The MClass Mastering Suite consists of 4 devices which you can use in the final mastering process of the mix to make the song sound better and louder, as well as to shape different sounds manually beforehand.
Since there often is a problem when you play different instruments which manifests in the fact that they sound good when soloed out, while sounding bad when played together, you have to make certain edits on each individual one in order to make the mix sound right. That`s where the MClass Equalizer comes in handy...
It has five sections, each having three knobs, except for the first one. They are activated by clicking on the small squares above them.
The LO CUT section cuts the frequencies below 30 Hz, which are usually problematic and not commonly used in most of the music genres.
The idea behind all the knob columns is basically the same - the one on the top selects the frequency, the one in the middle rather cuts or boosts that frequency and the knob on the bottom determines how wide that cut/boost will be.
PARAM 1 and PARAM 2 are identical - they cover the range between 39 Hz and 20 kHz. LO SHELF and HI SHELF cover the ranges between 30 Hz - 600 Hz and between 3 kHz - 20 kHz respectively. A small picture on the bottom gives visual representation of the shape of the curve of each section.
It is irrelevant whether a sound sounds good or not after equalization when played by itself - the important thing is to sound good in the mix. That`s why it is important to make sure that you cut all the undesired frequencies (for ex. higher ones from bass frq, lower ones from treble ones, etc...), even those you can`t hear, but can see via spectrum analyzer. If a sound gets soloed on a certain moment of the track, you can use automation in order to temporary switch off the Equalizer, since no conflicting sounds are present at that time. The more time you spend removing undesired frequencies, the more free space you get for loudness boost in the final stage of the mix.
The Stereo Imager is the next device we are going to look at.
It is a device that increases or decreases the wideness of the sound in the stereo field. The sound is divided into low part and high part, the border of which is determined by the X-OVER FREQ knob in the middle, covering the area between 100 and 6 kHz with mid point of 787 kHz. If the knob for the low on the left and the knob on the right for high frequencies are at 12 o`clock, they are not effecting the sound. When twisting them to the left, you make the sound more mono, while by twisting them to the right you make ti wider in the stereo field (there are indicators giving you visual picture of what`s happening). Usually, bass frequencies tend to be more mono, while high frequencies are more expanded. It is a common practice to make certain frequencies below 200 Hz fully mono.
With the buttons on the right you can single out either the low end or the high end out of the sound. This comes in handy when you wish to quickly cut undesired frequencies of a given sound.
You can see that on the back side of the device there is one extra output, which solos the low or high end. You can use that, combined with the solo option on the front, in order to divide the sound into two parts, linking them to two separate mixer channels and then processing the sounds differently afterwards.
Next comes the Compressor. As the name suggests, it is a device compressing the sound, making it sound fatter.
If you use the left INPUT GAIN knob, rather then the right OUTPUT GAIN one, more of the sound gets processed by the area in the middle. The loudness of the track required in order for the compression to start compressing is determined by the THRESHOLD knob, covering the area from -36 to 0 dB.
Hard/soft knee visualization...
Once the loudness of the track reaches the threshold level, the remaining volume area above it gets compressed by the ratio determined by the Ratio knob, starting from 1:1 (no compression), 2:1 cutting it by half, ... , ... and infinite in the end cutting out everything above that point, acting like a limiter. The indicator on the right of the knob shows visually how much of the sound vol is reduced.
The compressor also has attack and release option. The attack determines how fast the compression starts to kick in after the threshold level has been reached. The more you turn it to the left, the faster the compression begins to affect the sound, while the opposite happens when you turn it more to the right. The release on the other hand, determines how long will it take for the compressor to "release" it`s compression when it falls down below the threshold (it affects the sound below the threshold with the same ratio). Here is visualization of the behavior of those controls:
In general, if you have more compression, you will need quicker attack and longer release in order to avoid pumping and breathing unnatural effects.
In order to adjust the attack of your drums properly, make extreme compression my lowering the threshold at - 36 dB with infinite ratio, make sure that the soft knee is off and the attack and release times are at minimum level. Then, move the attack knob up and down until you find the clicky sweet spot. After you adjust the attack, do whatever compression amount you like.
If you have no idea what the release amount should be, try something closer to that formula:
(60 / tempo) / 4
Example tempo 170 bpm.
60 / 170 = ~ 0.350 ms (1/4 note time)
350 /4 = 87.5 => use 88 ms (the closest to it value that the compressor can have)
The basic explanation of the adapt release function is that it will make the release affect shorter peaks and automatically adjust when longer peaks are present in the future.
