Every day, millions of people around the world adjust their volume controls over and over again. Why? Because of the most fundamental audio issue of all – the control of loudness.

More than peaks
Rather than just measuring peak levels, LM6 allows you to use a much more audio-friendly method when delivering audio for CD, MP3, AAC, AC3, broadcast or cinema. Further, it is fully compatible with ‘dialnorm’ in Dolby AC3, which makes the codec perform much better and more predictably than with any measurement based on just peak or dialog levels. Also, with the LM6 algorithm, you get an extremely transparent signal path regardless of audio format – from mono to 5.1 surround sound.

Radar control
The detailed radar meter is the perfect tool for measuring and monitoring your audio during production, mixing and mastering, and it ensures absolute compliance with broadcast, post or cinema delivery specifications.

Formats and compatibility
LM6 is part of the universal, standardized loudness control concept (compliant with BS.1770-2, EBU R128, ATSC A/85 and TR-B32), whereby audio can be easily measured and controlled at any given stage of production or distribution. Further, LM6 is compatible with any other piece of equipment that meets the same universal standard.

		Included with DB-4 DB-8 Available for Reverb 6000 MKII Mastering 6000 MKII Pro Tools

In a perfect world, all music recorded over the last fifty years would be available on multi-track tape formulated to last for centuries. Unfortunately, the world is not perfect.

Professional Stereo to 5.1 Up-conversion
In case the source tapes are in a useable condition, the best way to take full advantage of the original material is most often by performing a full remix. However, reasons do exist for preferring to up-convert stereo or Lt/Rt material instead:

• A classic mix is too sacred to touch.
• There is not enough time or budget to do a new mix.
• A multitrack source tape in a bad condition.
• Sound effects have to be spread to 5.1 for cinema presentation or HD broadcast.
• An up-converted version can be used as a benchmark when remixing.

		Included with PowerCore 6000 Available for Reverb 6000 MKII Mastering 6000 MKII PowerCore Pro Tools

There can be absolutely no doubt that George Massenburg has a great sense of audio, and the MDW® HiRes EQ has been developed strictly to his personal specifications. As the MDW® design complements the TC Electronic EQ alternatives, you simply get the opportunity to choose between several desirable EQ flavors, each with their own specific advantages.

Stereo and surround
With this algorithm running on a System 6000, you get a pristine 48-bit precision signal path from input to output. Further, you get both 2 and 6 channel configurations with flexible linking and absolute/relative real-time adjustment properties. The 6-channel version features 6 identical channels making it equally suitable for processing 5.1 and 6.0 signals.

Ups and downs
In order to replicate the most precise behavior of a true analog EQ and to minimize potential alias distortion, the MDW® HiRes EQ uses a special approach. In short, if your sample rate is 44.1 or 48kHz, the signal will be up-sampled to double rate, processed and, then, down-sampled to the original rate. Obviously, the EQ can also be operated at 88.2 or 96kHz, and, in this case, up/down sampling is bypassed, providing a bit transparent signal path at unity gain.

5 flexible bands
The EQs feature 5 parametric bands per channel, and you can configure outer bands as shelving or 2nd order filters (Butterworth). Further, you can switch Band 1 filters between 2nd and 4th order, and all five bands cover the complete frequency range. Finally, each parametric or shelving band is capable of cutting/boosting over a +/-25 dB range.

		Available for Reverb 6000 MKII Mastering 6000 MKII

With BackDrop, you get nothing less than an unparalleled stereo broadband noise reduction algorithm primarily intended for – but not limited to – restoration applications.

Clean up your audio with ease
We designed the user interface of the BackDrop algorithm to be as intuitive as possible. In short, you get three different processing modes: Basic, Multi-band and Multi-type. First, capture a noise-print, then adjust and calculate it, and you are up and running. Now, you can select any of the three modes, or switch freely between them on the fly using the same noise-print. Finally, stereo inputs can be processed internally in M/S-mode and output either a stereo or M/S-encoded signal.

		Available for Reverb 6000 MKII Mastering 6000 MKII

If you need to add reverb to an existing 5.1 or 6.1 signal or move sources around with a joystick, VSS™ 6.1 Reverb is your algorithm.

