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Eventide / Newfangled Audio Elevate
Old 5th October 2017
  #1
Eventide / Newfangled Audio Elevate

I've been demoing this one for the last few hours. You can do some pretty deep processing with it on program material. Have any of you checked it out yet?
Old 5th October 2017
  #2
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Based on EQuivocate, I expected to really get on with this one. Flux Elixir changes the source in a much less noticeable way, especially with 4 stages active.

Elevate is also two channel only, so less inclined to invest and will keep on with Elixir and Pure Limiter.
Old 5th October 2017
  #3
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I also had quite some high hopes as I like the EQ. I directly compared it to my go-to Limitless and I had occurred serious distortion with Elevate, especially in high level sustain parts like vocals. Whats still very impressing to me is the nearly complete lack of obvious distortion in Limitless (clipper bypassed) compared to other limiters even with high GR. (Yes, it comes with it own downsides like a bit of cloudyness, softness or too loose transients sometimes).
The transient control of Elevate is an interesting tool which could be a weapon for retaining punch that gets lost due to limiting. And it indeed sounds a kind of punchy, loud and tight, but this overall presence of very obvious distortion makes it completely unusable to me (and I tried it on quite some different sources where it works best on a kind of techno head banger track yet).
EDIT: ok, less is (much) more here, it seems. Theres still some gritty sheen into it Im not able to overcome, but things becomes a lot smoother now while remaining still quite tight in tone and without the buttery cloudyness Limitless could add. The transient control tends to sound a bit plastic (like all transient tools), but could be become handy nevertheless.
As with Limitless this thing is deep (but very different) and takes it time. Personal presets to start with are a must here too in daily work, imho.

Last edited by JP__; 5th October 2017 at 12:52 PM..
Old 5th October 2017
  #4
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Quote:
Originally Posted by JP__ View Post
I also had quite some high hopes as I like the EQ. I directly compared it to my go-to Limitless and I had occurred serious distortion with Elevate, especially in high level sustain parts like vocals. Whats still very impressing to me is the nearly complete lack of obvious distortion in Limitless (clipper bypassed) compared to other limiters even with high GR. (Yes, it comes with it own downsides like a bit of cloudyness, softness or too loose transients sometimes).
The transient control of Elevate is an interesting tool which could be a weapon for retaining punch that gets lost due to limiting. And it indeed sounds a kind of punchy, loud and tight, but this overall presence of very obvious distortion makes it completely unusable to me (and I tried it on quite some different sources where it works best on a kind of techno head banger track yet).
EDIT: ok, less is (much) more here, it seems. Theres still some gritty sheen into it Im not able to overcome, but things becomes a lot smoother now while remaining still quite tight in tone and without the buttery cloudyness Limitless could add. The transient control tends to sound a bit plastic (like all transient tools), but could be become handy nevertheless.
As with Limitless this thing is deep (but very different) and takes it time. Personal presets to start with are a must here too in daily work, imho.
Hi Guys,

Just to try to help clarify the processing inside Elevate, distortion can come from one of three places. Obviously, the final drive stage will add distortion, so if you've got this control up, it's probably the first place to back off. Secondly, the Transient Emphasis works by boosting transients into the final clipper, so if you're hearing distortion, especially on note attacks, back this off some, or back off the Transient Emphasis in just the frequency range you're having the problem. Finally, distortion can come from the limiting being set too fast, you can calm things, here, by slowing down the Speed control and/or turning down the Adaptive Speed control.

