12/20/2023 0 Comments Sound siphon vs audio hijack![]() In essence – the Loud setting uses shorter Release times resulting in elevated loudness. ARC reacts much like a human ear, and can produce significantly increased RMS (average) levels with excellent audio clarity.” “The ARC algorithm is designed to dynamically choose the optimum release value for a wide-ranging input. This flag sets the attributes for the Waves proprietary ARC (Auto Release Control). Note: The High and Low Level Compressor threshold settings are displayed within the previously mentioned Energy Meter. The associated Gain Meter indicates the amount of makeup gain. It allows the operator to add a specific amount of gain to the passing audio when it’s level drops below the user defined threshold. This module basically applies upward soft-knee compression. This setting is NOT a ceiling based compliance limiter! The Gain fader located in this module controls the maximum output signal level. Automatic makeup gain is applied to compensate for active gain attenuation. Gain reduction is indicated on the associated meter when the signal level exceeds the defined threshold. The MaxxVolume High Level Compressor is controlled by a single Threshold fader. In general the operator may (1) elect to work with the compressed/attenuated audio, or (2) apply makeup gain to compensate for the resulting attenuation. A Downward Expander applies a much more gradual transition between audibility and attenuation.Ī traditional compressor applies gain reduction (dynamic range compression) when signal levels exceeds a defined threshold. Note the general difference between a Gate and Downward Expander: a Gate applies a sort of hard mute. When the passing signal level drops below the defined Threshold fader setting – attenuation is initialized. The included Gate is essentially a Downward Expander. The Energy Meter’s internal chain placement is located after the Leveler processing and before the plugin’s remaining dynamics modules. Basically, automatic gain-riding initializes when the passing signal level exceeds the threshold and correlated target. The inherent processing uses long attack and release times similar in attributes to an RMS compressor to effectively maintain consistent levels over time. The Leveler fader value defines the AGC threshold and target. Let’s explore the attributes of MaxxVolume … The plugin features High/Low Level Compressor modules, a Downward Expander, a Leveler stage (aka RMS compressor/AGC), a user selectable Loud/Soft ARC flag, and a global Output Gain control. MaxxVolume is a multi-stage dynamics processor. I believe the original selling price was $400. I paid $149 for the plugin, on sale at the time over at DontCrack. Categories Audio Post Production, Audio Recording and Production, Podcasting Tags Podcast Production Leave a commentĪn obscure and rarely mentioned audio plugin by Waves exists that is well suited for Spoken Word processing, Live Streaming, and Podcast Post Production – MaxxVolume.īack in 2012 I documented my initial interest and subsequent purchase of MaxxVolume. Note it is certainly fine to check and/or monitor a MIX through (various types of) near field monitors *after* all of the above variables have been addressed.Īnd don’t forget to maintain awareness of typical consumption methods and devices, such as laptop speakers, trendy headphones, smart phones, earbuds, and vehicles. They are absolutely vital for this type of audio post throughout various stages of your workflow. Closed back headphones OTOH are paramount. In my view the sole use of near field monitors for Podcast post production is not your best option. (G) Replicate typical consumption methods and environments (E) Recognize and eliminate subtle mouth noises (D) Execute intricate/seamless dialogue edits (A) Establish audible awareness of (low-level) noise floor nuances Without proper isolation – it would be difficult to: ![]() That said, there’s some chatter out there referring to producing and mixing Podcasts solely through fancy near field monitors.Ĭonsider this: what about efficiently dealing with inherent audio clip attributes that require isolation as well as the subjective processing tasks/optimizations typically applied at the pre-mixing stage? The vast majority of producers, engineers, and/or “editors” working with typical spoken word Podcast audio are not using calibrated reference monitors in quiet work spaces with optimized acoustics.
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