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Old 24th February 2018
  #32
Deleted 691ca21
Guest
I used this on a master yesterday. The hats and cymbals had been deliberately sent through distortion for a bit of a trashy sound, but it was making the very high end transients ultra pokey and fatiguing to listen to. I sent the track through TDR DeEdger, Acceleration, and TDR Slick EQ M (with a high shelf cut at 22k) in series, all with very minimal settings, and it worked a treat. The high end sounded much better when A/Bing with the original file, but none of the processors drew attention to themselves.

I was working in 48k, I understand Acceleration may work differently at different sample rates?

What I found was it was inaudible at low settings, then suddenly became audible at a slightly higher setting, as if it had triggered some threshold internally. I basically adjusted until it was audible and then backed it off a little. At max settings it was EXTREMELY audible, and not in a good way, but then I'd imagine you'd never really want that much processing.

Fantastic stuff Chris, keep it up!