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Mastering The Mix Releases EXPOSE Quality Control Application
Old 10th November 2017
  #1
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Mastering The Mix Releases EXPOSE Quality Control Application

Mastering The Mix Releases EXPOSE Quality Control Application-screen-shot-2017-11-10-11.38.31-am.png
Mastering The Mix Releases EXPOSE Quality Control Application

A few words from Mastering The Mix:

Is your music release ready? Are you sure...? Too often music is released with technical issues that degrade the quality. With EXPOSE, it only takes a few seconds to make sure you deliver the best listening experience every time. EXPOSE is a stand alone application for music producers, label owners, managers and anyone interested in releasing high quality music.

Measurements Include:

• Integrated LUFS.
• Short Term LUFS.
• Decibels True Peak (16X Oversampling).
• Sample Peak.
• Left / Right heat map.
• Correlation heat map.
• Short Term Dynamic Range.
• Loudness Range.

How To Use EXPOSE in 6 Easy Steps:

1. LOAD A TRACK: Open the application and drag your audio onto the dashboard.
2. PRESETS: In the bottom left corner you’ll see the presets. Click on the text and select where your audio will be heard (i.e ‘Apple Music’, ‘Club’, ‘Spotify’ etc).
3. READINGS: The four sections give you detailed information about the loudness, peaks, stereo/phase information, and dynamic range of your audio.
4. IDENTIFY ISSUES: If EXPOSE detects that issues would arise, the section icon and problematic readout will turn red. The waveform will also show you the exact location of the issues.
5. ISOLATE ISSUES: Click on one of the numerical readouts to isolate those specific issues on the waveform.
6. PREVIEW AUDIO: You can click on the waveform to preview that part of the audio. Once you’ve identified what and where the technical issues are you can efficiently resolve them in your DAW. Hit spacebar to start and stop continuous playback.

System Requirements:
Standalone Application.
MAC - OS X 10.8 or higher.
Windows - Windows 7, 8 or 10.

Video trailer: https://www.youtube.com/watch?v=SPMhRW9rT9E

Free Trial: 15 Days. No Credit Card Details Required

Price (inc VAT): £29. Introduction Price (inc VAT): £9 until November 31st 2017 23:59 GMT.

For further information and to purchase, please visit: https://www.masteringthemix.com/products/expose
Attached Thumbnails
Mastering The Mix Releases EXPOSE Quality Control Application-screen-shot-2017-11-10-11.38.31-am.png  
Old 10th November 2017
  #2
Great software, with good features. It just works.
Old 12th November 2017
  #3
Gear Head
I'm demoing it...I really don't know what to do with my red parts. Is it helping someone?
I would really like to take some mastered pro song and see if everything is blue...I strongly doubt it!
It seems more interesting "levels" to me, although absolutely overpriced.
Anyway, I'm ready to change my opinion if someone help me understanding how this can be useful.

Cheers
Old 12th November 2017
  #4
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Quote:
Originally Posted by mauroiul View Post
It seems more interesting "levels" to me, although absolutely overpriced
It's currently nine quid and you are calling it overpriced?
Old 12th November 2017
  #5
Here for the gear
 

I'm perplexed as to what this is supposed to be showing me. I ran some of my own finished tracks as tests, and my MP3 masters consistently show up as "blue" (that is, good) across categories except for total dynamic range. And I can assure you my masters are far from perfect.

Meanwhile, I also tested about a dozen pro-mastered and test mp3s and AACs from Apple, Amazon, CD rips, and some other sources. Regardless of genre and artist, they consistently show red in most every category across Expose's mastering presets (including total dynamic range). And these are mastered tracks which, I must say, sound much better than mine (as I would expect!).

I very well may be misunderstanding or doing something wrong. I'm certainly not going to say that the current sale price is excessive. But I'm not quite sure how this will benefit me.

Time to put it aside for a while and maybe give it a fresh look in a few days.
Old 12th November 2017
  #6
Gear Maniac
 

same story here i tested with several pro mixes, famous songs, and it says everything is
full of errors, so ahm, no thanks....
Old 12th November 2017
  #7
Gear Addict
 

I bought it for the very reasonable intro price.

I also tested some pro mastered tracks and found various errors. Unlike some previous posters I actually think that those pro mastered tracks may be less than optimal. The reason, however, is that those I tested were older and mastered before current standards were implemented. Hence they all had true peak overshoots. Some were too compressed because they were mastered during the loudness war etc.

