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Available Now: Airwindows NC-17 Obscenely Loudenator (srsly)
Old 10th June 2010
  #1
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Available Now: Airwindows NC-17 Obscenely Loudenator (srsly)

There's been a little bit of excitement over a new product in Steven Slate-land: a loud-maker called FG-X that is supposed to be a revolutionary new approach that no mere limiter or clipper can offer.

These claims are TRUE.

On the other hand- they kinda gave me more than enough time to work out what was being done, and come up with my own entry into this new category of dynamics processor, using very much my own methods instead of Fabrice's to accomplish the same thing. So-


Airwindows Audio Unit Plugins
This is not a joke. Here's a quick link to the demo. My servers should stand it just fine- because only the audio part is in the plugin, the download is only 112K. It is Mac AU, universal binary, which does mean PPC is supported, and not as an afterthought- it's _developed_ on a dual G5 with ridiculous amounts of RAM, much like many working DAWs out there in studios to this day.

http://www.jinxtigr.com/f/NC17Demo.dmg (also in the full demo collection)

Installing and registering the demo should not pose problems- put it in Library/Audio/Plug-Ins/Components. If you buy NC-17, which is available now (I tested it twice to be absolutely sure), take the demo out and replace it with the real thing. That's all. The demo shows up in Logic as 'NC-17' so that when you switch to the real one, the cached name won't still say 'Demo' in it.

The demo mutes every couple minutes, forever, and you're not allowed to do real work with it. That's all. It never expires and doesn't have to check with anything ever, and it doesn't take up a slot of anything, so it should be a pretty relaxing demo experience. I even made it mute gently with a little fade out and in, because a harsh volume cut would be annoying There is no unlock, you just get the real plugin and throw out the one that says 'demo' when you're done with it.

NC-17 is not (much) louder than FG-X, but it's more in a style of getting saturated rather than getting crackly and forcing in extraneous, non-musically-related stuff. At normal, sane levels, neither should produce any unwanted noise at all, but when stressed, NC-17 grinds and FG-X crackles.

NC-17 does not get more bass than FG-X, but the bass it gets is faster and more closely associated to the original bass transient. When bass has to be rearranged to fit into a very elevated output level, NC-17 is tighter and punchier, FG-X is broader and fatter. Both go beyond what previous limiters could do, much less clippers.

NC-17 is not cleaner than FG-X, but it can get some sounds like lead vocals more up-front because its artifacts are harmonically related and FG-X's artifacts are more sophisticated but can become disassociative ('crackly') when stressed. In that sense, NC-17 is a little easier to use because the sound of it being pushed too far is more familiar, more like the overload of analog gear. With FG-X you have to listen for little artifacts and details being distractingly out of balance, but there's very little sense of traditional distortion happening.

NC-17 is not really a fifth of the price of FG-X, especially if you have to get an iLok, but if you had an iLok already and free slots on it and Slate rolled back to the earlier price of $250, then it would be a fifth of the price. sticking to the small pond of Mac AU and skipping the always-troublesome custom GUI does allow for economies.

Now there are two next-generation loudenators. Enjoy, and props to Fabrice for inventing a whole genre of processor.
Old 10th June 2010
  #2
Gear Nut
 
🎧 10 years
Quick little test shows some promise in this bugger! Thanks for this one Chris, I've always admired your development platform and have loved a lot of your demos but haven't gotten around to buying anything just yet. I think this might be the one that opens the gates for me
Old 10th June 2010 | Show parent
  #3
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by AdamWathan View Post
Quick little test shows some promise in this bugger! Thanks for this one Chris, I've always admired your development platform and have loved a lot of your demos but haven't gotten around to buying anything just yet. I think this might be the one that opens the gates for me
I should hope so. It was pretty revoltingly difficult to match or beat what Fabrice did with FG-X :D that guy handed me my HEAD last Fall. I seriously had to bust my ass to keep up, and it's been very exciting. Now it can be told- and now I get to enjoy the bloodbath of putting out a directly competing product

If I'm found beat to death with patch cables and drumsticks, write on my coffin: "Ate by Slate (fanboys)"
Old 10th June 2010 | Show parent
  #4
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bryan k's Avatar
 
3 Reviews written
🎧 10 years
so this is only for MAC? no PC?
Old 10th June 2010 | Show parent
  #5
Gear Head
 
🎧 10 years
would love to try it out if there was a version for PC
Old 10th June 2010 | Show parent
  #6
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Yup. Apparently there's a way to run AUs in Pro Tools with several wrappers- I'm not a Pro Tools guy so I don't know the details off-hand.