Five uncorrelated reverbs
It features multi-directional reflection patterns and five uncorrelated reverbs, and positioning can be controlled directly from your console, our external joystick or from the TC Icon touch screen.

Unprocessed LFE signal
Since we have received requests from mastering engineers, we designed the LFE signal to pass through unprocessed, but absolutely time-aligned with the 6 main channels.

Phantom simulation
If needed, you can incorporate the center channel including TC Electronic’s phantom simulation in a number of different ways.

Mix down
You can fold-down to matrixed surround, stereo and mono perfectly thanks to the fully de-correlated rendering used in VSS™ 6.1 Reverb – you can even specify different decay times per channel.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

The VSS™ 5.1 Source algorithm is a true 5.1 room simulator algorithm with multi-directional early reflection patterns, five uncorrelated reverbs, and an option to incorporate the center channel including our phantom simulation in several different ways.

Four sources, free placement
In total, you get four discrete input sources, each with their own precisely defined reflection properties that you can position individually in the sound field using the touch screen of the TC Icon.

Wide sweet spot
Early reflection patterns maximize localization and widen your sweet spot, meaning that consistent locations, even outside the speaker arrays, can be obtained.

Mix down
The fully uncorrelated rendering used in VSS ™5.1 Source allows you to fold-down to matrixed surround, stereo and mono absolutely perfectly.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

With the VSS™ SR (surround) algorithm, you get a unique room simulator for matrixed surround production. The diffused field of the simulation is turned into an Lt/Rt signal with separate decay, level and pre-delay parameters for front and rear.

The output of the simulator is compatible with both mono, stereo and matrixed surround reproductions. When used for surround productions, you don’t need a surround encoder, but you should use a Dolby ProLogic™ compatible decoding system for monitoring, though.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

Sometimes, multiple mono reverbs can be more useful than pre-configured structures for stereo, 5.1, 6.1, etc. With the M4 algorithm, you get access to 4 discrete mono reverbs with 4 inputs and 4 outputs in one engine.

Flexible configuration
Of course, you can use the M4 reverbs traditionally as multiple mono instances, where the effect has to end up in predictable places, but you could also combine some of them to cover arbitrary multi-channel configurations like 7, 10 or even 16 main channels with different settings, all within a single Reverb 6000 frame.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

Reflector is an extremely versatile delay and boundary effect for multichannel applications. Since it features no less than 6 outputs, it is compatible with a wide variety of audio formats, including 6.1 surround, 5.1 surround, LCR and stereo. Even though the 6.1 format uses 7 channels, you will still be able to use the Reflector 6 algorithm, as the sub channel is practically never treated with delay effects.

Reflect any environment
With highly advanced features such as individual EQ and multiple layers of diffusion in the arsenal, you can cross the border between ambience, early reflections, reverb and delay-effects with ease. Go from plain delays to realistic ambient locations, and, with the long delay-times and available diffusion, you can simulate the large outdoor locations that are so crucial in many film and post-productions.

Get in control
You can easily edit, mirror and audition the effects on the fly making the effect design process both inspirational and creative. In other words, if your intuition tells you to go in a certain direction, we think that you should be able to follow that gut-feeling right away. For instance, if you feel like experimenting, you can easily create wild and complex delay patterns, making radical surround effects.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

As a result of intelligent splicing, this algorithm allows you to carry out extremely demanding applications such as real-time pitch change of entire 5.1/7.1 stems when converting frame rates between video and film (25 to 24 fps. and vice versa).

Phase lock
You can lock the channels in various ways to preserve phase relationship while applying pitch change. This feature is in high demand for telecine, film and post processing, and, until now, it has not been available for 5.1/7.1 configurations.

Pitch range
The up and down pitch range is an impressive +/-200 cents.

		Available for Reverb 6000 MKII Mastering 6000 MKII

SpacePan is an 8 input to 5.1 panning algorithm. In essence, it allows you to position or move any audio source precisely and in real-time in a 5.1 surround sound environment.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

This algorithm virtually turns your System 6000 into the finest digital 8 channel mixer money can buy. Due to the 48-bit structure, Matrix88 upgrades 24-bit signals for internal processing to preserve maximum resolution during mixing.

