band 6) and lows (band 2) by too much. So decide at this point if you want to lower the boost on those two bands. If you do lower the boost and had lowered the output gain in STEP 4, then adjust the output faders back to 0.0 and repeat STEP 4.

    Continued in Modern Mastering Part 2