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  • Audio Compressors and Limiters

    Seeking views from those who submit for transmission.
    What is your preferred AC and/or Limiter. Do you just use the AC on the v/o only or seperate compression or on both combined.
    Sending ads into UK Broadcasters requires -6db limit- stray a gnats pube *** over and FAIL FAIL FAIL. There seems a lot of VSTs out there so what's your flavour of the day?

    ***FWIW I find a lot of compressors do not Hard limit and allow stray "pubes"

  • #2
    I am using Voxengo Elephant, it causes 0.0000% lip sync delay

    it is available as 32bit VST and 64bit VST in case you use EDIUS7
    Anton Strauss
    Antons Video Productions - Sydney

    EDIUS X WG with BM Mini Monitor 4k and BM Mini Recorder, Gigabyte X299 UD4 Pro, Intel Core i9 9960X 16 Core, 32 Threads @ 4.3Ghz, Corsair Water Cooling, Gigabyte RTX-2070 Super 3X 8GB Video Card, Samsung 860 Pro 512GB SSD for System, 8TB Samsung Raid0 SSD for Video, 2 Pioneer BDR-209 Blu-ray/DVD burners, Hotswap Bay for 3.5" Sata and 2.5" SSD, Phanteks Enthoo Pro XL Tower, Corsair 32GB DDR4 Ram, Win10 Pro 21H2

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    • #3
      You may be better off doing your audio mix as you would normally, either in the NLE or DAW. Then process the final master mix with something dedicated, and define it at that stage for the target. I find a Lady Shave is more precise for the stray pubes, a typical Bic can and does let the odd one through :)

      "There's only one thing more powerful than knowledge. The free sharing of it"


      If you don't know the difference between Azimuth and Asimov, then either your tapes sound bad and your Robot is very dangerous. Kill all humans...... Or your tape deck won't harm a human, and your Robot's tracking and stereo imagining is spot on.

      Is your Robot three laws safe?

      Comment


      • #4
        Is the Ladyshave 32 or 64 bit?
        Voxengo seems very expensive for my application which specifically are TVads where there is no lip sync but I'm sure you pay your money and take your pick. Learning curve today so [email protected]@dy focused on audio and white levels , hadn't noticed that a stock clip used in an ad had a black level 5 floors lower than broadcast legal. The lovely people at Adstream legalised on ingest saving my blushes and [email protected]!!!

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        • #5
          Go for the 32bit the 64 still needs some tweaking :)

          If you deal with your audio as you naturally would, this is by far the best, easiest and safest way. Then like I said earlier, just deal with the master out for whatever or wherever it needs to go.

          As long as your mix is technically correct, and more importantly, it is subjectively right for you the producer. Then the mastering stage is a lot less problematic than trying to second guess individual channels in a mix. Let's face it, you are not going to mix anything out of proportion in the mix down. Anything you mix at that stage is going to be in proportion to the mix itself. At that stage it is really down to taste and using the tools you like to get the sound right. The mastering stage of your final mix can then be tailored for the target. You can even round off some more of the dynamics at this stage, if you feel the urge.

          Remember. How much content is being broadcast that was mixed way before the present audio tech submission standards. Old films, old tv series, old everything. Add to this, using premixed music for the bulk of an advert and third party music inside tv shows. The only way any of this stuff can pass any modern standards, is for it to be simply run through some form of stereo or even mono mastering process to bring it line. This is why I suggest doing the mix to suit yourself, and the master to the target. Plus it gives you your concentration back for the edit.

          "There's only one thing more powerful than knowledge. The free sharing of it"


          If you don't know the difference between Azimuth and Asimov, then either your tapes sound bad and your Robot is very dangerous. Kill all humans...... Or your tape deck won't harm a human, and your Robot's tracking and stereo imagining is spot on.

          Is your Robot three laws safe?

          Comment


          • #6
            Dave.

            Check this link.

            http://www.sonycreativesoftware.com/...ound_forge_pro

            "There's only one thing more powerful than knowledge. The free sharing of it"


            If you don't know the difference between Azimuth and Asimov, then either your tapes sound bad and your Robot is very dangerous. Kill all humans...... Or your tape deck won't harm a human, and your Robot's tracking and stereo imagining is spot on.

            Is your Robot three laws safe?

            Comment


            • #7
              Excellent link, thank you. I used to have an old version of Sound Forge - I loved the wave hammer for V/Os alas I mislaid the disc and having looked around for an alternative found Audacity which ticked the boxes and I could also run VST's from there...except some dont seem to show up. Maybe I will bite the bullet....after I have saved enough for a 32bit ladyshave !!

              Comment


              • #8
                Originally posted by DigitalDave View Post
                Excellent link, thank you. I used to have an old version of Sound Forge - I loved the wave hammer for V/Os alas I mislaid the disc and having looked around for an alternative found Audacity which ticked the boxes and I could also run VST's from there...except some dont seem to show up. Maybe I will bite the bullet....after I have saved enough for a 32bit ladyshave !!
                The ladyshave has many uses :)

                Yes, the whole audio thing is a little convoluted. Despite the so called standards, I am quite sure you have noticed how content that supposedly passes these standards, can sound like a mess still on TV. Namely, adverts that jump out in commercial breaks. I don't think Sky TV has any audio standards :)

                The workflow that I suggested is only one option. But I have found that being happy within yourself about the mix, and then adapting the master with a final process. Is a way that does not over complicate things, and allows you to remain focused on the whole production.

                Maybe try this if you are doing your mix in Edius. When you have finished your edit and mix, embed the sequence into another sequence. So that it looks like you only have one piece of media in the timeline. I am not too sure how GV refer to this process, but it is commonly called nested sequence.

                Now that you have what looks like a simple one clip edit in the timeline, render out just the audio on its own, in whatever bit depth and sample frequency you need.

                Now take this audio file into whatever program you need to in order to do your mastering stage, and then re-export this new processed mater.

                Now import your new master back to Edius and line it up against the original on a new audio track or tracks.

                You can now mute and A/B at will between the original audio and the new mastered version. And then do your run outs with mastered, and or unmastered if needed.

                Sorry if I am teaching you to **** eggs, but I find this method really works and is about the easiest way to do your final locked masters with variations on the desired audio.

                Hope you find the best way that suits you that allows you to get on with more important things.

                "There's only one thing more powerful than knowledge. The free sharing of it"


                If you don't know the difference between Azimuth and Asimov, then either your tapes sound bad and your Robot is very dangerous. Kill all humans...... Or your tape deck won't harm a human, and your Robot's tracking and stereo imagining is spot on.

                Is your Robot three laws safe?

                Comment


                • #9
                  **** this says s-u-c-k which I don't think is an offensive word????

                  "There's only one thing more powerful than knowledge. The free sharing of it"


                  If you don't know the difference between Azimuth and Asimov, then either your tapes sound bad and your Robot is very dangerous. Kill all humans...... Or your tape deck won't harm a human, and your Robot's tracking and stereo imagining is spot on.

                  Is your Robot three laws safe?

                  Comment

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