11

FLAC compression levels are (only) a trade of between encoding time and file size. The decoding time is pretty much independent of compression rate. In the following I will refer to the compression levels 0, ..., 8 as FLAC-0, ..., FLAC-8. In short: I recommend FLAC-4! The Easy Solutions Obviously: If I don't care about encoding time and since space is ...


8

There are two questions here that I think should be addressed separately: Question 1: "is this a bad method of practice?" As I understand it, the reason it's considered "better" to compress individual tracks and not the master bus is because you have a finer degree of control, especially in today's digital world where you could instance a ...


8

It's important to remember that a compressor does not make a sound louder, it reduces dynamic range. By bringing down the peak values, you give yourself more headroom to bring up the overall signal level (so the quieter parts can be louder). It is that "make up gain" which makes a sound louder, not the act of compression. The choice between using ...


6

Ah, the old question: How do I make the vocals heard over a band with a tiny PA? It's not always easy. Compression won't help you; it may actually make things worse by making feedback more likely. It sounds like you're using underpowered PAs, and if you want the vocals to be loud enough you'll need the band to play more quietly. But the band has to want to ...


6

I use MPEG Streamclip from Squared 5. It's free, and it transcodes just about everything out there.


5

In theory there is no difference. In practice, using parallel compression gives you more control over how the sound is processed going in and coming out. For example,you could process just the low end of a drum loop to add more power to the the kick. Also, since it uses bussing you could send the output of multiple tracks to a single parallel compressor and ...


5

A compressor would be an ideal use for an insert. An insert is both the input and the output. They use a TRS (tip-ring-sleeve) connector. The tip, for instance, will be the send, and the ring would be the return. The mixer usually labels the insert so you know which is input and which is output. You'd use a 'Y' cable. The bottom of the 'Y' is TRS. ...


5

Take a look at this (I made a quick snapshot of it as the fist kick came in. To the left is guitar and bass unadulterated, in the middle is the kick and to the right is no kick but reduced guitar and bass until the next kick comes along: - I don't think it's side-chaining, I think it's regular compression with a long sustain i.e. the kick comes in and gets ...


5

No. Once lossy formats are encoded, any data not saved within the file is lost. You could convert a lossy MP3 to a WAV or an M4A file but the quality of the WAV or M4A would be exactly the same as the original MP3.


5

Here, is there any common low-end level that every song should has? No or Does it just set by ear? Yes. In fact, it should be set by ear, not by eyes. Don't bother with what the spectrum analyzer tells you, it is dumb and doesn't know or say very much. You have to listen for the right sounds. or Does it depend on the music genres? Definitely. Hip-...


4

It's common and good practice to mix the drums to a group track, in pretty much any situation; that group track might well have a compressor (possibly even multiband) on it, but I still wouldn't call this mastering. Unless you're limited by CPU performance, it's not useful to bounce that group track to a fixed file; just leave the group track as it is so you ...


4

On mixing drums down, The top pro: Once your drum mix is right you don't need to worry about individual levels - it is just done The main con: A particular song might require pulling out some tones from a particular drum to give some headroom to another instrument, but your only alternative is to use an equaliser We tend to mix down prior to a live gig, ...


4

Neil Fein wrote a great post about what you can do, but another thing to consider is to make sure you talk with the sound guy about how you want it to sound. If there is a dedicated engineer there and it is a smaller venue, chances are good that they aren't very good and may be used to the "living room experience" ie, crank the bass and the guitars and ...


4

GENERALLY (because as you well know, every project is different), the difference is that I tend to use more compression on TV, because a) I have to hit a LKFS spec and b) I usually have far less time to ride levels so multiple compressors can go a long way. In film I usually start with very minimal processing on the bus... just a peak limiter and then add ...


4

It kinda matters what order you put them in but everyone has a different order that they like and then sometimes you adjust for issues. Most Channel strips let you change the order of at least some of the modules. I tend to default to EQ/DYN/De-es/multiband but everyone is different. Sometimes you might need 2 of certain processes, 1 to fix an issue, ...


4

What you are asking is impossible to determine from a spectrogram. Spectrograms indicate frequencies present, not the quality of the audio. There may be loss of fine detail in one that would barely show up on a spectrogram at all or there could be noise and artifacts introduced that would make the spectrogram look more full. Spectrograms do not ...


3

i used no compression. just a slow attack on the ADSR :-)


3

The problem is that Google Play Music does not currently have support for Podcasts. Due to this, it is going to be next to impossible for you to get a file down to the necessary size without breaking it into sections and publishing them as an album. Even at the 320kbps quality that Google Play produces for end user consumption from the FLAC files, you ...


3

Using an EQ for mastering should be a corrective process; so you need to know what you are trying to correct in the sound. Don't just use EQ or dynamics because that's what you think mastering is. If the sound is working, then leave it alone. If it isn't working, then you need to figure out what is wrong and what tool you need to use to fix it. If your ...


3

First of all, there are no absolutes. Recording is an art form (albeit one with technical considerations), and there are no rules with art. Your only guidelines are "does this sound good" and "do I like it?". Aside from that, you're free to experiment. Experimenting, however, does have its pitfalls. By placing anything in the signal chain which will alter ...


3

I would apply them in order of de-esser, EQ and compressor. The first two could be done in either order, but the compressor should generally be last. You could EQ with or without the De-esser applied, but the De-esser will offer you less control over the sound than a good EQ. The compression should be last because it deals with overall signal power, which ...


3

It can actually be a very good idea to put two or more compressors (with different parameter settings) in sequence. For instance, limiting1 can allow you to make drums louder, but it tends to make transients a bit murky. One way to counteract this is to put a slower compressor (possibly with sidechain low-cut) before the limiter, to “pump” these ...


3

As you specify using a 'stereo linked compressor', neither the timing relation or the level differences between both channels should be modified. Therefore, the stereo width should be unaffected. That's what 'stereo linked compressors' are made for. Nevertheless, there could be unexpected perceptive differences, especially if you're hitting hard into the ...


3

GIGO [garbage in, garbage out] does apply... ...however - a good mix, master or especially restoration engineer could pull apparent newness out of a low quality file - that's essentially the same task as recovering a track from an old 78 RPM record, or remastering the Beatles albums from the original multitracks. You work to eliminate the 'bad' & ...


3

Multiband Compression is not something Standard.Most of the time it's a complex procedure but you have to keep in mind that you are doing this to a whole mix which means your dB reduction should be very careful or you might kill it. That's a general guideline though , there are techniques that use aggressive/heavy compression. I would recommend reading the ...


3

You talk about increasing gain below threshold. An upward compressor does this. You mention "inverse expansion" - this is normally called an upward expander (sometimes called an "uncompressor"), and works differently than the desired result you decribe. Here is a description of both. Upward Expansion With an upward expander the loud parts are made ...


3

I think what you are looking for is an expander, here's a link that explains it Quoted here: Audio expansion means to expand the dynamic range of a signal. It is basically the opposite of audio compression. Like compressors and limiters, an audio expander has an adjustable threshold and ratio. Whereas compression and limiting take effect whenever the ...


3

Briefly, threshold is the level at which the compressor is triggered, attack is how quickly the compressor reacts to the trigger, and release is how long the compressor stays activated before returning to the normal level. Essentially you set the threshold to the sound level that you want to start to compress, then adjust the attack and release to shape the ...


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