Dan
Old 5th October 2017
  #5
Quote:
Originally Posted by JP__ View Post
I also had quite some high hopes as I like the EQ. I directly compared it to my go-to Limitless and I had occurred serious distortion with Elevate, especially in high level sustain parts like vocals. Whats still very impressing to me is the nearly complete lack of obvious distortion in Limitless (clipper bypassed) compared to other limiters even with high GR. (Yes, it comes with it own downsides like a bit of cloudyness, softness or too loose transients sometimes).
The transient control of Elevate is an interesting tool which could be a weapon for retaining punch that gets lost due to limiting. And it indeed sounds a kind of punchy, loud and tight, but this overall presence of very obvious distortion makes it completely unusable to me (and I tried it on quite some different sources where it works best on a kind of techno head banger track yet).
EDIT: ok, less is (much) more here, it seems. Theres still some gritty sheen into it Im not able to overcome, but things becomes a lot smoother now while remaining still quite tight in tone and without the buttery cloudyness Limitless could add. The transient control tends to sound a bit plastic (like all transient tools), but could be become handy nevertheless.
As with Limitless this thing is deep (but very different) and takes it time. Personal presets to start with are a must here too in daily work, imho.
Like any tool of this depth, I'm finding the more I understand how it's "supposed to work" the more impressed I am. I still need a lot of time with it too see how far I can take it into a real / paid session. Sometimes as a knee jerk reaction I'll demo a new tool from the perspective of how I think it should work, verses where the developer is coming from. For instance as it relates to mastering, I really tend to be in a mindset of "small moves" but I'll demo something from the perspective of a Rhino. Either way I agree, this is something that one would need to create presets for starting points, otherwise you could spend an hour tweaking away. I like the concept here, we'll see if it sticks after the 30 day demo is up.

I could never get Limitless to work for me. Perhaps I haven't spent enough time with it?
Old 5th October 2017
  #6
Quote:
Originally Posted by DGillespie View Post
Hi Guys,

Just to try to help clarify the processing inside Elevate, distortion can come from one of three places. Obviously, the final drive stage will add distortion, so if you've got this control up, it's probably the first place to back off. Secondly, the Transient Emphasis works by boosting transients into the final clipper, so if you're hearing distortion, especially on note attacks, back this off some, or back off the Transient Emphasis in just the frequency range you're having the problem. Finally, distortion can come from the limiting being set too fast, you can calm things, here, by slowing down the Speed control and/or turning down the Adaptive Speed control.

Dan
Thanks for the useful tips Dan.

A few questions, and sorry if this is in the documentation already. I often demo tools during breaks in the middle of sessions, so don't always fully read the docs. The graphic diamond shaped readout of the Filter section. I notice when you move a freq. the graphic changes shape. Are the "X" points crossover points, what exactly are we looking at here? And is MEL short for melodic?

Thanks..
Old 5th October 2017
  #7
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Quote:
Originally Posted by engmix View Post
Thanks for the useful tips Dan.

A few questions, and sorry if this is in the documentation already. I often demo tools during breaks in the middle of sessions, so don't always fully read the docs. The graphic diamond shaped readout of the Filter section. I notice when you move a freq. the graphic changes shape. Are the "X" points crossover points, what exactly are we looking at here? And is MEL short for melodic?

Thanks..
Yes, you can think of these X points as a bunch of crossover points, this is exactly what's happening. (I actually hadn't thought about it this way)

Mel is short for melodic, there's a bit of history here. https://en.wikipedia.org/wiki/Mel_scale

When 26 filters are equally spaced on the mel scale, they're essentially the same as the critical bands which is useful because it's a good way to model auditory masking phenomena.

https://en.wikipedia.org/wiki/Critical_band
Old 5th October 2017
  #8
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Originally Posted by engmix View Post
Like any tool of this depth, I'm finding the more I understand how it's "supposed to work" the more impressed I am. I still need a lot of time with it too see how far I can take it into a real / paid session. Sometimes as a knee jerk reaction I'll demo a new tool from the perspective of how I think it should work, verses where the developer is coming from. For instance as it relates to mastering, I really tend to be in a mindset of "small moves" but I'll demo something from the perspective of a Rhino. Either way I agree, this is something that one would need to create presets for starting points, otherwise you could spend an hour tweaking away. I like the concept here, we'll see if it sticks after the 30 day demo is up.

I could never get Limitless to work for me. Perhaps I haven't spent enough time with it?
Limitless was a tool that impresses me from the first try (but it still needed its time to get used to its way of working).
With Elevate it was very different: I tried it and wasnt able to achieve comparable result at first try. But I think it has potential and I just need more time trying some more things (as default and presets do not work for my likings here).
What your go to limiter? And what do you did not like about limitless?
Old 5th October 2017
  #9
Quote:
Originally Posted by JP__ View Post
Limitless was a tool that impresses me from the first try (but it still needed its time to get used to its way of working).
With Elevate it was very different: I tried it and wasnt able to achieve comparable result at first try. But I think it has potential and I just need more time trying some more things (as default and presets do not work for my likings here).
What your go to limiter? And what do you did not like about limitless?
Go-to limiters tend to be in this order. Elephant, Ozone, and Sonnox. I usually shoot out all 3 and see where the chips fall.

