B
benage
New member

Judge by your ears. Shorter release produces more distortions, while longer release produces more pumping. It sure would depend on the kind of music which one is more distracting.I found setting the release time to zero seemed to keep the limiting the most transparant, does anyone know if thats a bad idea, are longer release times preferable for any reason?
but in the end I decided I wanted to be able to compete when my cd went on at a party
it makes me wonder why virtually every cd out there is pressed so hot...
That happens when peeps put out cd's that aren't mastered properly.Thanks again. I'm starting to think again about it, would you guys suggest no limiting then or maybe a little? the only other thing that i'm thinking is I heard someone on the radio complaining about a new album that wasn't very hot, saying when listening in a car he had to keep changing the volume so he could here it over the traffic and then turning it down as it was too loud for him in the choruses, I admit i've had a similar problem listening on my mp3 player in town getting it a steady volume over the noise of the crowd?, just playing devils advocate.
Any more emasculating that when your disc rolls up and sounds awful because it's been pushed as flat as a commercial mix in order to try and "compete"?Yeah that is emasculating, for lack of a better word, when the place is jamming and your disk rolls up and is perceived as weak by comparison.
Because there are two classes of people making those decisions: The first are the label suits who just don't know any better and think that mo louda automatically means mo betta. Remember these are the same braniacs who thought it was a good idea to make those annoying over-modulated TV and radio commercials louder than the TV or radio show. How many times have you felt like shooting your TV or radio whenver that happened?it makes me wonder why virtually every cd out there is pressed so hot still.
Nobody here is saying that you can't give it a little more volume perhaps. But develop your critical listening skills and use your ears carefully; there comes a point in almost any mix - certainly any mix not handled by pros all the way down the line - where if you push the mix just one dB farther than that, the sonic quality starts to break apart and/or the song starts sounding "pushed". Take it to that level and back off one dB is what I personally recommend.Thanks again. I'm starting to think again about it, would you guys suggest no limiting then or maybe a little?
Have you ever heard them say, man that was great music, but they won't play because it's not hot enough? Nope. If it's great music, they may sometimes think they want it hotter, but they won't stop playing it. Whereas if they don't like the music, it won't matter how hot it is, they still won't play it.the only other thing that i'm thinking is I heard someone on the radio complaining about a new album that wasn't very hot
First, I'll let you in on a secret re those choruses: you are actually falling victim to the volume wars there, just the opposite of what you think. A very popular tactic in the past 15 years or so is to push the choruses a good 3-6dB in RMS louder than the verses; they tend to be even MORE smashed than the rest of the song. If the producer had simply decided to let things fall where they lie, your would not need to be turning down the stereo when the choruses comes on.when listening in a car he had to keep changing the volume so he could here it over the traffic and then turning it down as it was too loud for him in the choruses, I admit i've had a similar problem listening on my mp3 player in town getting it a steady volume over the noise of the crowd?
Kwityerbitchin, and just enjoy the tunes, guys.
G.
Yeah, the bottom line, IMHO, is finding the balance between quality of sound and quantity of it. Some people might be willing to sacrifice a little less quality for a little more quantity, others vice versa. But just don't totally ignore either one for the other.Thanks for your help. I been experimenting with different compression and limiting setings and trying without anything just for refence and the mix does have more impact dry espcially when the load parts kick in and the whole thing sounds 'fresher' less like white noise but also sounds a bit sparse so i'm going to add some multiband but less this time like 1:1.2 and limit like you said as much as I can without losing too much impact and turning the mix to mush, Thanks again
Any more emasculating that when your disc rolls up and sounds awful because it's been pushed as flat as a commercial mix in order to try and "compete"?
G.