Chi-Squared Mastering Studio Equipment List
• KEF iQ3 Passive SpeakersEISA's Best European Speaker for 2005-2006, the KEF iQ3 high-fidelity speakers have coincident drivers for more accurate nearfield imaging. With an exceptionally wide frequency response, these make excellent main monitors.
• Alesis RA500 Reference AmplifierQuiet, clean power from Alesis. Accurate from 10Hz to 70kHz, it complements the KEF speakers nicely.
• Wharfedale 8.2 Diamond Pro Series Active SpeakersWired internally with Monster brand cables, Wharfedales have rigid woofers made from Kevlar (the material that bullet-proof jackets are made from) which reduce distortion and resonant frequencies.
• Mastering-grade Converters:
• Asahi Kasei AK5394A A/D Converter, 10Hz-20kHz ±0.01dBFound in the EMU-1820M interface as well as Digidesign's Protools HD system, these converters can handle sample rates up to 192kHz with jitter-free precision.
• Cirrus Logic CS4398 D/A Converter, 10Hz-20kHz ±0.01dBThe company's flagship D/A converter. Found in the EMU-1820M interface as well as Digidesign's Protools HD system, these converters can handle sample rates up to 192kHz with jitter-free precision.
• K-System Metering developed by Bob KatzNot a specific piece of equipment, but a methodology explained in the book Mastering Audio: The Art and the Science and on Bob Katz' website. The K-System involves monitor calibration to encourage and facilitate consistent results when recording, mixing, or mastering.
• Plextor PX-760A DrivePlextor CD/DVD drives are highly acclaimed in the mastering community for their reliability. Many CD burners are inaccurate, leaving behind discs that don't play anywhere except the computer on which they were burned — or worse, turning them into "coasters" due to excessive disc errors. Replication plants cannot and will not use your master disc if it contains certain types or certain amounts of errors. Plextor drives help ensure your master disc can be used by CD duplicators.
• PlexTools ProfessionalPlextools contains CD/DVD burning and diagnostic software. When combined with a quality Plextor drive, Plextools helps ensure the highest possible burn quality. Also, it creates Redbook-compliant discs, which many programs cannot do.
• State-of-the-art Dither Options:
• Chi-SquaredSince it was developed specifically for this mastering studio, I use this noise-shaped dither extensively. Comparable to the MBIT+ algorithm with moderate shaping, Chi-Squared Dither's curve is slightly broader and milder. Currently it can only be used when converting down to 16-bit audio, as it was designed for CD mastering. Soon this dither will be available in at least two commercial brickwall limiters.
• MBIT+ (MegaBitMax)MBIT+ evolved from the ExtraBit/MegaBitMax algorithm which has garnered considerable attention from a mastering studio's online listening test. The enhanced MBIT+ dithering algorithm significantly reduces quantization ("rounding") distortion with minimal perceived noise. This distortion normally arises because digital processing occurs at a 24-, 32-, or even 64-bit level, but the finished audio file burned on a CD must be 16-bit. Without dither, calculations are rounded or truncated, causing low-level but harsh digital distortion.
• Apogee UV22HRUV22HR is Apogee’s unique technology for reducing the word-length of a high-resolution digital signal to 16 bits for the Internet and CD mastering, or 20-bit for DVD-Video. UV22 has been the industry standard for CD mastering since 1993: now the latest version, UV22HR ("High Resolution"), is also being employed to produce dramatically improved internet and computer audio without increasing file sizes or data rates.
• Waves IDRIDR (Increased Digital Resolution) is a proprietary algorithm developed by Waves. It is an option in some Waves plugins such as the L1/L2/L3 maximizers and its linear-phase mastering tools. While I do value many Waves plugins, I prefer other limiters, so I don't often use this dither algorithm.
• Universal Audio UAD-1:
• Precision Mastering LimiterThe Universal Audio Precision Limiter is a single-band, look-ahead brick-wall limiter made primarily for use with program material. No overshoots, no clipping, no distortion, no aliasing... This is truly a colorless, transparent limiter. Great for squeezing those last few dB into louder projects.