I know I'm the odd man out here, I haven't really connected with any of the DMG offerings. I'm not denying they're producing deep processing tools, I just don't find it musical and inspiring to use. It's the old different stokes for different folks thing. And don't get me wrong, I love having access to as many tweakable elements I can get my hands on, but when I A/B what I'm doing with the other tools I have, the other tools sound better. And that was my experience with Limitless, just didn't sound better than what I was getting else where. But mind you I have years of experience with Elephant etc. with customized presets to boot. Like you I have so many tools, both analog and digital. And when something new comes out, I'm often looking for something with a different take on things, that hopefully leads to me to something a bit new in a useful way. For loudness perhaps Limitless with the right settings are the bomb, I just didn't find it. And to be honest, for loudness sometimes driving my A/D into clipping still sounds better than what I get from plugins, all depends on the music.

With Elevate, I'm intrigued by it, it's concept and potential are proving to be interesting at the very least. Is it the best tool for being the loudest limiter with the least amount of artifacts, I'm not there yet to fully answer that. I did get a mix sounding more upfront and less pinched compared to the other limiters I used. Again was it the loudest master, no, but it didn't need to be. Hopefully Eventide and Newfangled Audio will continue to tweak it and improve on it. I can see for electronic music, this thing has huge potential.
Old 5th October 2017
  #10
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Quote:
Originally Posted by engmix View Post
Go-to limiters tend to be in this order. Elephant, Ozone, and Sonnox. I usually shoot out all 3 and see where the chips fall.

I know I'm the odd man out here, I haven't really connected with any of the DMG offerings. I'm not denying they're producing deep processing tools, I just don't find it musical and inspiring to use. It's the old different stokes for different folks thing. And don't get me wrong, I love having access to as many tweakable elements I can get my hands on, but when I A/B what I'm doing with the other tools I have, the other tools sound better. And that was my experience with Limitless, just didn't sound better than what I was getting else where. But mind you I have years of experience with Elephant etc. with customized presets to boot. Like you I have so many tools, both analog and digital. And when something new comes out, I'm often looking for something with a different take on things, that hopefully leads to me to something a bit new in a useful way. For loudness perhaps Limitless with the right settings are the bomb, I just didn't find it. And to be honest, for loudness sometimes driving my A/D into clipping still sounds better than what I get from plugins, all depends on the music.

With Elevate, I'm intrigued by it, it's concept and potential are proving to be interesting at the very least. Is it the best tool for being the loudest limiter with the least amount of artifacts, I'm not there yet to fully answer that. I did get a mix sounding more upfront and less pinched compared to the other limiters I used. Again was it the loudest master, no, but it didn't need to be. Hopefully Eventide and Newfangled Audio will continue to tweak it and improve on it. I can see for electronic music, this thing has huge potential.
Thanks for your impressions. Always interesting. Im quite with you here. And I would not look into something new if I would be completly happy with Limitless (and I also do not share the high praises DMGs stuff always gets here. But not that isnt any bad of course...).
I own Elephant, Elixir, AOM, Barricade (and maybe some others I have forgot), but only use them in very are cases now. Everytime I shootout them against Limitless the effortless natureless (especially its low distortion) of the latter won. With Elevate this could change....
Old 5th October 2017
  #11
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Originally Posted by JP__ View Post
Thanks for your impressions. Always interesting. Im quite with you here. And I would not look into something new if I would be completly happy with Limitless (and I also do not share the high praises DMGs stuff always gets here. But not that isnt any bad of course...).
I own Elephant, Elixir, AOM, Barricade (and maybe some others I have forgot), but only use them in very are cases now. Everytime I shootout them against Limitless the effortless natureless (especially its low distortion) of the latter won. With Elevate this could change....
Music aside, don't ya think some of this difference in opinions on "what works" is largely due to the types of rooms we have; gear, acoustics, where they sit in the chain, and how they interact with each other. We all know how much loudness changes the spectral balance of sound, so depending on how a particular engineer gain stages their setup I would think greatly effects how a particular tool works or doesn't within one's systems.