It's $50 _because_ it doesn't have to support multiple platforms, metering, GUIs- all it does is get THAT sound for the end listener. I can't possibly take on the support load for releasing on PC plus Mac on various plugin architectures. Even Slate's having a tough time of it.

It's Mac AU universal binary and I can't offer anything else, though give me credit for supporting PPC- there's a lot of old Mac PPC systems running studios out there
Old 10th June 2010 | Show parent
  #7
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temetrepo's Avatar
 
🎧 10 years
if you have Kore, install the RTAS version and you can host them inside PT
Old 10th June 2010 | Show parent
  #8
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1 Review written
🎧 10 years
Seems pretty good...chris I have to admire your tenacity hanging around the slate thread and then immediately attempting to recreate the process for $50...no idea what Steven and his team must be thinking...

I compared the NC-17 demo from the FX-G thread demo (dry) and matched the RMS. The FX-G has more punch and retains more sub it seems...the NC-17 is good tho similar to the Ozone demo...
Old 10th June 2010 | Show parent
  #9
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🎧 10 years
Quote:
Originally Posted by SWAN808 View Post
Seems pretty good...chris I have to admire your tenacity hanging around the slate thread and then immediately attempting to recreate the process for $50...no idea what Steven and his team must be thinking...not even sure if I approve to be honest...

There's nothing morally wrong in this I wouldn't say. I have lots of great compressors that all reduce the dynamic range, some sound pretty similar too

Old 10th June 2010 | Show parent
  #10
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🎧 10 years
Quote:
Originally Posted by Surbitone View Post
There's nothing morally wrong in this I wouldn't say. I have lots of great compressors that all reduce the dynamic range, some sound pretty similar too

its more to do with the way chris hungrily hovered about the slate threads for months...being quite outspoken...almost challenging...
Old 10th June 2010 | Show parent
  #11
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1 Review written
🎧 10 years
Quote:
Originally Posted by SWAN808 View Post
its more to do with the way chris hungrily hovered about the slate threads for months...being quite outspoken...almost challenging...
If I'm honest, I only briefly glanced over the thread a few times really, so didn't pick up on it or follow what was happening. I can 100% see what you mean though.
Old 10th June 2010 | Show parent
  #12
Gear Maniac
 
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🎧 10 years
Got the demo but have not had a chance to check it out in the studio yet.
One thing I noticed checking it at home in logic is that just inserting the plugin drops the level by 1.7db then it peaks at -.3db when you push the slider to 3db.
Pushing past 3db saturates the signal but stays at -.3db peak
I tested with audio peaking at 0db to check it.
It doesn't seem right to me that the plugin drops the level before you boost it and that it needs a 3db "louder slider" boost to get back to where you started from.
Please explain what is happening here.
Michael
Old 11th June 2010 | Show parent
  #13
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PlayRadioPlay's Avatar
 
🎧 10 years
I'm an Airwindows fanboy, so I'll be testing this out.

I'll actually test it out right next to the FGX, so I'll post my impressions after I do that.

Keep it up Chris.
Old 11th June 2010 | Show parent
  #14
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Immediately is a funny word for it- I've had since last fall, after all!

I also think it's an odd description to say I hungrily hovered over the Slate thread like a predator, when the first I knew of it was discovering that Steven had announced a new thing that would be out momentarily- that it destroyed other techniques such as clipping- and that people should cease buying anything of that nature and save up for FG-X.

ADClip sales stopped, certainly from Gearslutz, the instant Steven got very public telling people to not buy anyone else's stuff because his would be so far superior that you'd have wasted your money.

Now, ADClip is not in the same 'weight class' as this next-gen stuff. It can't hold together at the type of levels we're using, in particular it can't hold onto bass at such elevated levels.

But it's still perfectly good for what it was designed to do- snip minor overs without the hardness you get off straight-up digital clipping or soft-clipping ITB.

