Software questions

[Westmalle]

My recordings are done at 24 bit 44khz.

I currently don't use any plugins anymore, except the Waves Shuffler, and the L2.

I find the Waves MultiBandCompressor and RenaissanceCompressor, rBass are subtly degrading the sound.

What are your opinions on this!?

The compressor's ratio I typically used was 1,07-1,13, treshold somewhere -35dB.
The rbass I used at - 20 - 24 dB.

Is there any need for dithering to 16 bits, if the recorded material itself has a continuous noise of let's say -60/-70dB?
I could just render the fades with dither, and leave the rest untouched?

Thanks for answering my questions!

[Roland]

Originally Posted by Westmalle

My recordings are done at 24 bit 44khz.

I currently don't use any plugins anymore, except the Waves Shuffler, and the L2.

I find the Waves MultiBandCompressor and RenaissanceCompressor, rBass are subtly degrading the sound.

What are your opinions on this!?

All processing changes the sound, is this degrading the sound? It depends on your view, but take the signal out of the box and stick it through some analogue gear and then you will see how much you can loose through the process. Personally I dislike rBass.

The compressor's ratio I typically used was 1,07-1,13, treshold somewhere -35dB.
The rbass I used at - 20 - 24 dB.

The ratio's you are talking about are next to nothing. I'm not familiar with what sort of material you are working on, but I will hazzard at a guess that you would be better off with a higher threshold and slightly more compression ratio. The multiband compressor is a very powerful tool, however in the wrong hand's it can also be very distructive.

Is there any need for dithering to 16 bits, if the recorded material itself has a continuous noise of let's say -60/-70dB?
I could just render the fades with dither, and leave the rest untouched?

This is a matter of hot debate and there are people on both sides of the line, personally I don't believe (in your situation) that it is necessary, but there are others that will disagree with me.

Thanks for answering my questions!

You are welcome!

Regards



Roland

[Westmalle]

Originally Posted by Roland

All processing changes the sound, is this degrading the sound? It depends on your view, but take the signal out of the box and stick it through some analogue gear and then you will see how much you can loose through the process. Personally I dislike rBass. The ratio's you are talking about are next to nothing. I'm not familiar with what sort of material you are working on, but I will hazzard at a guess that you would be better off with a higher threshold and slightly more compression ratio. The multiband compressor is a very powerful tool, however in the wrong hand's it can also be very distructive.
This is a matter of hot debate and there are people on both sides of the line, personally I don't believe (in your situation) that it is necessary, but there are others that will disagree with me.
You are welcome!
Regards
Roland

Thanks Roland for giving your advice.
I'm working on a recording of a four hands piano CD, recorded in a medium reverberant chapel, on a Steinway D.
I used parallel compression techniques before with the multiband compressor on 6 CD's.
The last two, I didn't use compression at all.

Indeed I still haven't figured out whether it is better to present a CD with a higher RMS level, so that it sounds fuller at low levels with people's budget gear, or if it is better to leave the mike-signal untouched, and don't throw away the 2-3% clarity.
I can hear with each of the compressors of Waves, that it does degrade the sound a tiny, tiny little bit.

Would this be better, if I record and use sound FX at 96khz instead of 44?

What software is better than the Waves multiband compressor?
Or is only a Weiss compressor up to the task?

[Don S]

Originally Posted by Westmalle

Indeed I still haven't figured out whether it is better to present a CD with a higher RMS level, so that it sounds fuller at low levels with people's budget gear, or if it is better to leave the mike-signal untouched, and don't throw away the 2-3% clarity.

Bob Katz brings this up quite a bit. He uses a bell curve to represent the deviation from a "pure" recording and making it enjoyable by the masses. I think he includes EQ in this as well. I almost always wind up using a tiny bit of compression to classical recordings. I use the rule "if you can hear the compression, then it's too much". You can most likely get a away with a db or 2 in MHO. I use Pyramix and really enjoy their plugins.