I just used Elevate on a session with a rough mix up, and I dialed it down to 3 bands. It became a different processor at that point. It reminded me of an elegant version of the TC Finalizer. I A/Bd it against Ozone 7 Maximizer. Ozone had a cool sorta thickness, and Elevate felt more energetic. The nice thing was, I was able to push a bit of that thickness into Elevate with the spectral enhancement section. Fun with audio tools..
Old 5th October 2017
  #12
Quote:
Originally Posted by engmix View Post

I just used Elevate on a session with a rough mix up, and I dialed it down to 3 bands. It became a different processor at that point.
Yes I also found that Elevate sounded better with fewer bands-I used the EDM Master preset that has 12 bands and that's when it started surpassing Limitless in my shootout.

Before that I was playing around with 26 bands and just tweaking all the sliders and the mix sounded a bit thin no matter what I did. Now when I put Limitless back on the mix still sounds a bit "richer" but also quite constrained whereas Elevate opens up the mix in a great way.

Will need to do some more testing but I have a feeling there's my new go-to limiter, maybe coupled with some tape-style emulation or even a dB or so of L1-style limiting afterwards for that "finished" sound that we've all become used to over the last decade or so. At least in pop and electronic styles...
Old 6th October 2017
  #13
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Originally Posted by engmix View Post
Music aside, don't ya think some of this difference in opinions on "what works" is largely due to the types of rooms we have; gear, acoustics, where they sit in the chain, and how they interact with each other. We all know how much loudness changes the spectral balance of sound, so depending on how a particular engineer gain stages their setup I would think greatly effects how a particular tool works or doesn't within one's systems.

I just used Elevate on a session with a rough mix up, and I dialed it down to 3 bands. It became a different processor at that point. It reminded me of an elegant version of the TC Finalizer. I A/Bd it against Ozone 7 Maximizer. Ozone had a cool sorta thickness, and Elevate felt more energetic. The nice thing was, I was able to push a bit of that thickness into Elevate with the spectral enhancement section. Fun with audio tools..
Yes, I think personal vision regarding "good sound" is an important factor as well. Its a small step approach for me, but for me it clear that tools (and their integration in the setup) strongly matters (even when some people love to told you otherwise). Fighting with tools is one of the most annoying things I can imagine in daily work. Sometimes is the new that is capable to show you that more clear. The you-change -one-part-within-the-chain-and-another-becomes-the-bottleneck-thing...
I will hopefully continue testing Elevate today, but yesterday I ended up with a simple 2-band setup which I was able to closely match to Limitless (and even outperforms it), except its unique behaviour in low freq.
Old 6th October 2017
  #14
Quote:
Originally Posted by Uncovered Pitch View Post
Yes I also found that Elevate sounded better with fewer bands-I used the EDM Master preset that has 12 bands and that's when it started surpassing Limitless in my shootout.

Before that I was playing around with 26 bands and just tweaking all the sliders and the mix sounded a bit thin no matter what I did. Now when I put Limitless back on the mix still sounds a bit "richer" but also quite constrained whereas Elevate opens up the mix in a great way.

Will need to do some more testing but I have a feeling there's my new go-to limiter, maybe coupled with some tape-style emulation or even a dB or so of L1-style limiting afterwards for that "finished" sound that we've all become used to over the last decade or so. At least in pop and electronic styles...
Thanks for your input. Haven't used the L1 or 2 in ages. I should break them out for old times sake. I found a similar thing when A/Bing it against Elephant and Ozone 7. Those two retain or perhaps add a bit more heft when starting to push. But Elevate does appear to have a clearing effect, is the best way I can describe it at this point. With the spectral pre-processing I've been able to add or remove the thickness / heft. I don't think it will work for everything, but that's been the case for me with everything else.
Old 6th October 2017
  #15
Quote:
Originally Posted by JP__ View Post
Yes, I think personal vision regarding "good sound" is an important factor as well. Its a small step approach for me, but for me it clear that tools (and their integration in the setup) strongly matters (even when some people love to told you otherwise). Fighting with tools is one of the most annoying things I can imagine in daily work. Sometimes is the new that is capable to show you that more clear. The you-change -one-part-within-the-chain-and-another-becomes-the-bottleneck-thing...
I will hopefully continue testing Elevate today, but yesterday I ended up with a simple 2-band setup which I was able to closely match to Limitless (and even outperforms it), except its unique behaviour in low freq.
Well said..