The only highlighted problems I disagreed with was in some cases too little variation in short term LUFS. I believe that depends on the song and its arrangement whether you have quieter and louder parts. The lack of such variation may make the song less interesting to the listener, but obviously not in all cases. That however was easy spot for me and decide whether I agreed or not.

Just one thing I don't understand is that there is only an upper threshold for integrated LUFS. Shouldn't it be a narrow range of LUFS close to the appropriate standard if you intend to deliver the song for iTunes, Spotify etc.? I believe iTunes now stream at -16 LUFS, so what is the idea of having a threshold of -12 LUFS?
Old 12th November 2017
  #8
Here for the gear
 

Quote:
Originally Posted by tombuur View Post
I also tested some pro mastered tracks and found various errors. Unlike some previous posters I actually think that those pro mastered tracks may be less than optimal. The reason, however, is that those I tested were older and mastered before current standards were implemented. Hence they all had true peak overshoots. Some were too compressed because they were mastered during the loudness war etc.
That's a good point re changing standards. I confess I hadn't really thought about that somehow.
Old 12th November 2017
  #9
Gear Addict
Gave it a test. According to this software Frank Arkwright doesn't know what he's doing.
Old 12th November 2017
  #10
Lives for gear
 
Gemylon's Avatar
Bought




Old 12th November 2017
  #11
Lives for gear
 

If it sounds good, I dont care about errors...
Old 12th November 2017
  #12
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Gemylon's Avatar
Quote:
Originally Posted by FoxMulderFBI View Post
If it sounds good, I dont care about errors...

True !

This is a tool you can chose to use when you need it.
It will never ever outdo your ears.




Last edited by Gemylon; 13th November 2017 at 02:30 PM..
Old 12th November 2017
  #13
Gear Maniac
 

Quote:
Originally Posted by FoxMulderFBI View Post
If it sounds good, I dont care about errors...
if it sounds good then these are not errors strictly speaking....
Old 12th November 2017
  #14
Gear Maniac
 
Detch's Avatar
 

It like if you show your song to some random guy with his personal preferences and he gives you the review: the sound of this track is not round enough.
I doubt it usefulness
Old 13th November 2017
  #15
Gear Addict
 

Expose vs Levels - anyone compare the two products? Unless I'm missing something, Levels and Expose do the same thing, but to use it in your DAW (levels) costs 4x as much?
Old 14th November 2017
  #16
Gear Head
 

Quote:
Originally Posted by mauroiul View Post
I'm demoing it...I really don't know what to do with my red parts. Is it helping someone?
Hey there If you hover your mouse over the readouts you'll get see tools tips that can give you a suggestion of how to meet the preset recommendations.
Old 14th November 2017
  #17
Gear Head
 

Quote:
Originally Posted by consnyc View Post
same story here i tested with several pro mixes, famous songs, and it says everything is
full of errors, so ahm, no thanks....
You're right, a lot of releases will show up red. It's quite surprising how many songs are released that end up clipped and over compressed, as you've now seen for yourself.


This happens for a number of reasons. Firstly, the loudness wars plays a big part in this. But also, if you get your music from iTunes, you'll find a lot of clipping. A lot of engineers send wav files to iTunes peaking at 0.0dBFS. When iTunes converts these to AAC for delivery, the peak almost always increases (more so if the track is particularly compressed and loud). So the file that the customer receives is clipping...The MFiT (mastered for iTunes) preset in EXPOSE would help you avoid this particular issue.


This is just relating to iTunes…I could go on and explain my reasons for the other presets in a similar depth. It's also important to note that a file might have been completely blue with no issues before uploading to iTunes, then the iTunes AAC converter increased the peaks, so the track now shows red in EXPOSE. EXPOSE is a tool to use before uploading a track, not after it's been converted, as some readings (in the case of iTunes, the peak) will be different.*


These platforms (Spotify, Youtube etc) have different ways of delivering or streaming audio. A lot of the music currently on these platforms still being mastered as if its being delivered on CD. HENCE, we have a lot of music with a lot of issues.**


Whichever way you look at it, it’s useful to know the technical details of your audio.*There are a load of empty user presets for you to create your own presets that work for your music
Old 14th November 2017
  #18
Lives for gear
 

Gaucho - SteelyDan [MFSL - CD] returns all blue with the Mastering CD preset.

