alfonso
Member
- Joined
- Dec 4, 2002
hello everybody,
as i can see there are some great names and a lot of experience here, and people used to very powerful gear.
reading this topic i'd like to give a small contribute, from the point of view of a daw musician, but if aural level is an issue for the great studios, little "all in daw" producers breath this problem almost at every stage....
first of all i'd like to say that my impression on the loudness sensation of a mix is that the presence of innaturally boosted frequencies comparing to the others has the same effect on perception than a very strong light point in a darker background, there is a general loss of detail and effectiveness, maybe electrical signal sum is higher, but the perceptional impression is much lower.
the great effect of analog tape saturation that so much is desired and reproduced as digital process is due to the fact that the compression of
the sound components is driven by themselves...discrete digital action of filtering is something pre-formed and so innatural.
in daw work i try to act on single tracks more than the overall mix.
i developed a vst plugin for pc (so many of you will not be able to try it, i know..;-) )that i just give for free (i'm a composer and practice sound design and modular patching for myself), that uses fundamentally envelope following trigger of inverse phase to give warmth and impressive gain within the same db peaks,with the same signal-wise reactivity on frequencies as tape, to use on those tracks that most suffer from the mix (drums, voices, guitars) and that cannot be rised in level, otherwise they mess all the unity of the mix.
it is in the plug-in forum of r.o....
(Dead Link Removed)
working on these aspects of a mix, and avoiding as possible an overall level maximization can help a lot in keeping things clear but very punchy...
ciao
as i can see there are some great names and a lot of experience here, and people used to very powerful gear.
reading this topic i'd like to give a small contribute, from the point of view of a daw musician, but if aural level is an issue for the great studios, little "all in daw" producers breath this problem almost at every stage....
first of all i'd like to say that my impression on the loudness sensation of a mix is that the presence of innaturally boosted frequencies comparing to the others has the same effect on perception than a very strong light point in a darker background, there is a general loss of detail and effectiveness, maybe electrical signal sum is higher, but the perceptional impression is much lower.
the great effect of analog tape saturation that so much is desired and reproduced as digital process is due to the fact that the compression of
the sound components is driven by themselves...discrete digital action of filtering is something pre-formed and so innatural.
in daw work i try to act on single tracks more than the overall mix.
i developed a vst plugin for pc (so many of you will not be able to try it, i know..;-) )that i just give for free (i'm a composer and practice sound design and modular patching for myself), that uses fundamentally envelope following trigger of inverse phase to give warmth and impressive gain within the same db peaks,with the same signal-wise reactivity on frequencies as tape, to use on those tracks that most suffer from the mix (drums, voices, guitars) and that cannot be rised in level, otherwise they mess all the unity of the mix.
it is in the plug-in forum of r.o....
(Dead Link Removed)
working on these aspects of a mix, and avoiding as possible an overall level maximization can help a lot in keeping things clear but very punchy...
ciao
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