I have to feed my cats, and possibly even myself and I have no problem with taking on Slate Digital in fair, decent competition. Now that everything's out, we can go on the merits of the products. There's nothing wrong with that. And I've been quick to confirm FG-X is qualitatively different from traditional limiters- and all this time, while Slate has been coaxing various Gearslutz to save their money and wait for his soon-come new product, I have said NOTHING to complain, and have not tried to jump ahead and snag business he was trying to line up in advance. NC-17 did not have to wait politely until people could hear FG-X. I could've said "it'll never ship, here's NC-17" and scored bigtime. I did not.

FG-X is out. It's fair for me to have a rival product in the same class which does not use any of Fabrice's algorithms or ideas. It should be immediately obvious that NC-17 uses entirely different approaches to do very similar things. I would think it was really dirty pool if I'd copied Fabrice's specific sound and methods for doing what he does, but I like mine better.

Cheers
Old 11th June 2010 | Show parent
  #15
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PlayRadioPlay's Avatar
 
🎧 10 years
First impression: this thing is pretty cool. Anyone can lazily add decibels to their mix. I'll definitely buy this to use on rough mixes alone.

Adding 5-6 db was transparent enough for me. Adding much more than that started to sound a bit too squashed, but even that I imagine there's a use for. I was testing it on a semi-lo-fi space rock band that was recorded in one take in a reverberant room, so I wasn't using this on Top 40 pop hits or anything, but I like it a lot so far. I'd probably give it an edge over Stillwell's Event Horizon.

Great job Chris.

Also, IronOxide is one of my single most used plugins. Decapitator replaced it on some sources for a while, but I'm starting to find that I find it nicer sounding than Decapitator on 80% of things, even though it doesn't have as many controls. Keep doing your thing!
Old 11th June 2010 | Show parent
  #16
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by mickrich View Post
Got the demo but have not had a chance to check it out in the studio yet.
One thing I noticed checking it at home in logic is that just inserting the plugin drops the level by 1.7db then it peaks at -.3db when you push the slider to 3db.
Pushing past 3db saturates the signal but stays at -.3db peak
I tested with audio peaking at 0db to check it.
It doesn't seem right to me that the plugin drops the level before you boost it and that it needs a 3db "louder slider" boost to get back to where you started from.
Please explain what is happening here.
Michael
Sure- treat NC-17 as a 'loudness box' which doesn't really follow traditional rules of limiters and compressors. The gain control is just what it says- equivalent to exactly that much boost going into the plug, just as if you had a separate gain in series with NC-17.

But once it hits NC-17, things get a lot more complicated. It's hitting several different stages which saturate, and then take the overshoot of the saturation and re-map it into harmonic synthesis. This is also why it can hang onto added loudness in the upper mids so well- some of that action is happening in the mids, not just the lows. The whole purpose is to allow NC-17 to continue to get louder past the point where limiters would have to give up. Because it's based on saturation-remapping techniques originally used in ShortBuss, there's a degree of dirty analog flavor that people should audition carefully- it's not modeling any specific analog gear, it's just showing similar behaviors, and using that ability to rearrange the 'overs' into harmonics allowing more sound energy than you get from plain old clipping.

FG-X takes its 'overs' energy and reshuffles it into transient attacks, sort of like it's re-weighting the internal transients of the track into something that can fit into the elevated level better.

NC-17 takes its 'overs' energy and throws it directly into harmonic generation (both odd and even) in a more immediate manner, so it doesn't change the internal balance of transients, it simply uses harmonics to fill in areas where you need sound density- both in the lows, and right up into the high mids if necessary.
Old 11th June 2010 | Show parent
  #17
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PlayRadioPlay's Avatar
 
🎧 10 years
Quote:
Originally Posted by chrisj View Post
Immediately is a funny word for it- I've had since last fall, after all!

I also think it's an odd description to say I hungrily hovered over the Slate thread like a predator, when the first I knew of it was discovering that Steven had announced a new thing that would be out momentarily- that it destroyed other techniques such as clipping- and that people should cease buying anything of that nature and save up for FG-X.

ADClip sales stopped, certainly from Gearslutz, the instant Steven got very public telling people to not buy anyone else's stuff because his would be so far superior that you'd have wasted your money.

Now, ADClip is not in the same 'weight class' as this next-gen stuff. It can't hold together at the type of levels we're using, in particular it can't hold onto bass at such elevated levels.

But it's still perfectly good for what it was designed to do- snip minor overs without the hardness you get off straight-up digital clipping or soft-clipping ITB.