M.Jackson - Billy Jean [24/96 HD] - all Red in 'Loudness Range' tab, 5 sections in the 'Stereo Balance' tab.
Old 14th November 2017
  #19
Gear Head
Quote:
Originally Posted by LGK_Dude View Post
Expose vs Levels - anyone compare the two products? Unless I'm missing something, Levels and Expose do the same thing, but to use it in your DAW (levels) costs 4x as much?
I'm demoing them both. What I said about the price was referred to level and not to expose.
In my opinion level is a much better tool. Not revolutionary by any means, it tells you thinks that, in a session, from time to time, can be useful. The good part is the one about the Lfus, which has got some presets according to your mix destination. If ever there will be a 50% discount I would probably get it.

Expose, basically due the same in a less detailed way, but being out of daw, you should go back to the mixing session with little clue of why the red zone is red. My assessment (at the moment) is that is a pretty useless tool not to worth even the few dollars that costs.

Cheers.
Old 14th November 2017
  #20
Gear Head
 

Quote:
Originally Posted by RJHollins View Post
Gaucho - SteelyDan [MFSL - CD] returns all blue with the Mastering CD preset.

M.Jackson - Billy Jean [24/96 HD] - all Red in 'Loudness Range' tab, 5 sections in the 'Stereo Balance' tab.

The Loudness Range reading can be taken with a pinch of salt. Billie Jean has a very consistent loudness throughout the whole song, which is why the LU reading is closer to zero than most tracks. EXPOSE was created to VERY quickly give you all this information in a way that was easy to digest. But of course the engineer or artist has the final say in what sounds best and what is the best decision for the music. In the case of Billie Jean, the driving drum groove throughout the song is not only awesome, but iconic. We made ALL the preset totally editable so you can change your thresholds to whatever suits your preferences (as well as a number of user preset slots).
Old 14th November 2017
  #21
Gear Head
 

Quote:
Originally Posted by mauroiul View Post
I'm demoing them both. What I said about the price was referred to level and not to expose.
In my opinion level is a much better tool. Not revolutionary by any means, it tells you thinks that, in a session, from time to time, can be useful. The good part is the one about the Lfus, which has got some presets according to your mix destination. If ever there will be a 50% discount I would probably get it.

Expose, basically due the same in a less detailed way, but being out of daw, you should go back to the mixing session with little clue of why the red zone is red. My assessment (at the moment) is that is a pretty useless tool not to worth even the few dollars that costs.

Cheers.
Hey Mauroiul, Thanks for the feedback

EXPOSE is actually more detailed than LEVELS in that it gives more information and shows you exactly where the issues actually occur in your track. In use, it's a fast tool that you'll probably only need to spend about 5-10 seconds looking at a track to understand what and where the issue are. It's main application is that it's a final quality control tool to double check that there are no errors before sending or uploading the audio.
Old 14th November 2017
  #22
Gear Maniac
 

Quote:
Originally Posted by MasteringtheMix View Post
You're right, a lot of releases will show up red. It's quite surprising how many songs are released that end up clipped and over compressed, as you've now seen for yourself.


This happens for a number of reasons. Firstly, the loudness wars plays a big part in this. But also, if you get your music from iTunes, you'll find a lot of clipping. A lot of engineers send wav files to iTunes peaking at 0.0dBFS. When iTunes converts these to AAC for delivery, the peak almost always increases (more so if the track is particularly compressed and loud). So the file that the customer receives is clipping...The MFiT (mastered for iTunes) preset in EXPOSE would help you avoid this particular issue.


This is just relating to iTunes…I could go on and explain my reasons for the other presets in a similar depth. It's also important to note that a file might have been completely blue with no issues before uploading to iTunes, then the iTunes AAC converter increased the peaks, so the track now shows red in EXPOSE. EXPOSE is a tool to use before uploading a track, not after it's been converted, as some readings (in the case of iTunes, the peak) will be different.*


These platforms (Spotify, Youtube etc) have different ways of delivering or streaming audio. A lot of the music currently on these platforms still being mastered as if its being delivered on CD. HENCE, we have a lot of music with a lot of issues.**


Whichever way you look at it, it’s useful to know the technical details of your audio.*There are a load of empty user presets for you to create your own presets that work for your music
Thanks for taking the time to provide this perspective. From my end
many of the mixes that are flagged sound just fine and most individual
red sections the same.

There is an important factor in all systems that produce alerts
called "alert (or alarm) fatigue" see: https://en.wikipedia.org/wiki/Alarm_fatigue

Too many alerts and too many false positives => user does not
pay any attention any more. I would recommend incorporating a
threshold knob in the UI under every problem diagnostic category
that allows users to set the seriousness of red flagged
problems.

Also operating outside the daw is a workflow killer because fixing the
problems requires switching apps, saving audio files and reloading/re-analyzing them.