Limiter
This algorithm has a 48-bit output limiter that only kicks in when appropriate. You can define the limiter threshold as needed, but no matter how you configure it, you can be absolutely sure that it limits with extreme transparency.

The ultimate summing tool
One way to utilize the Matrix88 is to use it as the ultimate digital summing mixer. Obviously, it requires that you don’t have more than 8 input sources, but it is capable of summing different digital audio sources perfectly.

Delay & Effects
Sample accurate delay trimming up to 300 ms at any sample rate may be performed inputs. Send/return loops may be defined to apply internal or external effects.

Bit Transparency
Matrix 88 is bit pattern transparent, and retains absolute bit transparency even across positive and negative gain adjustments. To help keep your audio as unaltered as possible, we have incorporated ‘bit transparency’ indicators next to the faders.

Cross Fade
Matrix 88 includes sophisticated fade in / fade out functions for perfect live control of on, cut and channel A/B/C switching.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

With the MDX5.1 you get a high-resolution dynamics processor for multichannel signals. It presents a sophisticated new angle to dynamic range control, and it is an alternative to traditional compression and limiting techniques.

MDX5.1 lets you bring up low-level details, rather than boosting everything, which makes it necessary for you to limit the transient peaks afterwards. The transfer function offered is ideal for level translation purposes, for instance for broadcast station ingest, or for converting between theatrical and domestic listening conditions. You can even apply low-level lift to specific channels individually in one, two or three frequency bands.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

The MD5.1 algorithm gives you 3-bands of dynamic processing for 5 main channels plus wideband dynamics for the LFE. In essence, it offers Compressor, Expander and Limiter for multichannel signals in one precision algorithm. Primary use is limiting, level optimization and spectral balancing.

Extensive linking and priority parameters enable you to control the processing to suit any type of signal for film and music with extreme precision. Further, you can cascade several MD5.1 algorithms to process e.g. 6.1, 7.1 or 10.2 signals, and if needed, you can use a 7th steering input to influence processing of one or more of the main channels.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

With this EQ, you get six mono channels of four band fully parametric EQ using 48 bit processing.

This is a general-purpose algorithm that you can use in conjunction with other algorithms or as stand-alone.

You can link the channels or used them separately. The algorithm is very analog sounding, and high precision filter models are used. Finally, you can select Softclip independently on each output.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

The Toolbox5.1 is designed to support your surround productions. The algorithm offers you different Level, Test and Bass management as well as Down Mix options.

Toolbox5.1 is offered as an integrated part of the MD5.1 and VP8 License packages.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

The VSS™ 4HD is a highly advanced stereo reverb capable of treating your program material with source related reflections from multiple angles – the result being a unrivalled precision that is comparable to real-world mono or stereo sources positioned in an authentic or virtual space.

Beyond convolution
Contrary to a sampled reverb, VSS™ 4HD is non-causal, and it doesn't return the same response over and over again. This benefit is especially relevant in demanding productions and for live purposes, where it's important to avoid to repeatedly trigger the same reproduction room modes and to wake up the ‘hall ghost’. In fact, VSS™ 4HD is our finest room simulation algorithm, and it complements the benefits of other System 6000 multi-channel algorithms perfectly. If you compare it to the highly acclaimed VSS™ 4, you will quickly notice that VSS™ 4HD is a further development with added controls for diffused field delay and width.

Beyond DAWs
Due to dependency on plenty of zero wait state RAM and an ultra fast infrastructure between DSPs, VSS4™ HD, VSS™ 5.1 and VSS™ 6.1 are still not suited for any DAW platform available at the time of writing (March, 2010).

Full bit transparency
Used for mastering purposes, VSS™ 4HD maintains full bit transparency, and you can use it at Sample Rates up to 96 kHz.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

We designed the VSS™ 3 algorithm with a wide variety of applications ranging from music and post to film production in mind. The objective is a "true-to-life" sound that allows you to mimic environments sounding as natural as possible.