Did you try a 3 band setup? I have a session coming in today so no demoing, tomorrow I'm going to try a 2 band, and even a 1 band if possible to really feel out the clipper. What are you noticing in the bottom? On the material I tried it on I didn't get anything unexpected. I'm going to wait out for the honeymoon period before purchasing.
Old 6th October 2017
  #16
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No, I have not found any time today to do some further testing. Will try it next week. I just choosed a 2-band setting to match my currently used Limitless setup (as I really prefer direct comparrisons).
I do not really like the sound of any clipper plug ins, so it was the first module to bypass when starting testing.

Regarding bass I either had the impression of a thinning out or neither some distortion. Not so obvious when comparing to the source, but more when directly comparing to Limitless (which to me sounds extraordinary smooth and big here). But even tiny steps goes a long way in Elevate, so the borderline between hit and miss seems rather thin.
Would love to see an option with reduced values in the EQ part (same goes for their new EQ, which also worth a try btw).

Last edited by JP__; 6th October 2017 at 06:50 PM..
Old 6th October 2017
  #17
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Limitless needs short look ahead (I do .85) and lower dynamics than most of the presets. I think I do 30. Then it doesn't seem as cloudy. I have been using either Ozone 7 or Limitless for years.
Also just tested this for a minute, I felt like I detected heaps of distortion on the kick but I liked something about the tone so I may just buy it and figure it out.
Old 7th October 2017
  #18
Quote:
Originally Posted by engmix View Post
Thanks for your input. Haven't used the L1 or 2 in ages. I should break them out for old times sake. I found a similar thing when A/Bing it against Elephant and Ozone 7. Those two retain or perhaps add a bit more heft when starting to push. But Elevate does appear to have a clearing effect, is the best way I can describe it at this point. With the spectral pre-processing I've been able to add or remove the thickness / heft. I don't think it will work for everything, but that's been the case for me with everything else.
Yes I think that's what the issue may be: the way Elevate makes things louder but still transparent is a new sound in itself and needs a bit of getting used to. Could be similar to analog/digital tape in that you get more clarity with the latter but a certain size and weight with the former.

The L1(or any other similar single-band limiter that both "chokes" and "blows up" the sound) has been part of the sound of records for more than a decade now and when it's no longer there there seems to be something missing. Still testing of course and liking Elevate(and Equivocate) better and better the more I use it...
Old 8th October 2017
  #19
Been using it on two songs today, it's a very deep and good sounding processor, I'm pretty impressed so far
Old 9th October 2017
  #20
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Elevate crashes latest version of Reaper here (Windows 8.1, Reaper 5.52). It's a 100% crash if I try to change the amount of filter bands.

Anybody else have issues with this?
Old 9th October 2017
  #21
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Originally Posted by bmanic View Post
Elevate crashes latest version of Reaper here (Windows 8.1, Reaper 5.52). It's a 100% crash if I try to change the amount of filter bands.

Anybody else have issues with this?
Hi bmanic,

There was an OpenGL issue on some Windows machines (sorry). I have a fix which should go out this coming week, but if you PM me I can send it to you now.

Thanks,
Dan
Old 9th October 2017
  #22
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I liked the EQ so much I couldn't resist the Bundle.

Spent an hour with Elevate yesterday in a mastering project, up against Limiter 6 GE.
Obviously I need to spend a lot more time with it but, I was really impressed by Elevate.
It retains a sense of life in the mix.

I was quite happy using the 26 band set up and not really tweaking individual bands much at all.
Let the 26 bands deal with the signal as they see fit as the gain is raised.
I auditioned a few factory presets with less bands but kept coming back to the 26 band set up.

I dialed the Adaptive default options back a bit, particularly Gain, so as to not end up with really noticeable band differences.
Was careful not to push the Transients control too much, that seemed to take away some definition/clarity.
Didn't really use the Clipper function at all, kept it very low, after experiencing unpleasant distortion if pushed.
I whacked a TP catcher after Elevate and agree that having good TP functionality in Elevate would be useful.

Nice GUI and enjoyable to use.

