R/E/P Community

Please login or register.

Login with username, password and session length
Advanced search  

Pages: [1]   Go Down

Author Topic: 'region' processing in Samplitude (and Lipinskis)  (Read 1969 times)

genericperson

  • Full Member
  • ***
  • Offline Offline
  • Posts: 167
'region' processing in Samplitude (and Lipinskis)
« on: August 24, 2004, 10:33:53 pm »

Hello,

I was reading a different message thread here.  Someone was saying they use Samplitude to master a region of audio, and then change the effects settings when going to another section of audio within the same piece of music...almost like changing the "scene memory" on a console in the middle of a song.

This sounds interesting.  But I'm wondering what kind of circumstance in the audio would suggest this type of treatment.
Logged

Ronny

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 2739
Re: 'region' processing in Samplitude
« Reply #1 on: August 24, 2004, 11:33:11 pm »

genericperson wrote on Tue, 24 August 2004 22:33

Hello,

I was reading a different message thread here.  Someone was saying they use Samplitude to master a region of audio, and then change the effects settings when going to another section of audio within the same piece of music...almost like changing the "scene memory" on a console in the middle of a song.

This sounds interesting.  But I'm wondering what kind of circumstance in the audio would suggest this type of treatment.


Any automix situation. You mentioned fx, but compression settings, eq settings, level re-gating via threshold, track levels etc.  are among many apps that can benefit from automix. Let's take fx as that pertains to your question and use a delay. To prevent mud and phasing from happening when delaying some tracks, best results can be achieved from synchronizing the delay repeats (FB Gain or Echo parameters on some) to the tempo of the song. If the tempo changes mid song and your delay stays on the old tempo than you'd have to manually change it. By storing that scene change in automix, the delay will automatically synchronize with the new tempo change.
Logged
------Ronny Morris - Digitak Mastering------
---------http://digitakmastering.com---------
----------Powered By Experience-------------
-------------Driven To Perfection---------------

genericperson

  • Full Member
  • ***
  • Offline Offline
  • Posts: 167
Re: 'region' processing in Samplitude
« Reply #2 on: August 25, 2004, 12:23:22 am »

Thanks Ronny,

what about typical mastering effects?

maybe the verse will need a different limiter setting than the chorus?
Logged

TotalSonic

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 3728
Re: 'region' processing in Samplitude
« Reply #3 on: August 25, 2004, 12:52:29 am »

I use the fx automation capabilities of SAWStudio to do a similar thing as this Samplitude example.  To give an example where this useful - often a chorus will have a different character in both terms of spectrum and dynamics than the verse - so that processing it the same way across the entire song would not be the optimal way to go.  I think one good way to go for a lot of things like this is to the "larger gestures" for the entire track in the analog realm on load in and then to refine this with smaller changes that are automateable per section in the digital realm.  I've actually automated eq settings as small as a per note basis in order to smooth out things that poked out from the mix in preference to something that would effect the whole track like multiband compression.  

Best regards,
Steve Berson

bobkatz

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 2926
Re: 'region' processing in Samplitude
« Reply #4 on: August 25, 2004, 10:32:34 am »

genericperson wrote on Tue, 24 August 2004 22:33

Hello,

I was reading a different message thread here.  Someone was saying they use Samplitude to master a region of audio, and then change the effects settings when going to another section of audio within the same piece of music...almost like changing the "scene memory" on a console in the middle of a song.

This sounds interesting.  But I'm wondering what kind of circumstance in the audio would suggest this type of treatment.



What about a song that begins with a delicate, soft, non-rhythmic introduction and then hits you hard after that with a rock beat?

BK
Logged
There are two kinds of fools,
One says-this is old and therefore good.
The other says-this is new and therefore better."

No trees were killed in the sending of this message. However a large number of
electrons were terribly inconvenienced.

genericperson

  • Full Member
  • ***
  • Offline Offline
  • Posts: 167
Re: 'region' processing in Samplitude
« Reply #5 on: August 25, 2004, 09:59:25 pm »

good point, Mr. Katz.

