An Amazing piece of software ....

Hijack away, as far as I'm concerned... you raise a very interesting point.

I'm going to give that some more mental exercise...

Keith

JohnRoberts said:

I don't follow the physics behind tone arm mistracking and sensitivity to crest factor. Why does it care how quiet it was in the context of the peaks?.

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I have found that fast acceleration within a large velocity change causes big problems. Like a snappy bass drum. It's easier to avoid a pothole when you are going straight then when you are going around a bend. This has nothing to do with stereo correlation. Under the microscope you can see jagged bends in the groove when this is going on. I have found the less work the tone arm has to do the cleaner everything sounds.

Hi My Name is Michael Pfeifer  I work in post production.  My 2 cents.

This seems useful to match dialog tone when a voiceover is done on different days or months for an ongoing commercial or movie.  I have always done this by ear and eq but anything to help with say a U87 main vocal microphone for the spot and and 416 used for an insert.  This is often done from a Digital LAN Patch, with different engineers as well.

Its better to use the right microphone and audio chain but sometimes you are just handed a bounce of files to mix and post.


Michael

Gold said:

JohnRoberts said:

I don't follow the physics behind tone arm mistracking and sensitivity to crest factor. Why does it care how quiet it was in the context of the peaks?.

Click to expand...

I have found that fast acceleration within a large velocity change causes big problems. Like a snappy bass drum. It's easier to avoid a pothole when you are going straight then when you are going around a bend. This has nothing to do with stereo correlation. Under the microscope you can see jagged bends in the groove when this is going on. I have found the less work the tone arm has to do the cleaner everything sounds.

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Thanks.. My point about crest factor was that the transient would have the same exact crest factor if you cut the whole side 20 dB cooler. Is such a drum attack equally difficult to cut and track at reduced levels?

JR

fazer said:

This seems useful to match dialog tone when a voiceover is done on different days or months for an ongoing commercial or movie.   I have always done this by ear and eq but anything to help with say a U87 main vocal microphone for the spot and and 416 used for an insert.   This is often done from a Digital LAN Patch, with different engineers as well.

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PRECISELY why I sent the link to my dialog-dubbing-engineer friend.

Matching up ADR and/or production sound on cuts between different shot angles etc...

But the compression would be UN-desirable for this, so the "freeze gain" would have to be used... I was considering writing to Paul to suggest a version with a more dialog-matching inclined interface perhaps... This is where a SIMILAR tool (using a similarly-principled "back-end", but without much of the music-related controls tying up the interface) and to see if it spurred any inspiration on his part...

But yes, my thoughts were that an adapted version of this might be a "magic bullet" for dialog matching or loop insertion

keith

JohnRoberts said:

Is such a drum attack equally difficult to cut and track at reduced levels?

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No, it's harder to track at high levels. If you are going to change the sound of a prominent element it's nice to have the sound be consistent and not change with level. I think the reason esses are a problem has to do with the crest factor as well as frequency content. There is no significant velocity change. Large quick vocal peaks which have little high frequency content are also difficult to track. I mean they distort easily not that the record will skip.

I have never played around with the GML compressor but it does have a knob called crest factor. It may do something like this.

JUst my 10 cents worth,



  I tried the demo, and bought this immediately! I have hardly explored all the possibilities of this plugin, but it is already my "reach too" for just about any vocal. I can eliminate a string of plugins on the lead, and often need nothing else when "in the box". - Really! When I have to work very fast( ie at the demo stage), but don't want to have to re-do stuff further down the line, this is the mutts nuts. Period. I still don't have much of a clue what it'd actually doing, but it is a life saver with other peoples badly recorded vocals, AND my well recorded vocals! ;D


    Well worth a free demo at least!



  ANdyP

SSLtech said:

but on a sales-pitch demo, I'd rather hear something which I didn't prefer the sound of in bypass!
Keith

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good point.
thats a classic when showing off stuffs like this. the source material never sounds bad, or is in need of "getting fixed".