Nice work Dan
Old 9th October 2017
  #23
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Originally Posted by thermos View Post
Limitless needs short look ahead (I do .85) and lower dynamics than most of the presets. I think I do 30. Then it doesn't seem as cloudy. I have been using either Ozone 7 or Limitless for years.
Also just tested this for a minute, I felt like I detected heaps of distortion on the kick but I liked something about the tone so I may just buy it and figure it out.
My settings are even a tiny bit shorter in values, if possible. What I really like about Limitless is its effortless, crunch and distortion free mids and lows. Quite natural sounding in my ears. The one downside I feel, beside sometimes some things in the highs, is its tendency to suck down punch in the mids in some cases with already very dense music. Snare punch can get lost easily or things tends to get harsh here when trying to outbalance it by pushing/dipping the bands. But this is very depended on the music (and the transients within). I would say a 1:25 situation here, so nothing really critical.
This is where Elevate realy has the potential to shine for me, a punchy and open midrange. But unfortunately, after some more testing this morning, there' s still this rather static mid freq crunch/sheen Im not really able to get rid of (the lower the number EQ bands, the lower the crunch gets, but even in a 2-band scenario its very prominent on sensitive sources, and especially compared to Limitless). Also the lows are not on par, they are either not as punchy or too distorted. I really wanted to love this limiter (as I really like their EQ), but for me its simply hard to imagine it will find its own place in my chain atm because of these ugly side effects. The more aggressive and synthetic the music the more Elevate is able to shine. But for more organic sounding stuff and/or big deep lows its simply not the right tool for me. A pity...

PS: Im just working on some music I would call "naive pop" mostly aimed at short-tzime attention in online streaming/youtube where people tend to love what they often call "radio (broadcast) sound" and here Elevate is really able to deliver. So, I think I simply buy it now, just for those clients that are after that sound... We just cant have enough limiters...

Last edited by JP__; 9th October 2017 at 12:27 PM..
Old 9th October 2017
  #24
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Originally Posted by bmanic View Post
Elevate crashes latest version of Reaper here (Windows 8.1, Reaper 5.52). It's a 100% crash if I try to change the amount of filter bands.

Anybody else have issues with this?
Super stable here with reaper 5.5 and win7.
Old 9th October 2017
  #25
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Quote:
Originally Posted by DGillespie View Post
Hi bmanic,

There was an OpenGL issue on some Windows machines (sorry). I have a fix which should go out this coming week, but if you PM me I can send it to you now.

Thanks,
Dan
That would indeed explain it yes as the Softube plugins in their experimental OpenGL mode has some issues here as well.

I'll PM you for details so I get to check out the plugin before my demo runs out.

Cheers!
Old 9th October 2017
  #26
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Originally Posted by JP__ View Post
My settings are even a tiny bit shorter in values, if possible. What I really like about Limitless is its effortless, crunch and distortion free mids and lows. Quite natural sounding in my ears. The one downside I feel, beside sometimes some things in the highs, is its tendency to suck down punch in the mids in some cases with already very dense music. Snare punch can get lost easily or things tends to get harsh here when trying to outbalance it by pushing/dipping the bands. But this is very depended on the music (and the transients within). I would say a 1:25 situation here, so nothing really critical.
This is where Elevate realy has the potential to shine for me, a punchy and open midrange. But unfortunately, after some more testing this morning, there' s still this rather static mid freq crunch/sheen Im not really able to get rid of (the lower the number EQ bands, the lower the crunch gets, but even in a 2-band scenario its very prominent on sensitive sources, and especially compared to Limitless). Also the lows are not on par, they are either not as punchy or too distorted. I really wanted to love this limiter (as I really like their EQ), but for me its simply hard to imagine it will find its own place in my chain atm because of these ugly side effects. The more aggressive and synthetic the music the more Elevate is able to shine. But for more organic sounding stuff and/or big deep lows its simply not the right tool for me. A pity...

PS: Im just working on some music I would call "naive pop" mostly aimed at short-tzime attention in online streaming/youtube where people tend to love what they often call "radio (broadcast) sound" and here Elevate is really able to deliver. So, I think I simply buy it now, just for those clients that are after that sound... We just cant have enough limiters...
Thats all the same stuff I find as well, I like that Limitless can keep the lows so plush but it does smooth out the upper mids which is sometimes great. With Elevate I noticed lots of distortion pretty much right away, but it does have potential. Ozone IRC 3 is still my fave overall but only for like 1-2 db max. I think I read they changed IRC 4 a bit...might have to check it out.
Old 9th October 2017
  #27
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Spent half an hour with this today - seems somewhere between Limitless and Ozone, but I'm certainly interested and impressed enough to spend quite a bit more time with it. Fairly sure I'll end up buying it.