Maybe add some extra articulation-eq in the quiet part, then adjust it so it's not annoying when the music slams.

Mastering gets more-funner all the time, and I haven't even started yet!   Very Happy

You have me sold on the Lipinski's by the way.  As soon as I save up the $$ they are going to the top of the audition-with-intent-to-buy pile.

Logged

bobkatz

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 2926
Re: 'region' processing in Samplitude
« Reply #6 on: August 26, 2004, 10:35:52 am »

genericperson wrote on Wed, 25 August 2004 21:59



You have me sold on the Lipinski's by the way.  As soon as I save up the $$ they are going to the top of the audition-with-intent-to-buy pile.




As long as it's not for nearfield use, I would love to hear your opinion.

After making some tries, it seems the general concensus is that the Lipinskis would make very poor candidates for near fields in a mixing console situation because of the difficulty of where to put the subwoofers. And they don't go down low enough to work well without subs.

Subs under the console usually sound so disjointed that you can't really get good work done. My best experiences with near fields in a mix situation have been with HD1s or Dynaudio BM15As, both of which are "full-range" loudspeakers that extend down to near 40 Hz. Neither one can hold a candle to the Lipinskis as far as coherence, accuracy, transparency, lack of diffraction, imaging, and lack of compression. But for nearfield you really need a single "reasonably coherent, wide range source" in my opinion.

So far I can only recommend the Lipinskis either for a 5.1 situation where you know where you can put the sub(s), or a midfield or far field mastering situation where the subs can be located within the listening triangle and with no interfering objects (livingroom-like situation).

BK
Logged
There are two kinds of fools,
One says-this is old and therefore good.
The other says-this is new and therefore better."

No trees were killed in the sending of this message. However a large number of
electrons were terribly inconvenienced.

genericperson

  • Full Member
  • ***
  • Offline Offline
  • Posts: 167
Re: 'region' processing in Samplitude
« Reply #7 on: August 28, 2004, 04:45:49 pm »

Thanks, Mr. Katz.

These "sound" exactly like what I need.
Logged

Arf! Mastering

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 889
Re: 'region' processing in Samplitude
« Reply #8 on: August 29, 2004, 11:19:00 am »

Roy Hendrickson, chief engineer at Avatar Studios in NYC, has been using L-707s + sub for all his tracking and mixing in the rooms at Avatar.  SSL has asked Lipinskisound to install an L707 5.1 system on an SSL large-format console at the Surround Conference in Hollywood this week.  I'm pretty sure they're all using stands and not the meter bridge, but apparently, subwoofer issues and large consoles can be worked out.  
Logged
“A working class hero is something to be,
Keep you doped with religion and sex and T.V.”
John Lennon

"Large signals can actually be counterproductive.  If I scream at you over the phone, you don’t hear me better. If I shine a bright light in your eyes, you don’t see better.”
Dr. C.T. Rubin, biomechanical engineer

bobkatz

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 2926
Re: 'region' processing in Samplitude
« Reply #9 on: August 29, 2004, 11:42:32 am »

AlanS wrote on Sun, 29 August 2004 11:19

Roy Hendrickson, chief engineer at Avatar Studios in NYC, has been using L-707s + sub for all his tracking and mixing in the rooms at Avatar.  SSL has asked Lipinskisound to install an L707 5.1 system on an SSL large-format console at the Surround Conference in Hollywood this week.  I'm pretty sure they're all using stands and not the meter bridge, but apparently, subwoofer issues and large consoles can be worked out.  



That's exciting. I'd like to know where they put the subs. If they're under the console, how they deal with the resonance problems, and next time I come to NYC, take a listen at the Avatar room. Maybe you can soffit mount the subs at ear height BEHIND the freestanding satellites.
Logged
There are two kinds of fools,
One says-this is old and therefore good.
The other says-this is new and therefore better."

No trees were killed in the sending of this message. However a large number of
electrons were terribly inconvenienced.
Pages: [1]   Go Up