Early reflection control
In order to establish convincing room-types, early reflections must be reproduced extremely carefully. Are the surfaces hard or soft? Is the room furnished or unfurnished? Is it a small or big car? Etc...

Configuration
The configuration is Mono In /Stereo Out, and the design ensures perfect mono compatibility on the outputs.

		Included with Reverb 6000 MKII PowerCore 6000 Available for Mastering 6000 MKII PowerCore Pro Tools

With the stunning DVR-2 algorithm, you will get a pristine Generic Reverb that has a true vintage flavor to it. Generic Reverb complements Source Reverb very well, and both can be great for different types of reverb applications.

Subtle but effective
Generic Reverb delivers a flattering sustain effect, which can be added to many sources of a mix, and it produces a little character, but without doing any harm, because the effect is blurred or washed out. Instead, it simply adds a good sense of spaciousness and more or less pronounced modulation.

		Included with Reverb 6000 MKII PowerCore 6000 Available for Mastering 6000 MKII PowerCore Pro Tools

NonLin offers controllable envelope, attack, hold and release parameters. Therefore, you will be able to generate compact vocal ambience, dramatic eighties drum and percussion sounds, reverse reverb or completely new and twisted effects with this algorithm. You can also create classic gated reverb, but because it doesn't need to be triggered, you can use it on all sorts of program material.

Modern and old school
Compared to reverb effects from the past, the NonLin algorithm provides longer and more diffused response with a higher resolution, but classic, low density processing is also available.

A twist of madness
However, there is more, as NonLin also features a Twist parameter, which radically alters the sound – sometimes in weird ways. Adding Twist may not always be pretty, but the parameter is definitely a new spice capable of stimulating imagination as well as creativity, and it can be used to add character to any source of a mix.

		Included with Reverb 6000 MKII PowerCore 6000 Available for Mastering 6000 MKII PowerCore Pro Tools

Reflector is an extremely versatile delay and boundary effect. The output configurations are optimized for LCR, stereo or mono production, and with highly advanced features such as individual EQ and multiple layers of diffusion, you can cross the border between ambience, early reflections, reverb and delay-effects.

Reflect any environment
Also, with Reflector, you will be able to generate plain delays as well as realistic ambient locations, and, with the long delay-times and available diffusion, you can simulate the large outdoor locations that are so crucial in many film and post-productions.

Get in control
You can easily edit, mirror and audition the effects on the fly making the effect design process both inspirational and creative. In other words, if your intuition tells you to go in a certain direction, we think that you should be able to follow that gut-feeling right away. For instance, if you feel like experimenting, you can easily create wild and complex delay patterns, making radical surround effects.

		Included with Reverb 6000 MKII Available for Mastering 6000 MKII

We designed the VariPitch algorithm with high quality pitch change, chorus and double tracking effects in mind. You can use it on monophonic as well as polyphonic material with dual mono or stereo input. For music applications, VariPitch is the best and most unobtrusive pitch control device in the industry today.

Additional uses
Due to intelligent splicing, you can also use VariPitch for demanding applications such as real-time pitch change of entire master tracks when converting frame rates between video and film, and you can lock channels to preserve phase relationship while applying pitch change.

Pitch range
The up and down pitch range is +/- one octave, while delay, feedback, cross-feedback and filters are available for effect purposes.

		Included with Reverb 6000 MKII Mastering 6000 MKII

This classic M5000 algorithm was originally designed as a digital version of the highly acclaimed TC XII stomp box. Like its predecessor, it offers a selectable number of swept filter sections (4, 8 or 12) to control the max impact of the effect, and, in order to obtain the most predictable results, this algorithm uses a direct feed-through rather than mixing the signals outside the algorithm.

		Included with Reverb 6000 MKII Mastering 6000 MKII

With the Reverb 2 algorithm, which was initially created for the M5000, you will get a reverb that compliments most types of source material. However, experience has shown that the Reverb 2 algorithm is particularly well suited for percussive instruments, as it has a very well defined and precise buildup. Its configuration is Stereo In /Stereo Out, and the uncorrelated design ensures perfect mono compatibility.

