Sennheiser mkh - edirol - pitanje

[tonce]

koristio sam mkh 416 sennheiser,snimajuci na edirolu.slucajno sam ukljucio limiter.da li se to moze koristiti u postprodukciji.i koliko sam i dali osakataio ton.preslusavao sam kasnije zvuk ima pojacan bas i skracene visoke,ali ne puno.hvala

[Bitch]

lako ces videti da li je limiter uopste nesto radio. pogledaj wave fajl, i ako vidis da su svi peakovi iste visine, znaci limiter je radio.
Nisam nikad gurao edirola u crveno pa ne znam kako radi, obicno su na starim location mixerima jako fino radili.

nisam siguran da sam razumeo pitanje "da li to moze da se koristi u postprodukciji" ?

pozZ

[marcos]

Originally Posted by tonce

koristio sam mkh 416 sennheiser,snimajuci na edirolu.slucajno sam ukljucio limiter.da li se to moze koristiti u postprodukciji.i koliko sam i dali osakataio ton.preslusavao sam kasnije zvuk ima pojacan bas i skracene visoke,ali ne puno.hvala

pa osim ako limiter nije drasticno gazio snimku nebi trebalo biti nekih dramaticnih problema i promjena u zvuku. a sta si snimao?

[silicon science]

A i uvek mozes kompresorom koliko-toliko povratiti dinamiku

[Arthur]

kako?

[silicon science]

Originally Posted by Arthur

kako?

For example, using a compressor with a moderate attack time can actually increase dynamics by letting the initial transient poke through, and then clamping down on the sustain of the note. If you can use band-limiting eq to chop the track up into individual elements, you can almost "re-mix" the song completely, except by frequency bands instead of instruments (sometimes nearly just as good).

You can either use a dedicated multiband compressor for this, or you can simply "mult" the original track by either cloning or bussing it to multiple tracks that all have different eq to "separate" the sound.

This is also often the best way to restore a single track (say, one over-compressed vocal), since you can get in and alter the dynamics of, for example, the upper midrange to make them sound natural instead of pumpy/sucky from the compression action on the lower frequencies, and so on. But it's a fairly technical process that requires a good ear for compression, both because you have to be able to "hear" the original over-compression working differently in different freq bands, and also because you obviously need to have a decent ear to restore the correct dynamics.

[Bitch]

sve to stoji - al da zvuci kao original - nema sanse moze samo malo da pomogne da 'ozivi' ali tesko da to ikad moze biti original, dzaba i multibend i expanderi. sve je to samo "poslednji poziv upomoc" cesto bez uspeha. Mani tutorial, probaj sam da ubijes dobrano neki trek, pa probaj to sto si napisao. Malo ce pomoci, ali ni blizu originala

poZz

[Arthur]

Originally Posted by silicon science

For example, using a compressor with a moderate attack time can actually increase dynamics by letting the initial transient poke through, and then clamping down on the sustain of the note. If you can use band-limiting eq to chop the track up into individual elements, you can almost "re-mix" the song completely, except by frequency bands instead of instruments (sometimes nearly just as good).

You can either use a dedicated multiband compressor for this, or you can simply "mult" the original track by either cloning or bussing it to multiple tracks that all have different eq to "separate" the sound.

This is also often the best way to restore a single track (say, one over-compressed vocal), since you can get in and alter the dynamics of, for example, the upper midrange to make them sound natural instead of pumpy/sucky from the compression action on the lower frequencies, and so on. But it's a fairly technical process that requires a good ear for compression, both because you have to be able to "hear" the original over-compression working differently in different freq bands, and also because you obviously need to have a decent ear to restore the correct dynamics.