Also, there are very good explanations [="http://www.soundonsound.com/sos/may07/articles/samplitude_0507.htm"]here[/]="http://www.soundons…"]here[/] and [[url=http://="http://www.soundons…"]here[/]="http://www.soundons…"]here[/]! (y)

audiokid DigitaLWizarD

Object level editing has been a game-changer for me.

From de-essing, to volume envelope editing, to pitch correction, to processing and FX, and virtually every other editing or processing task thinkable; the ability to create objects as big - or as small - as I want, and then to be able to edit and process only those objects -in what ever way I want - is a fantastic tool. I can create an object as big as the song itself, or as small as the "S's" that preface a word that starts with that consonant. I can add compression, EQ, or FX to just one object on a track, and, that object can be as big as the whole track itself - or as small as one note.... and for that matter, as small as even a part of just one note.

Basically, with Object-Based Editing ( O.B.E.) every object you create can have its own dedicated " channel strip". No matter how big or small that object is, You can add EQ, Gain Reduction, Volume changes, FX, Pitch Correction, and any other processor that you would normally use on a whole track, to just that object, and without effecting the other parts of the audio on that track in any way.

Volume envelope editing is great; I can smooth out the transients in certain sections before the track even hits a compressor, and sometimes, it even allows me to avoid using compression altogether. At the very least, it allows me to use far less amounts of gain reduction, because by doing the volume editing before I add compression, when I eventually do add it, the compressor doesn't have to work as hard, or be set as heavy.

(I'm not talking about compression used for the sake of character or coloration here, that's a different subject - for things like "gelling" or"gluing" a mix, or, for things like adding power to snares, kicks... sustain on guitars or bass... I'm talking about compression used for the sole purpose of intended gain reduction to avoid peaking and "overs" ).

And, O.B.E. is not as time consuming as you think, once you get used to using it.

I hardly even use a dedicated de-essing plug anymore. I use [="

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"]comparasonics[/] to find every situation of excessive sibilance, ( or excessive lows, mids, whatever I choose) and can fix every one of them manually... and because I'm not processing an entire track with a de-esser, I'm not also losing the pleasing frequencies that might be on that track, too - those "silky" or "airy" frequencies that are resident along with the offensive ones, and which can so often be removed when a de-esser is inserted into an entire track.

I'd rather spend 15 minutes manually de-essing a vocal track with this method - and have it sound so much better when I'm done - than to insert a de-essing plug on an entire track/performance and then having to work on it in the mix for an hour - where the whole time I'm trying to find the "best possible setting" - where I can get rid of the sibilance... but where I'm not also losing those frequencies that do sound good. Using a de-esser plug is, IMO, a bit like throwing the baby out with the bath water. For me, using "typical" De-essing processors has almost always resulted in attenuating frequencies that I didn't want to attenuate. So now, because I can locate just those sections of sibilance, and by editing only those bad sections, I'm not also having to deal with the loss of other neighboring frequencies that I don't want to lose.

O.B.E. is also a great tool for tightening up tracks and performances, allowing me to adjust sections, or, even just one note; like a kick or snare that may be too pushed, or dragging; or, piecing together multiple takes to form a cohesive part, without any obvious signs of having done so.

Object-Based Editing was one of the major features for me, when finally deciding to stick with Samplitude after my trial period lapsed.

FWIW ;)

-d.

DonnyThompson, post: 428793, member: 46114 wrote: Object level editing has been a game-changer for me.

Indeed. So much so, it removes my need to keep most channel plugin active. Thus, more proficient workflow.
Object Editing is like mics to a recordist. You deal with the source, but in the mix. A brilliant approach to editing.

audiokid, post: 428795, member: 1 wrote: Indeed. So much so, it removes my need to keep most channel plugin active. Thus, more proficient workflow.

LOL.. you beat me to it.

I've also found exactly what you mentioned... that since becoming used to it, and discovering what it can really do - the nearly endless possibilities and flexibility that this method offers - these days I have ended up using far less processing at the track level on the inserts, because I can do so much more effective processing through OBE and on only the sections where it's really needed.

...and it's also a lot easier on the CPU. ;)

Wasn't Sonic Solutions doing something like that with mastering software 20 years ago?

bouldersound, post: 428809, member: 38959 wrote: Wasn't Sonic Solutions doing something like that with mastering software 20 years ago?

It's possible. I don't recall that particular program, but there have been certain programs over the years that have done some very innovative stuff, and more than a few fell through the cracks over time.

For example, years ago, for a short time, I was using a program, "Bias Peak", which was a 2-track editing platform for Mac, similar to SoundForge, and it had a metering feature that allowed the user to measure the perceived loudness of the content... this was long before it became "trendy" to have this metering option. So, in that regard, they were innovative, because at the time, no other program offered that metering feature. These days, it seems like every audio program has it, and most are claiming to be "the first" to do so, when in fact, Bias Peak beat them to it by well over 20 years. ;)