		Included with Reverb 6000 MKII Mastering 6000 MKII

Taken directly from the M5000, you will get a classic and true stereo reverb with the Reverb-3 algorithm that it is capable of creating exceptionally clear reverb sounds using a very dense and natural sounding reverb tail.

You can actually control the decay time with four individually adjustable frequency bands, and by using diffuse and distance controls, you can make sounds with practically no audible early reflections. Add a slight modulation to minimize room interaction with your source material and you have Reverb-3.

		Included with Reverb 6000 MKII Mastering 6000 MKII

This classic M5000 algorithm gives you access to high-resolution stereo chorus and flanging effects as well as modulated stereo delays of up to 650 ms per channel. Further, you also get a modulation oscillator with relative L/R phase control, and, in order to obtain the most predictable results, this algorithm uses a direct feed-through rather than mixing the signals outside the algorithm.

		Included with Reverb 6000 MKII Mastering 6000 MKII

Our true stereo RevCore algorithms are particularly suitable for small room simulations, and, due to the high density structure, the relatively short tails occurring in small rooms can be convincingly reproduced. Just like our VSS™ algorithms, the RevCore algorithm, known from the M5000, is also highly usable for film and post-productions.

		Included with Reverb 6000 MKII Mastering 6000 MKII

This M5000 algorithm is a straightforward 24 bit true stereo delay, which gives you up to 2.5 seconds in each channel with basic feedback control. The System 6000 implementation of Delay 1 can be used with sample rates of up to 96kHz.

		Included with Reverb 6000 MKII Mastering 6000 MKII

This M5000 algorithm is a 24 bit true stereo effect that offers delays of up to 2.5 seconds in each channel and two filtered feedback controls per channel (self feedback and x feedback).

Further, you can modulate delays with full control over the relative L/R phase to emulate chorus or tape delay perfectly. The System 6000 implementation of Delay 2 can be used with sample rates of up to 96kHz.

		Included with Reverb 6000 MKII Mastering 6000 MKII

This algorithm virtually turns your System 6000 into the finest digital 8 channel mixer money can buy. Due to the 48-bit structure, Matrix88 upgrades 24-bit signals for internal processing to preserve maximum resolution during mixing.

Limiter
This algorithm has a 48-bit output limiter that only kicks in when appropriate. You can define the limiter threshold as needed, but no matter how you configure it, you can be absolutely sure that it limits with extreme transparency.

The ultimate summing tool
One way to utilize the Matrix88 is to use it as the ultimate digital summing mixer. Obviously, it requires that you don’t have more than 8 input sources, but it is capable of summing different digital audio sources perfectly.

Delay & Effects
Sample accurate delay trimming up to 300 ms at any sample rate may be performed inputs. Send/return loops may be defined to apply internal or external effects.

Bit Transparency
Matrix 88 is bit pattern transparent, and retains absolute bit transparency even across positive and negative gain adjustments. To help keep your audio as unaltered as possible, we have incorporated ‘bit transparency’ indicators next to the faders.

Cross Fade
Matrix 88 includes sophisticated fade in / fade out functions for perfect live control of on, cut and channel A/B/C switching.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

MD4 is an extremely advanced, high resolution, multi-band dynamics algorithm, featuring no less than five individual bands with phase linear reconstruction.

Mastering and more...
You can operate MD4 in several different ways, including the innovative DXP mode that allows you to lift up low-level detail individually in each band. Therefore, MD4 is perfectly suited for traditional mastering, but you can also use it for converting film to domestic dynamic range, or to process single sources such as vocal, dialogue or acoustic instruments.

Configuration and more...
All processing is done at pristine 48-bit resolution and can be configured to operate in stereo as well as dual mono, or it can be applied surgically to the M and S part of a stereo signal. For example, equalization and compression can target the center or L/R components of a mix to bring out certain elements, or adjust the width.

		Included with Mastering 6000 MKII Available for Reverb 6000 MKII

High resolution, multiband dynamics processing has been a trademark of ours for more than a decade. Splitting audio into frequency bands before expanding or compressing, is a big help when fighting breathing and spectral intermodulation artifacts. Ultimately, our algorithms are designed with the headroom to do so without introducing split and recombination filter anomalies, and they can be used for level optimization, mix assistance or discreet spectral balancing as required.