If these two items are fixed I would be happy to pay multiples of the
current asking price.
Old 14th November 2017
  #23
Gear Head
 

Quote:
Originally Posted by consnyc View Post
I would recommend incorporating a
threshold knob in the UI under every problem diagnostic category that allows users to set the seriousness of red flagged
problems.
We played around with using different colours for this, but it became difficult to read. So we included the preset threshold and actual reading in the hover over window so you can see to what extent the threshold has been breached.

Quote:
Originally Posted by consnyc View Post
Also operating outside the daw is a workflow killer because fixing the
problems requires switching apps, saving audio files and reloading/re-analyzing them.
EXPOSE is a last minute quality control checker to catch anything you might have missed during production. We have a metering plugin called LEVELS which gives you the majority of the same readings as EXPOSE in real time in your DAW.

Great feedback, thank you. The Alarm Fatigue link was very interesting and we'll keep this in mind.
Old 14th November 2017
  #24
Gear Maniac
 

Quote:
Originally Posted by MasteringtheMix View Post
We played around with using different colours for this, but it became difficult to read. So we included the preset threshold and actual reading in the hover over window so you can see to what extent the threshold has been breached.



EXPOSE is a last minute quality control checker to catch anything you might have missed during production. We have a metering plugin called LEVELS which gives you the majority of the same readings as EXPOSE in real time in your DAW.

Great feedback, thank you. The Alarm Fatigue link was very interesting and we'll keep this in mind.

You are very welcome.

I will look into levels. By the way let me congratulate on your
REFERENCE plugin which is amazing!
Old 18th November 2017
  #25
Here for the gear
 

I've been reading what I can find on the subject of mastering for iTunes, Spotify etc and I'm still not understanding it fully.

I bought Expose and have been trying to prep a master for Spotify.

In order for me to stay within the guidelines, I'm just touching my limiter with maybe 1db of reduction on peaks.

Up until now, I've tried to level match with professionally produced CDs and obviously that requires a lot more limiting.

Here's where I'm confused. My mixes are obviously going to be radically different in these two scenarios. I know that more dynamics are generally prefered but I actually prefer my mixes more heavily limited.

Is there a different way to approach this so I can still hit the limiter a bit harder and still have acceptable levels for Spotify etc?
Old 18th November 2017
  #26
Gear Head
 

Quote:
Originally Posted by Square Citizen View Post
I've been reading what I can find on the subject of mastering for iTunes, Spotify etc and I'm still not understanding it fully.

I bought Expose and have been trying to prep a master for Spotify.

In order for me to stay within the guidelines, I'm just touching my limiter with maybe 1db of reduction on peaks.

Up until now, I've tried to level match with professionally produced CDs and obviously that requires a lot more limiting.

Here's where I'm confused. My mixes are obviously going to be radically different in these two scenarios. I know that more dynamics are generally prefered but I actually prefer my mixes more heavily limited.

Is there a different way to approach this so I can still hit the limiter a bit harder and still have acceptable levels for Spotify etc?
If you prefer a more compressed sound, I would recommend addressing each channel with the right amount of compression for that material rather than pushing a blanket setting over the whole mix. That was y you could fine tune the sound you are trying to achieve in the most appropriate way for each instrument and sound.

Spotify would stream your track somewhere between -12 to -16 LUFS integrated regardless of how loud you master it, so go for the sound that right for you and Spotify will normalise.

I would still recommend keeping your true peaks at -1dBTP (decibels true peak).

Quote:
Originally Posted by Square Citizen View Post
Up until now, I've tried to level match with professionally produced CDs and obviously that requires a lot more limiting.
If you're level matching to check how your production compares in terms of the balance, you're better off bringing the reference track volume down to match your production rather than pushing the limiter to bring up the level of your production. This is because extreme settings on the limiter can effectively change the balance of your track.
Old 18th November 2017
  #27
Here for the gear
 

Thanks. That makes sense
Old 7th December 2017
  #28
TZk
Gear Maniac
 

Only 1 computer with serial?
Old 7th December 2017
  #29
Gear Head
 

Quote:
Originally Posted by mauroiul View Post
I'm demoing it...I really don't know what to do with my red parts. Is it helping someone?
Absolutely, I just cut red audio parts and delete them. Works great.
Old 7th December 2017
  #30
unr
Gear Head
 

Quote:
Originally Posted by TZk View Post
Only 1 computer with serial?
write them an email, they'll unlock your license one more time for your second PC.
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