Old 01-14-2020, 11:31 AM   #41
Human being with feelings
Join Date: Dec 2012
Posts: 4,663

Originally Posted by kirk1701 View Post
Okay, I'll bite. Splain how.
Well I guess when it comes to the mix bus all I end up doing is loudness leveling and peak control. Smash it down to constrain the loudness range some and in the process give it some of that glue and cohesion that we’re looking for. Then I just found off the tippytops of the loudest peaks until my overal crest factor sits where I want. If I’m mixing, I don’t need any fancy limiting here, just good predictable soft knee but hard ceiling saturation.

I have two presets that I made for ReaComp that I just toss around my mixes like salt and pepper. They go on individual tracks, in amongst chains of other plugins, sometimes in multiples or different orders. They can go on buses and always end up on the master.

Lookahead Leveler does exactly that. Precomp all the way up, A and R all the way down, RMS time 500ms because it’s double the maximum precomp, on a mix bus, the ratio is usually just 1.1 but you can get pretty aggressive on other tracks. Then bring threshold down so that it just barely does anything in the loudest sections. Then bring the knee down so it’s barely doing anything in the quiet sections. Then mess with those two controls til you get what you want.

Rail is named after the “voltage rails” that constrain the outputs of analog stages. It’s just sample by sample curvy saturation with a good hard ceiling. All time four constants at zero, ratio infinity and knee at 6. You can mess with the knee to get some different feels, but I found that 6 comes closest to the tanh saturation I had been using. If you want it to act like an input gain or one of those maximized plugs, turn on AutoGain, set the wet slider to your ceiling - the loudest single sample you ever want to come out of the thing, and then bring the threshold down until it does what you want. It works as well as any other straight saturator. Better than some. We usually try not to push this too hard at the mix stage. It generally doesn’t take much. You can get more aggressive with it at earlier stages. In fact, it’s because I have this at various stages along the line in the mix that I don’t need quite so much at this point.

So but then I use ReaEQ on either side of the lookahead leveler for emphasis/deemphasis. Well the first one focuses the action of the compressor - usually shelving out some low end and often really pushing the upper mids and air bands. Then the second one sort of corrects for that but also just shapes the final overall balance. Both of these are also “bookended” with a highpass down around 20 and a lowpass up above 19K. There can’t be any EQ after the rail, because that could cause peaks to overshoot our hard ceiling and defeat part of the point.
ashcat_lt is offline   Reply With Quote
Old 01-14-2020, 12:22 PM   #42
Human being with feelings
kirk1701's Avatar
Join Date: May 2015
Location: Ontario
Posts: 1,122

Actually, this is exactly what we've been discussing in this thread. I don't think anyone's advocating smashing the mixbuss with a vari-mu. Mainly because a vari-mu doesn't work like that. (I mean you can make it pump, but you have to hit it way too hard.)

I'm using it to catch peaks, add some bloom to the low-mids, and soften the extreme highs. I also want to subtly accentuate the energy of the piece.

I just happen to like vari-mu emulations right now. I got Kush Audio AR-1 yesterday after demoing it a couple times and it's very cool.

Whatever works.
"I've never trusted Klingons and I never will. I can never forgive them for the death of my boy."
kirk1701 is offline   Reply With Quote

Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off

Forum Jump

All times are GMT -7. The time now is 04:10 AM.

Powered by vBulletin® Version 3.8.11
Copyright ©2000 - 2020, vBulletin Solutions Inc.