I have to feed my cats, and possibly even myself and I have no problem with taking on Slate Digital in fair, decent competition. Now that everything's out, we can go on the merits of the products. There's nothing wrong with that. And I've been quick to confirm FG-X is qualitatively different from traditional limiters- and all this time, while Slate has been coaxing various Gearslutz to save their money and wait for his soon-come new product, I have said NOTHING to complain, and have not tried to jump ahead and snag business he was trying to line up in advance.

FG-X is out. It's fair for me to have a rival product in the same class which does not use any of Fabrice's algorithms or ideas. It should be immediately obvious that NC-17 uses entirely different approaches to do very similar things. I would think it was really dirty pool if I'd copied Fabrice's specific sound and methods for doing what he does, but I like mine better.

Cheers
Competition is good!

I'm still an advocate for drawing up some funky analog panels for plugin UIs heh
Old 11th June 2010 | Show parent
  #18
Gear Maniac
 
mickrich's Avatar
 
🎧 10 years
Quote:
Originally Posted by chrisj View Post
Sure- treat NC-17 as a 'loudness box' which doesn't really follow traditional rules of limiters and compressors. The gain control is just what it says- equivalent to exactly that much boost going into the plug, just as if you had a separate gain in series with NC-17.

But once it hits NC-17, things get a lot more complicated. It's hitting several different stages which saturate, and then take the overshoot of the saturation and re-map it into harmonic synthesis. This is also why it can hang onto added loudness in the upper mids so well- some of that action is happening in the mids, not just the lows. The whole purpose is to allow NC-17 to continue to get louder past the point where limiters would have to give up. Because it's based on saturation-remapping techniques originally used in ShortBuss, there's a degree of dirty analog flavor that people should audition carefully- it's not modeling any specific analog gear, it's just showing similar behaviors, and using that ability to rearrange the 'overs' into harmonics allowing more sound energy than you get from plain old clipping.

FG-X takes its 'overs' energy and reshuffles it into transient attacks, sort of like it's re-weighting the internal transients of the track into something that can fit into the elevated level better.

NC-17 takes its 'overs' energy and throws it directly into harmonic generation (both odd and even) in a more immediate manner, so it doesn't change the internal balance of transients, it simply uses harmonics to fill in areas where you need sound density- both in the lows, and right up into the high mids if necessary.
Thanks for taking the time to reply but you didn't answer my question re the 1.7db level drop when the plug is inserted. Please read my initial post again.
Old 11th June 2010 | Show parent
  #19
Lives for gear
 
🎧 15 years
could someone post a file with the original from the other thread?
didnt like what i did hear when i subtracted the MP3 conversions from the originals on both(FGX and Ozone)
Old 11th June 2010 | Show parent
  #20
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by mickrich View Post
Thanks for taking the time to reply but you didn't answer my question re the 1.7db level drop when the plug is inserted. Please read my initial post again.
NC-17 does that. There's nothing in there that says 'drop 1.7 db', it's just a side-effect of all the saturation and harmonic generation. It doesn't worry me because it's expected that you'll either boost or hit it hard as a buss safety limiter (for which it will be ridiculously effective) and if you are using this type of loudenator you've already traded off any pretense of working audiophile and caring about such things

I do sell ADClip, still. The way it works, it does not touch the value of ANY sample that isn't already clipped- it does its softening-harshness thing entirely with stuff that's already flat-topped, and anything not clipped is bit-identical. For serious audio and music you expect people to want to listen to repeatedly, it would be ADClip and much more conservative levels (or NC-17 as a buss effect, and mix through it thus compensating for any losses).

Maybe I can explain by example more easily. For careful mixing and sound sculpting, you really don't want to be using ANY of these tools, because headroom is your friend. Maybe something like ADClip for the occasional over, but you won't even want your big drum accents to slam past 0 because you'll want to control them.

On the other hand, if you want to get into Wal-Mart and past rack jobber selection committees, you won't even care about retaining neat transients on your snare drums, and you'll do something like this...

http://www.jinxtigr.com/m/FGDEMO_NC17.wav

That's Slate's own example, pushed to the point where everything sort of merges and roars. FG-X will crackle at these levels. It's a solid DB more peak energy than the FG-X demo, and it will sound bigger than what Slate had, because he's playing to a crowd of picky engineers who want to think they still have treble detail, etc.

The guys who are actually trying to get into Wal-Mart will go for the extra DB every time, and the committees making the call- the ones largely responsible for the loudness war- they don't care about treble details, to them bigger is better.