• Precision Mastering EqualizerThe Universal Audio Precision Equalizer is a stereo or dual mono four-band Equalizer and high-pass filter made primarily for use with program material (whole mixes). The Precision Equalizer models the behavior of passive analog filters — it's been compared to mastering staples such as the Prism Maselec MEA-2 and the Millenia NSEQ-2 — and uses the classic parametric controls arrangement. This is easily one of the most gentle, subtle EQs I've experienced, and its ability to shape a mix is divine.
• Fairchild 670 Compressor / LimiterThe two channel Fairchild 670 is the Holy Grail of compressors in studio gear esoterica, not only because of its price (five figures on the vintage market), but its extreme rareness and the difficulties in maintaining such a piece. With 14 transformers, 20 vacuum tubes, and a 6 rack-space encompassing girth, the 670 is the heavyweight champion of compression weighing in at 65 pounds. Fortunately, the software version captures the incredible sound without the physical weight. The transformers and tubes impart considerable color and warmth to music passing through this device.
• Neve 33609 Compressor / LimiterThe only Neve-sanctioned recreation of the original Neve 33609, this stereo bus processor utilizes a bridged-diode gain reduction circuit and many custom transformers. The uniquely musical character of this circuit made the 33609 a studio standard since its release. Its separate compressor and limiter sections work together to provide serious analog coloration and warm, fat compression.
• LA-2A CompressorThe Teletronix LA-2A leveling amplifier is practically the definition of vintage audio gear. The original opto-electrical attenuator circuit is responsible for the incredibly rich and magic sound embracing the tracks of so many classic recordings in circulation today. All compressors are not the same; this fact is especially clear when comparing the LA-2A to the 1176 or Fairchild. A gently pushed LA-2A can pull a mix together and seem to tighten bass and add shine without using EQ. Not commonly used during mastering but occasionally it's the right tool for the job.
• LA-3A Compressor / LimiterFashioned after a Universal Audio reissue with the increased signal-to-noise ratio due to the Bob Clearmountain mod, the LA-3A's gain reduction circuit employs the same program dependent T4 cell as the revered LA-2A. However, the solid state LA-3A has much faster attack and release characteristics. This is the go-to box for creating impressively thick drums and mixes, or when mastering via stems.
• 1176LN LimiterThe reputation of this analog classic is well known throughout the audio industry. Originally designed and built during the 1960's, the 1176LN was the first to use a field effect transistor (FET) as a voltage-controlled variable resistor, and that innovation was the key to the product's unique character. While used less often during mastering than on individual tracks, the 1176 is what comes to mind immediately when a piece needs some bite or aggressiveness.
• Pultec EqualizerUniversal Audio's Pultec-Pro combines the Pultec MEQ-5 Midrange Equalizer and the Pultec EQP-1A Program Equalizer, two of the most sought-after hardware EQs, into one plugin that is the very essence of vintage EQ emulation. The Pultec EQ has long been a choice of recording and mastering engineers for its ability to bring out individual frequency ranges without significantly altering other frequencies. In addition, the Pultec is one of those magical pieces of gear that makes audio sound better - just by passing through it. The sophisticated modeling technology used in the Pultec EQP-1A plug-in captures both of these key characteristics.
• Neve 1073 EqualizerOriginally designed by Neve in 1970, the Neve 1073 channel module is derived from revered Neve consoles such as the 8014. The 1073 is famous for adding otherwise unattainable sheen and clarity to music tracks. This is the most widely used EQ in popular music, and I can help you hear why. If your mix is muddy or dull, this will help me give it wings.
• Cambridge EqualizerWhile most of the Universal Audio UAD plugins emulate a particular piece of hardware, I believe the Cambridge is an original digital EQ. It does sound very good, though, as do all of the UAD plugins. This EQ is excellent for performing "sonic surgery", or using sharp boosts or cuts in EQ to eliminate problems. Since it doesn't have the limitations of a hardware design, this has a broad range of applications.