Lots of Limitless equivalents (Separation = Adaptive Gain, Trans Sep = Adaptive Trans) so I have a handle on the overall principle. The ability to set per-band transient enhancement is very, very tidy.

Overall agreed on first sonic impressions; more up front than the natural sound of Limitless, but nowhere near as very-feckin-forward as Ozone 7 IRC IV. Intrigued by the changes there, but that's another story. Could be that Elevate gets used on darker stuff, Limitless on brighter, or something like that.

I'll be back with questions for the designer, I'm sure... good work though.

Last edited by macc; 9th October 2017 at 07:39 PM..
Old 9th October 2017
  #28
Quote:
Originally Posted by JP__ View Post
My settings are even a tiny bit shorter in values, if possible. What I really like about Limitless is its effortless, crunch and distortion free mids and lows. Quite natural sounding in my ears. The one downside I feel, beside sometimes some things in the highs, is its tendency to suck down punch in the mids in some cases with already very dense music. Snare punch can get lost easily or things tends to get harsh here when trying to outbalance it by pushing/dipping the bands. But this is very depended on the music (and the transients within). I would say a 1:25 situation here, so nothing really critical.
This is where Elevate realy has the potential to shine for me, a punchy and open midrange. But unfortunately, after some more testing this morning, there' s still this rather static mid freq crunch/sheen Im not really able to get rid of (the lower the number EQ bands, the lower the crunch gets, but even in a 2-band scenario its very prominent on sensitive sources, and especially compared to Limitless). Also the lows are not on par, they are either not as punchy or too distorted. I really wanted to love this limiter (as I really like their EQ), but for me its simply hard to imagine it will find its own place in my chain atm because of these ugly side effects. The more aggressive and synthetic the music the more Elevate is able to shine. But for more organic sounding stuff and/or big deep lows its simply not the right tool for me. A pity...

PS: Im just working on some music I would call "naive pop" mostly aimed at short-tzime attention in online streaming/youtube where people tend to love what they often call "radio (broadcast) sound" and here Elevate is really able to deliver. So, I think I simply buy it now, just for those clients that are after that sound... We just cant have enough limiters...
At the moment I don't think Elevate is the right tool for soft organic material, or even softer electronic stuff, unless it's sonic footprint is something that is enhancing the end result. I'm currently working on more aggressive material, so it seems to be sitting well with that music since it's already pretty heavily distorted sounding. And it's working out better than my usual go-to tools for that kind of job. I still haven't pulled the trigger on it yet, but I'm considering getting it for aggressive sounding jobs where other limiters have often failed. Have you tried it as a 1 Band Limiter yet? That's on the deck for me today with an instrumental metal guitar band project.
Old 9th October 2017
  #29
Quote:
Originally Posted by macc View Post
Spent half an hour with this today - seems somewhere between Limitless and Ozone, but I'm certainly interested and impressed enough to spend quite a bit more time with it. Fairly sure I'll end up buying it.

Lots of Limitless equivalents (Separation = Adaptive Gain, Trans Sep = Adaptive Trans) so I have a handle on the overall principle. The ability to set per-band transient enhancement is very, very tidy.

Overall agreed on first sonic impressions; more up front than the natural sound of Limitless, but nowhere near as very-feckin-forward as Ozone 7 IRC IV. Intrigued by the changes there, but that's another story. Could be that Elevate gets used on darker stuff, Limitless on brighter, or something like that.

I'll be back with questions for the designer, I'm sure... good work though.
This is pretty much what I'm finding.. Or material that is already pretty crunchy.
Old 10th October 2017
  #30
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Quote:
Originally Posted by engmix View Post
Have you tried it as a 1 Band Limiter yet?
Im just working on a track where a one band setting works surprisingly well. Less shrinkled and more coherent over time/freq (but a bit less "controlled" sounding) than the other settings I tried. But in the end its so music depended (all in all I would say just to use not more bands than really necessary, but this counts for Limitless too) as Elevates crunch is still there and Limitless' one band setting can work great too while retaining its very own character.
In the end we just cant renounce on ears and taste...

Last edited by JP__; 10th October 2017 at 11:35 AM..
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