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[quote author=”Leif”]I think I may need to fix Eruption, because it seems to have some severe midbass spectral intermodulation problems…[/quote]
Leif, in that case I should ask: do you think the same spectral IM issue may exist in Plutonium as well, since Eruption was described as an offshoot of Plutonium?I remember reading that the only major modification from Plutonium to Eruption was the AGC, and the multiband was only slightly modified. Just wondering whether you happened to do a comparison on that Tivoli radio (Eruption vs. Plutonium) to see whether my beloved Plutonium might also need fixing. Thanks!
To really get an idea of what your sound is, I personally think it’s best to listen on everything.
I listen to our station on headphones, I listen using cheap earbuds, I listen on a high-end car system and a crappy car system. I even listen on a little clock radio.
It seems that each of these systems has the capability of revealing different problems. It’s amazing how a cheap clock radio can show you some pumping artifacts that you couldn’t hear on high-end speakers.
And I listen at different volume levels, too. There’s a whole different experience to be had depending on the sound level, and that too can reveal different types of audio problems at different levels.
I would refer you to this thread and this thread. There are potential issues with the phrasing of your question that are explained in those threads.
Oh wow, I’m not even aware of a toolbar feature. I guess I am now 😀 , but it would be interesting to take a survey and find out how widespread its use is.
Haha yes, and I would definitely concede the point that different sounds appeal to different folks. One man’s distortion is another man’s edgy new sound. The producer (Timbaland in this case) is free to push the envelope in an attempt to differentiate his sound.
That having been said, I’m obligated to point out that several people appear to be bothered by the bass distortion in this song, while others appear to be confused about why they can’t find a good copy.
One guy said he requested a refund credit from iTunes because of the defective track, and that they granted it. 😀
Apologies to you by the way, for the royal mess we made of your extremely useful information at the top of this thread. I know this isn’t the "Nelly Furtado thread" and didn’t realize we’d go so off-course from tilt calibration… 😳
Wow– Leif, as always you have exceeded all expectations in responding to a forum post.
The repair of "Because of You" is fantastic; it even looks pretty now.
I looked at your picture of "Say It Right" and that was "WTF!??" I can’t remember ever seeing anything that looked remotely like that before.
I once noticed something on Amazon which makes the case for artistic distortion gone too far:
Presumably this review was written by an average consumer, not someone trained to recognize audio problems. And even he had a complaint!
The producers of these "over-the-top" distorted mixes could probably have been persuaded to re-master them properly, if only someone at Z100 had demanded it…
Thanks again Leif for taking the time to illustrate and educate so thoroughly.
Ah yes, I do recall that humming being unique for its particular resonance in the mid-bass.
Thanks for the reference to SeeDeClip! I might try that out and see how it does with that song.
If it also fixes Nelly Furtado "Say It Right" and Estelle "American Boy", that would be well worth the purchase price.
Oh, man… "Because of You" drove me absolutely nuts one time when I was trying to troubleshoot bass kick distortion in the 2nd verse of that song.
Only after an hour of torture did I realize the distortion is in the original recording, oh God…
Leaned my lesson well that day; always be sure you know what the original sounds like.
Thanks Adam for posting such a detailed analysis. I never tried running with Speed as high as 65 – 70, and now I’m curious to try it and see if it tames the bass on a few bottom-heavy songs where I noticed a problem. If it does, I’ll listen for a while and try to hear the associated release problems you mentioned too.
Oh yes definitely- my perennial candidate for "song that really needs processing" is "Southern Cross" by Crosby Stills & Young. The levels in that song are all over the place and it sounds like it was hardly mastered at all. Works well if you’re doing a before-and-after showcase.
Here, I’ll give Leif a helping hand… I had asked this question earlier and Leif answered it in this post:
http://claessonedwards.com/forum/viewtopic.php?f=5&t=187&p=817
He might have thought you were referring only to the first post in that thread (perhaps not noticing that the first post was not you).
I concur with both TBacker and Lee XS that the pre-multiband EQ is ineffective. I tried it several months ago and was surprised to discover that even with enormous boosts or cuts, it accomplishes almost nothing. (Which is good, actually. Breakaway doing a nice job on crazy source material.)
I too would re-iterate my previous request for the ability to adjust the final outmix levels.
Oh, I can answer that one! The parameters Leif listed above are hard-coded into the EXE file.
The INI file only contains the user-adjustable settings (it does not contain the parameters listed above).
Some of the hard-coded parameters can be modified by changing the user-adjustable settings (such as attack & release times, thresholds, compression ratios, final drive).
But other hard-coded settings (such as "outmix") cannot be modified. Leif has said that the full-control version later will allow you to control those parameters.