• Plate 140 ReverbGerman company EMT made a breakthrough in 1957 with the release of the EMT 140, which utilized a resonating metal plate to create ambience. Nothing is quite like the wonderfully lush and distinctive tone of plate reverb that still endures as part of the fabric of modern music. A tiny amount of reverb added during mastering can help a mix settle comfortably and just feel "right", akin to using a dash of Gaussian blur (for those who are into photo manipulation or composition).
• Realverb ProWith home and garage studios popping up at an incredible rate, more and more people are making their music in less-than-ideal locations. What if I could put your sound right in the perfectly designed room? Send me a dry mix, and I can help design and implement a room to your exact specifications. Building materials, precise room size, resonance, timing, positioning, even dynamically morphing between two completely different rooms is all possible.
• DreamVerbDreamVerb, Universal Audio's flagship stereo reverb plug-in, draws on the unparalleled flexibility of RealVerb Pro. Its intuitive and powerful interface lets me create a room from a huge list of different materials and room shapes. These acoustic spaces can be customized further by blending or "morphing" the different room shapes and surfaces with one another, while the density of the air can be changed to simulate different ambient situations. Dreamverb has more power and complexity than is typically needed during mastering, but it's available when needed.
• Roland Dimension DThe Dimension D is a one of a kind studio gem that adheres to the principle of doing one thing, and doing it extremely well. Its one and only function: some of the best sounding stereo chorus ever made. However the Dimension D is more than a chorus, it is really a unique sound enhancer for adding spatial and stereo widening effects. This classic 1979 Roland device has been heard on countless records, from luminaries such as Peter Gabriel, Talking Heads and INXS. I highly suggest using the stem/separation approach to mastering if you want to take advantage of this incredible device.
• Waves SSL 4000 E ChannelThe SSL E-Channel delivers the characteristic sound of the original's all-discrete design and its Class A VCA chip. The smooth curve of the SSL E-Channel's EQ is based on the renowned Black Knob equalizer, developed in 1983 by SSL in association with legendary producer George Martin. The dynamics section features a soft-knee compressor/limiter and an expander/gate modeled on the SSL LS611E. The SSL 4000 mixing board is used on countless professionally produced records, and now yours can be one such record.
• Waves SSL 4000 G EqualizerThis four-band equalizer, modeled after the SSL G Series EQ292, offers greater gain change than the E-Series EQ, and a slightly different curve. The SSL G-Equalizer includes a slight dip before a boost as well as a slight rise before a cut, which contribute to its incomparable sound, and its broader Q allows for more extreme equalization. That’s why many leading engineers use the E Channel’s equalization for detailed problem-solving and mixing, and the SSL G-Equalizer to shape and give character to the sound.
• Waves SSL 4000 G Master Bus CompressorBased on the renowned master bus center compressor of the SSL 4000 G console, the Waves SSL G-Master Bus Compressor captures the unique sound of its IC input and twin VCA gain-reduction amplifier design. This compressor has long been prized by top engineers for its ability to "glue together" tracks, and is considered by many to be the ultimate finalizer that transforms a mix into a finished record. It’s also ideal for taming piano dynamics or adding punch to drums and percussion.
• Waves Audio Restoration ToolsThere are four main Waves audio restoration plugins: X-Click, X-Crackle, X-Hum, and X-Noise. Each specializes in reducing or eliminating a specific type of problem. There are also two different de-essers in the Diamond bundle, and TransX, which is a transient shaper that can adjust the attack of a stem or mix without having to re-record. All of these tools help when it is not possible for the artist to go back and address these issues at their source.
Hover your mouse pointer over any item in the list to view more information about it. This list is not exhaustive; I have other tools at my disposal. If you have any questions about the items listed or have specific needs that require a particular piece of software or hardware, contact me for arrangements.
