How to Use Master Panel

Audio Manipulation Basics

Audio manipulation means shaping tone and loudness so tracks translate clearly on your venue system. In the Master panel, this is mainly frequency balance plus final output level.

Clean with filters, shape tone with EQ, then set output using Master gain and volume.

Knobs:
- Click and drag around to set a their value.
- Alt+click to reset their value.
- Right-click to manually enter their value.
- Cmd(Ctrl)+click to enlarge dials.

Auto Gain and Clip Prediction

The utility row adds two live helpers to the Master panel: Auto gain and Clip pred.

• Auto gain: Automatically adjusts track gain toward a target loudness instead of leaving every track at its original level.
• Mode button: The mode button switches between LUFS and RG (ReplayGain).
• LUFS target: Uses each track's integrated loudness and raw peak data. The default target is -18.0 LUFS, with an adjustable range from -24.0 to 0.0.
• ReplayGain target: Uses track ReplayGain metadata and ReplayGain peak data. The default target is 0.0 dB, with an adjustable range from -12.0 dB to +12.0 dB.
• ReplayGain availability: If a track has no ReplayGain metadata, automatic gain is not applied in ReplayGain mode.
• Clip safety: If the requested loudness offset would push the current track into clipping at the current gain and volume, TangoDJ attenuates the request and applies the largest safe offset instead.

Clip pred estimates whether the current or next track will likely clip at the current gain and volume. The C pill refers to the current track, and the N pill refers to the next track.

• Green: Will likely not clip at the current settings.
• Red: Will likely clip at the current settings.
• Gray: Prediction is pending or unavailable.
• Next-track analysis: Clip prediction depends on next-track analysis being enabled.

Filter Concepts (HP / LP)

High-pass (HP) removes frequencies below the cutoff. Raise it to remove rumble and low-end mud.

Low-pass (LP) removes frequencies above the cutoff. Lower it to soften brittle highs and suppress top-end noise.

Shelf EQ (LS / HS)

Low shelf (LS) boosts or cuts everything below the chosen frequency. Use it for overall warmth/body control.

High shelf (HS) boosts or cuts everything above the chosen frequency. Use it carefully for brilliance or hiss control.

Parametric EQ (L / M / H)

Parametric EQ gives targeted control with three parameters per band: Frequency (where), Gain (how much boost/cut), and Q (how wide).

• Frequency: selects the center point of the band to edit. Sweep to find the exact tone or problem area.
• Q: controls band width. Lower Q affects a wider musical range; higher Q focuses on a narrow zone for surgical corrections.
• Gain: boosts or cuts the selected band. Use small moves first (often around +/-1 to +/-3 dB) and compare before/after at matched loudness.

For old tango recordings, broad moves usually sound more natural. Use narrow Q only to notch specific resonances or harsh peaks.

Common frequency ranges in old tango transfers

• 25-60 Hz: Turntable and mechanical rumble.
• 90-180 Hz: Bass foundation and body.
• 220-400 Hz: Boxiness and congestion.
• 1.5-2.8 kHz: Bandoneon/vocal presence and articulation.
• 3-5 kHz: Edge and potential harshness.
• 6-9 kHz: Shellac hiss and surface noise emphasis.

Practical strategy for improving old tango sound

1. Start with HP around 40-80 Hz to clean rumble.
2. Apply small cuts in 220-400 Hz if the mix feels muddy.
3. Add gentle presence around 1.5-2.5 kHz only if needed.
4. Tame harshness around 3-5 kHz with narrow cuts.
5. Use HS conservatively; excessive boost can expose hiss.
6. Level-match and compare before/after at equal loudness.