I made NC-17 be forgiving under abuse for a reason. In gentler use, it'll give a pretty big sound, not pulling all the same detail FG-X is designed to suggest, but it'll hold together and continue slugging away in realworld contexts where the plug is being hit too hard, balancing on the brink of complete collapse. The dynamics still hit, the lead vocals still cut even when everything's on the brink of complete overload. I actually worked harder on retaining vocal presence than I did on sub-bass, because the real audience for this thing knows it's all about hitting with the lead vocal.

Plugin sales are NOT the only place where it's brutal, ruthless and competitive. Top 40 and the land of the wild rack jobber are every bit as harsh. It's nice to work at retaining audiophile qualities at these stupid-loud levels, but that battle was lost ages ago. This one's for the guys in the trenches who have to take their work into those rack jobber committee meetings...
Old 11th June 2010 | Show parent
  #21
Gear Maniac
 
🎧 10 years
So I tried the Slate thing, decided it was pretty cool but not something I need (I'm quite happy with my Waves SSL comp plus T Racks Brickwall).

Out of curiosity I gave this a spin, and I really like what it does. It has a warmth to it when pushed and it holds together beautifully, plus it's as simple as it gets (as limiters should be) and very CPU friendly (unlike Slate). Good work dude, very impressive!

Old 12th June 2010 | Show parent
  #22
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by granville View Post
Out of curiosity I gave this a spin, and I really like what it does. It has a warmth to it when pushed and it holds together beautifully, plus it's as simple as it gets (as limiters should be) and very CPU friendly (unlike Slate). Good work dude, very impressive!
Thanks there really are some significant character differences, it's NOT a Slate clone in the least, even though it's the same class of processor. FG-X is a lot more brittle when pushed because of how hard it tries to retain transient dynamics and scale them up- since it refuses to soften, it kinda shatters when pushed too far, and I don't feel it focuses on the right things unless you are more gentle with it- in which case, many other tools are still useful (always excepting FG-X's astonishing low-bass performance).

NC-17 can be pushed a LOT farther, like pushing a tube amp vs. a digital processor- when you get ridiculous with it, it gets kinda big and roaring and huge, certainly at shockingly elevated levels, and the extreme highs soften. You get extended bass though not as separated out as the FG-X, more worked into the sound of the track, and you get a cut to the upper mids that's considerably beyond even what you can get with sheer raw clipping. That's KINDA warm- it's warm in the sense that a tube emulation would be warm versus clipping the input of some elaborate FFT-based processor- it's really not AS warm as real analog gear, but it's at an output level way higher than you could get through overdriving real analog gear.

In a way it's a little bit like the way metal guys run a TS-9 or variant in front of their high gain amps to voice the sound so it will project better. I'm not arguing for a moment that FG-X doesn't have more cleanly rendered, extended super-lows. But what NC-17 does- will beat what FG-X does, played on boomboxes or what have you, in rack jobber committee meetings, where you want it to be big, loud, and have the vocals be incredibly strong and direct. The tradeoffs are correct for the intended market.

Actually, because it does that, it makes for a decent 'analog bussifier' as well: it definitely won't pass the sound of a digital mix through without attacking some of the qualities that make it come off like an ITB mix. In a way it disguises that, so it might be worth looking at strictly for the slight tone-changing qualities, as well as the extended output levels. I'll be experimenting with that now that I'm done developing it.
Old 12th June 2010 | Show parent
  #23
Gear Guru
 
SWAN808's Avatar
 
1 Review written
🎧 10 years
my experience ABing this with FX-G and I see where chris is coming from in his description...
NC-17 is warmer and saturated more than FX-G-it seems to break up a little tube-like in manner but not harsh...FX-G retains the high end more and sounds clearer...and a tad more sub bass. I think it might be a slight exaggeration to say 'brittle' but it does sound more digital and clinical compared to NC-17.
I have to hand it to chris that this is a nifty little plug and I can see myself mixing thru it and keeping it on the Ableton bus to stop it from overs - and doing my own home masters...
Im finding the extras on the slate plugin to sound a bit digital - the transient designers and compressor - too clinical for me...sharp...
For AU users this plugin for loudness maximising seems like a no brainer at $49....
Old 12th June 2010 | Show parent
  #24
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Mixocalypse's Avatar
 
🎧 10 years
Sounds like ADClip to me. It's a little smoother though.
Comparing it to FG-X, I don't know... The FG X has way more settings to tweak. And Im Sure is much more versatile.

