bigshot
Headphoneus Supremus
Gain riding is still compression. It's just a very slow way of doing it. Try to gain ride vocals to make them read clearly. Betcha can't do it without an inky poo machine, John Henry.
But I also like transparency in marketing, which of course will never happen. /QUOTE]
Yup. Right. Rarely are full tech details available. I know of a tiny handful.
Good one!And of course I've never heard a well-done manual gain change: if it's well done, I shouldn't notice it ^_^
Quite right.2. Something which is being overlooked by everyone, including pinnahertz, is automation!
The BBC Proms are coming up. I don't know if it's still the case, but years ago when they were broadcast live over FM an engineer with a copy of the score manually rode the gain...
Listening to TV on my 2 channel system is sometimes impossible due to the dynamic range. Set the volume to people talking as they would in the room and music / effects will blow out the windows. Without a compressor behind the tv, it simply "sounds like crap".
That sounds like just what I'm looking for! Thanks! I'll check it out.Hey again Elgrindio,
Yesterday I discovered a new toy and I thought you might enjoy playing with it too: http://www.claessonedwards.com/home-audio/breakaway-audio-enhancer. Free full trial for a month.
It appears that it lets you adjust a few characteristics of a compressor and you can see the differences it makes. Now, I don't know how critical is that all these adjustments are made after the fact, after the production. I am still learning about these things, but I have the feeling that one can't "decompress" something which was already compressed; similar with trying to make something which was already chopped to say 128k back into CD quality. So they must have some algorithms which "reconstruct" whatever it is possible, but you can get an idea of what a compressor does, in real time.
You'll have to find good pieces to test it with. While for most music the first impressions are quite impressive, when you get to more demanding ones, you can tell of the limitations. To keep it simple, take Lorde's Royals. The bass line in the beginning is quite difficult, not very well defined - I was never satisfied with how it sounds in any of the set-ups I have. But with this Breakaway it becomes quite "hollow", I don't really know how to describe it.
Cheers
That sounds like just what I'm looking for!
Hi Elgrindio,
In case you're not aware, this website (http://dr.loudness-war.info/) has quite a lot of CDs with their DR levels. Based on this I went to my local library and borrowed a few in order to test (listen) and learn, and indeed, it is quite easy to hear the differences. Once you know what to look for, you'll pick up easily the good from the bad. Just be careful: you might end up giving up some of the music you would have liked otherwise; it happened to me. Luckily, there is plenty of well recorded music out there. I believe that the CD, as a format, is plenty enough if care is applied when producing.
Cheers
Yeah, when I installed a waveform seekbar into foobar and looked through my library, it was an exceedingly useful tool, but not without downsides. I have a few versions of some albums, and I was able to figure out which versions were the best. And there were albums I'd always suspected had terrible production, and it felt very cathartic to see that they were brickwalled.
But... I was very saddened to learn some of my favorite albums were mastered overly hot as well, and part of me wishes I could go back to the ignorant happy days before then.
[1] I believe even the earliest releases on CD, from 1982 up to the late '80s, most, not all, but most of them, had even just very gentle compression applied during transfer from whatever master(vinyl LP master tape, early digital mix tape, etc) was applied. Just 1.2:1 up to 1.5:1 ratio, at a low low threshold, -30 to -50dBfs, to subtilely lift the whole thing above the 16bit noise floor.
[2] Back roughly during that period, mastering consisted primarily of transcribing existing analog masters to PCM, flat, without any of today's totally OTT processing(super-EQ, giga-compression, brickwall limit).
[3] So most of the original tonal quality made onto CD, but there was just something 'missing' for some folks. That part missing was the dynamic range on the vinyl releases those music listeners already possessed.
[4] And that's why so many original CD releases from CD's early days all seem to return dynamic range values of DR12 on tools like Foobar2000, as opposed to needle drops to WAV of the same albums, which produced values of DR14 to 16.
[5] Then along came the late 1990s fad of reissuing "Digitally Remastered" versions of CDs listeners already owned... The more gullible customers bought into these 'remasters', not realizing that they were actually sonically inferior to their original CDs and of course, their vinyl. They were just louder versions, but that equaled 'better' to the less knowledgeable ...