Based on a classic algorithm
The MD3 algorithm is a refinement of our legendary MD2 dynamics algorithm from the award-winning M5000 effects processor. It uses a multi-band, 48-bit resolution structure and provides you with a 3-band compressor, expander, 4-band parametric equalizer and limiter in a single very powerful algorithm.

Look ahead
The multi-band section gives you the advantage of adjustable look-ahead delay for gentle processing of transients, while the limiter lets you use its own overshoot proof micro-delay to prevent output samples above the defined threshold.

Formats and conversion
You can configure MD3 for either stereo or dual mono processing, and you can use it on single sources as well as composite stereo mixes. Alternatively, you can process stereo material in the MS-domain, or MD3 can take in MS signals and convert them to stereo, with processing taking place in either the LR or MS domain.

		Included with Mastering 6000 MKII PowerCore 6000 Available for Reverb 6000 MKII PowerCore Pro Tools

Among audiophiles, it is generally believed that many recent CD releases sound worse than they did 15 years ago. We decided to investigate the problem, and our engineers discovered that the reason is inadequate level restriction in production and mastering, which triggers distortion in broadcasting processors, data-reduction algorithms and consumer CD players.

2nd generation BrickWall limiting
With the BrickWall Limiter 2, you get a stunning 2nd generation processor that we designed to show if a given signal is ‘contaminated’ with 0dBFS+ peaks and to remove them when necessary. Built on the foundation of the original BrickWall Limiter, it offers even better protection of the downstream signal-path without sacrificing overall loudness.

Bit transparency
The BrickWall Limiter 2 algorithm is bit transparent below the threshold of limiting, which means that you can in fact use it on an already dithered master. In other words, let the BrickWall Limiter 2 have the final word, and you will definitely get cleaner and more predictable results on CDs and DVDs – as well as data-reduced deliveries such as MP3, AAC, Dolby Digital or DTS.

		Included with Mastering 6000 MKII PowerCore 6000 Available for Reverb 6000 MKII PowerCore Pro Tools

With this high performance stereo de-esser algorithm, you can choose between relative or absolute threshold modes, enabling the de-esser to work either as a dynamic and musical tool that removes sibilant sounds, or as a fixed de-essing tool for e.g. percussive material.

Select your target
You can select target frequencies in an extremely flexible way using either parametric or low/high shelving filters. The full frequency range covers 100 Hz to 20kHz, and internal 48bit processing allows you to use this de-esser as e.g. a de-popper.

Modes
You can use the de-esser in both stereo, dual-mono or M/S processing modes.

		Included with Reverb 6000 MKII Mastering 6000 MKII

Years of research and standardization work on loudness and true-peak level has enabled TC to design high resolution, low latency loudness measurement and control equipment such as this Automatic Loudness Correction processor, ALC6.

In broadcast, digitization is driving the number of AV channels and platforms up, while the total number of viewers remains roughly the same. Using only a dialog-based level control principle has led to ambiguous level management, more level jumps between programs, and extra time spent on audio production and management in general. Non-dialog based level jumps are currently creating havoc in digital TV; and ALC6 helps correct that situation. The adaptive Stridency Reduction parameter brings overly loud content under tight control while leaving normal content untouched.

		Included with DB-4 DB-8 Available for Reverb 6000 MKII Mastering 6000 MKII

In just one engine, DMix can downmix, loudness process and true-peak limit any mono, stereo or 5.1 source. Input formats are dealt with automatically without the need for metadata, downmix takes place at overload-proof 48 bit resolution, loudness processing complies with ATSC or EBU
standards, and transparent transcoding keeps the output perfectly conditioned for mobile TV, iPod or IPTV. Even a wide loudness range feature film is transcoded automatically on the fly at an impeccable audio quality.

DMix presets for ATSC and EBU standards may be found in the new Down-conversion factory preset bank. Be sure to try the new iX presets featuring image enhancement for an extra enveloping experience when listening in headphones.

		Included with DB-4 DB-8 Available for Reverb 6000 MKII Mastering 6000 MKII