You can slam slates mix into a lot of things and it will sound good.

50 bucks is good, I'll agree, but I already own ADClip.
Old 12th June 2010 | Show parent
  #25
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by StaticStudios View Post
Sounds like ADClip to me. It's a little smoother though.
Comparing it to FG-X, I don't know... The FG X has way more settings to tweak. And Im Sure is much more versatile.

You can slam slates mix into a lot of things and it will sound good.

50 bucks is good, I'll agree, but I already own ADClip.
That's actually high praise because apart from bass and fullness at elevated levels, ADClip is extremely good I agree that it's a little smoother, for some people that'll be a problem, which is OK by me.

I'm glad I don't have more settings to tweak, if I had to go "NO! Don't set it there!". It's good of Slate to try and teach people how to use FG-X responsibly and not set it wrong, but there's going to be a lot of people cranking the knobs wrong anyhow. NC-17 is more predictable, which has a kind of value too

For either next-generation loudenator, the real test is in trying to force through stuff that would fail in ADClip- primarily bigness and bass at seriously elevated levels, but also (for NC-17) extremely aggressive midrange. Some of that stuff will sound harsher with ADClip unless you back the levels off.

Remember, it's not only okay, it's GOOD to try and back the levels off! What I'm using NC-17 for is not pop-music levels, it's having the body of the music at a good, open, comfortable level and then being able to throw in accents, dub-like fader moves etc that go WAY above 'cruising power'.

Some of the classic old vinyl records ran amazingly low RMS levels most of the time, so they could pull arrangement tricks like that when stuff overlapped or needed to really sting. I use NC-17 to do THAT at more typical CD levels. Mostly pretty open, then BAM. And it's working better than ADClip, because I like being able to do that with basses and kicks a LOT.
Old 13th June 2010 | Show parent
  #26
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🎧 10 years
Well... I think I spoke too soon, or hastily.
I dug up an old mix from a few years back. This mix was actually professionally mastered as-well

I took My Mix, NC-17, ADClip and the Master

ADClip was much muddier and you could hear bits of distortion and was just over all harder. In comparison just not as nice as the others.
I could easily get the volume/RMS of the original master. A tiny bit of EQ in the low end got me pretty close to the original master. No real effort..

Interesting....

Well.. I tell you this... this could be a replacment for ADClip for sure. It should be an upgrade... for ADClip users... lol.. just kidding.
Old 13th June 2010 | Show parent
  #27
Airwindows
 
chrisj's Avatar
 
🎧 15 years
ADClip is a different weight class. You could also use it inside mixes, or anywhere you could find use for REALLY transparent MODERATE peak-whacking.

These days nobody seems to be able to get away with that on a final master, so- NC-17
Old 13th June 2010 | Show parent
  #28
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Following up on a post in another thread- this is a pretty tightly levelmatched version of Slate's Rock track. This is actually one of the tracks I used to write NC-17 with- I would take the Slate tracks from last fall, and absolutely kill them with gain, adjusting things so it would fall apart as gracefully as possible when gratituously abused

Slate:
http://www.slatedigital.com/fgdemo/RockFGX.wav

Airwindows:
http://www.jinxtigr.com/m/RockNC17.wav

What I'm hearing is that NC-17 is a tad grungier, but also bigger and solider, and lastly that it doesn't bring out the peaks as much. All of the other examples given on that thread, including the Ozone revisiting by Alexey, lose the foundation and scale of the mix because they don't rearrange the bass/mids to fit. However, if you overlook that, Ozone makes a really good showing, even matching the peak/average RMS of the Slate track very closely

NC-17 is still a fifth the cost of either, AU only, and does not have either Star Trek or faux knob graphics to look at while you abuse mixes for mooks

Oh- I know the dither Ozone uses, MBit+, and it is one HELL of a noise shaper. Maybe it produces a lot of treble energy- but it's fantastically transparent. Worth checking out if you're dither-savvy...
Old 13th June 2010 | Show parent
  #29
Lives for gear
 
🎧 10 years
Darnit! I just bought ADClip today

Still, I can't wait to try this one.
Old 13th June 2010 | Show parent
  #30
Airwindows
 
chrisj's Avatar
 
🎧 15 years
PMed.
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