This compressor has also got sidechain input trough which it receives information on the loudness of another device, and makes the compression amount based on it. For example, such compression with quick attack is useful for certain types of dance music, where the volume of the bass is quickly reduced when the kick is being hit and then regaining its loudness immediately after the ending of the hit. The Gain Reduction CV Out, as the name implies, creates CV signal controlled by the gain reduction (visually seen using the indicator on the front).
You can solo the signal fed into the sidechain input with the solo option in the sidechain area on the frond. The ACTIVE indicator shows whether there is device connected to the sidechain input or not.
The MClass Maximizer is a device that raises the apparent RMS loudness of the mix by cutting the peaks (freeing space that way) and then boosting the processed signal. It also prevents clipping. Although it is a device which is always placed in the end of the mastering chain, it is common practice to start adjusting it first.
The device has, like the compressor, input and output gain knobs, serving the same purpose. The LIMITER button prevents the audio signal from going beyond a certain loudness level, by cutting it, similar to compressor with infinite ratio. It also has gain reduction indicator.
The 4ms LOOK AHEAD button will create a 4ms delay (more on delays in later tutorials) which basically detects peaks before they are being played back, so that the limiter is prepared for them. (the OUTPUT VALUE knob works when it is switched on).
The attack and release options work in a similar way to the compressor.
0 dB is the maximum level of the loudness measuring scale in the digital world (the higher negative number you have, the quieter it sounds). Cranking up the volume above that level results into distortion.
Gradual tendency in music of abusing the limiter more and more trough the years...
To make the sound apparently louder, the limiter cuts the peak points by the percussions and then cranks up the volume of the track filling the freed space. You basically sacrifice dynamics for volume. Pay special attention to the loudest parts of the song when using the limiter.
When you switch the limiter on, switch the 4ms LOOK AHEAD on, set the attack to FAST and the OUTPUT GAIN to 0 dB, you`ve created a "brick wall limiter", which will not let any sound pass trough the 0 dB level.
The SOFT CLIP option also acts like a brick wall limiter, however instead of making hard clips or cutting rudely parts of the transients, it adds much more pleasant soft clips and rounds things up. The amount of the soft clip is determined by the knob on the right.
The difference between the two types of meters on the right is that the peak has faster response, while vu gives an average reading.
That is basically all you need to know when it comes to the mechanics of the mastering suite.
The PEQ-2 equalizer and the COMP-01 compressor are two oldskool devices, derived from older versions of Reason and kept for compatibility purposes. They can be used as CPU saving devices, when you don`t need the precision of the MClass tools. However, unlike the MClass one, the PEQ-2 eq has two frequency CV inputs, .
Reason has a big meter which you can use for more detailed analysis of the sound dynamics. Just select Big Meter from the Hardware Interface and then click on the little square below the input or the output channel you want it to monitor (usually it is the first output channel). You can also do it by rotating the CHANNEL rotary of the meter.
You can select from 3 different indicators or combination of them by clicking on MODE.
VU (volume unit) - it uses the blue measurement system. It is a slow meter, showing you the average sound volume, emulating the human ear sound perception. When it reaches 0 dB, it colors the volume above it with red. The offset of that point can be changed via the VU OFFSET knob.
PPM (Peak Programme Meter) - It and the peak one below use the orange measurement system. It displays the peak signal volume and has very slow release.
PEAK - It shows the peak volume of the signal. It has very fast attack and release. The measuring indicator becomes yellow above -12dB (same as the PPM). This meter holds the detected peak volume indication for either 5 seconds or infinitely, determined by the PEAK HOLD button. The indication can be reset at any time with the RESET button on the right.
Reason has a big meter which you can use for more detailed analysis of the sound dynamics. Just select Big Meter from the Hardware Interface and then click on the little square below the input or the output channel you want it to monitor (usually it is the first output channel). You can also do it by rotating the CHANNEL rotary of the meter.
There are 3 different light indicators which each channel can use - green means that the channel is in use, yellow - that it is available, but not in use and red - that it is connected, but not available. No light indication means the channel is not available.
You can select from 3 different indicators or combination of them by clicking on MODE.
VU (volume unit) - it uses the blue measurement system. It is a slow meter, showing you the average sound volume, emulating the human ear sound perception. When it reaches 0 dB, it colors the volume above it with red. The offset of that point can be changed via the VU OFFSET knob.
PPM (Peak Programme Meter) - It and the peak one below use the orange measurement system. It displays the peak signal volume and has very slow release.
PEAK - It shows the peak volume of the signal. It has very fast attack and release. The measuring indicator becomes yellow above -12dB (same as the PPM). This meter holds the detected peak volume indication for either 5 seconds or infinitely, determined by the PEAK HOLD button. The indication can be reset at any time with the RESET button on the right.
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