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Master Buss

Kramer Master Tape http://www.waves.com/plugins/kramer-m... PuigChild Compressor http://www.waves.com/plugins/puigchil... L1 Ultramaximizer http://www.waves.com/plugins/l1-ultra... AVID Impact http://www.avid.com/US/products/impact slatedigital VTM http://www.slatedigital.com/products/vtm Know how to use the Pro Tools master fader properly and you need never suffer clipping in your mixes again. Mike Thornton In my travels through the world of Pro Tools over the years, I have found that the humble master fader is a part of the mixer that is very often misunderstood and misused. It definitely shouldn't be used as a monitor volume control, and it also works differently in the HD and LE versions of Pro Tools. The master fader and mix bus behind it are no different, in many ways, from their counterparts on an analogue mixer, and moving to the digital world hasn't magically taken away the restriction of headroom or changed the way maths works when you add things together! Let me clarify what I mean here by headroom. It is the maximum signal level any signal chain can handle before distortion takes place. In the analogue world, headroom was usually limited by the power-supply voltage rails, but in the digital world it is set by the word length used to encode the signal. Each sample is represented as a series of binary bits, each of which can either be set to one or zero. When you reach the point where all the bits are set to one, you have reached the limit of the system's headroom. It simply has no way of representing a signal that goes any higher, so when it comes to the digital‑to‑analogue conversion you will end up with the familiar clipped waveform that sounds very distorted. This point is often referred to as 0dBFS, where the 'FS' stands for Full Scale. But this headroom problem really starts to show up when we start adding signals together — otherwise known as mixing. For ease of explanation, let's imagine we use a four‑bit recording system, so our 0dBFS point is reached when a sample has a full house of ones: 1111. That, on its own, is OK, but if we add another full‑scale signal from another input, we have nowhere to go, because 1111 plus 1111 is 11110: a five‑bit number, which cannot be represented in a four‑bit recording system. The solution is to make our mixing engine employ a greater word length than is used to represent the recorded audio. Most DAWs can record 24‑bit audio, but to ensure sufficient headroom, their mixers typically work with 32‑bit, 48‑bit or even 64‑bit numbers. LE Versus HD Because Pro Tools LE systems use the computer host CPUs to undertake all the audio processing, the LE mixer employs 32‑bit floating‑point arithmetic. Without getting into all the maths behind this, it means that there is loads of internal headroom in the LE mixer. The HD mixer is a different ball game, as it has to use the TDM chips on the Pro Tools cards, and these chips don't support floating‑point arithmetic. So, to be safe, the Pro Tools designers use a 48‑bit mixer to provide the appropriate headroom. Even so, you can still run into problems, as we shall see. You are much less likely to run into headroom problems on an LE system, but even so, the tips I am about to outline are good for both LE and HD users to adopt, to help with headroom management throughout the Pro Tools mixer. http://www.soundonsound.com/sos/jun10... https://plus.google.com/u/0/106221884... https://www.facebook.com/RayGproducti...   / raygproductions