paralelna kompresija

[EDO GRAND]

Originally Posted by awacs

A ?ta ti ulazi u taj IN dok miksa?? Ili priča? o usnimavanju instrumenata, a ne o miksu? Nisi ba? jasan, hajde malo preciznije.

Pozdrav,

Vasa

Pa u taj IN ulazi moj mix. I nista ne stavljam na taj in,,jel naravno pravim.master posle i na insertima stavljam plug ine...A pitao sam kolege ,recimo dok mixam instrumente..eq podesavam i to...dali je moguce da na tom IN gdje mi ulazi moj mix ,da na njemu kad stavim zavrsni EQ ,da ga odma cujem i odma vidim zavrsnu sliku i odma popravljam u mixu stvari.??

Al sam ga zakompliciro ;-)

HVALA i POZ .

[awacs]

Originally Posted by EDO GRAND

Pa u taj IN ulazi moj mix. I nista ne stavljam na taj in,,jel naravno pravim.master posle i na insertima stavljam plug ine...A pitao sam kolege ,recimo dok mixam instrumente..eq podesavam i to...dali je moguce da na tom IN gdje mi ulazi moj mix ,da na njemu kad stavim zavrsni EQ ,da ga odma cujem i odma vidim zavrsnu sliku i odma popravljam u mixu stvari.??

Samo ga ti podesi tako da ti prija dok ulazi, i sve će da valja. Ili pitaj nekog ko zna da ti odgovori, vidi? da mi ne znamo.

Pozdrav,

Vasa

[EDO GRAND]

Originally Posted by awacs

Samo ga ti podesi tako da ti prija dok ulazi, i sve će da valja. Ili pitaj nekog ko zna da ti odgovori, vidi? da mi ne znamo.

Pozdrav,

Vasa

Dogovoreno doktore ;-) ,cudno mi je da kad na taj in stavim koji bilo plug in ,on exportuje sa tim ,ali ga nemozes cuti ,pre exportovanja.

POZDRAV

[awacs]

Originally Posted by EDO GRAND

Dogovoreno doktore ;-) ,cudno mi je da kad na taj in stavim koji bilo plug in ,on exportuje sa tim ,ali ga nemozes cuti ,pre exportovanja.

POZDRAV

A za?to ne podesi? sistem tako da slu?a? taj IN umesto OUT-a? Čovek drugačije čuje kad premesti u?i, pa ni oluk ne zvuči isto odozdo i odozgo.

Pozdrav,

Vasa

[EDO GRAND]

Originally Posted by awacs

A za?to ne podesi? sistem tako da slu?a? taj IN umesto OUT-a? Čovek drugačije čuje kad premesti u?i, pa ni oluk ne zvuči isto odozdo i odozgo.

Pozdrav,

Vasa

A dali si siguran da se moze slusat odjednom i out i in ?
Ja cujem out-pute,,cujem i taj in al kad stavim plug in se taj plug in necuje ,,,Znas li zasto?

POZDRAV

[awacs]

Originally Posted by EDO GRAND

A dali si siguran da se moze slusat odjednom i out i in ?
Ja cujem out-pute,,cujem i taj in al kad stavim plug in se taj plug in necuje ,,,Znas li zasto?

POZDRAV

Kada bismo razumeli šta pričaš možda bi neko i znao zašto. Druže — dvadeset prvi vek je — uzmi kameru, snimi na video i objasni kako si šta povezao, pokaži to što te muči, okači na YouTube, javi link. Vidiš bre da smo glupi i nepismeni, mora da nam se nacrta da bismo shvatili.

Pozdrav,

Vasa

[psionic]

Originally Posted by awacs

Kada bismo razumeli ?ta priča? mo?da bi neko i znao za?to. Dru?e ? dvadeset prvi vek je ? uzmi kameru, snimi na video i objasni kako si ?ta povezao, poka?i to ?to te muči, okači na YouTube, javi link. Vidi? bre da smo glupi i nepismeni, mora da nam se nacrta da bismo shvatili.

Pozdrav,

Vasa

Gledam ovaj topic vec neko vreme i stvarno ne shvatam sta coveka muci. Daj budi malo detaljniji, koji in iz cega u sta, koji out, sta ne cujes... ? Ono sto ti znas, niko drugi ne zna, moras da napises kako ti izlgeda taj setap prvo i sta pokusavas da postignes. Ajde jos jednom lepo objasni, sta je "in", na koji in mislis - ulazni kanal u Cubaseu ili sta ? Hocemo da ti pomognemo, ali sve ovo lici na neku zajebanciju - ako me razumes sta hocu da kazem...

[LACKY]

[alfom]

Originally Posted by awacs

Samo ga ti podesi tako da ti prija dok ulazi, i sve će da valja ...

Edo, paralelna kompresija podrazumijeva postavljanje kompresora i na insert i na send ; pode?avanja zavise od toga ?ta hoće?. I na virtualnoj sabirnici ima? tu mogućnost (valjda ima?, jer ne znam koji editor-procesor koristi?).
Evo ima? ovdje :
http://www.l2pnet.com/blogs/insert-e...fects-02222011

[nikolaivanic]

Odlicno objasnjena paralelna kompresija- narocito za DAW- zbog kasnjenja
In an audio mix using an analog mixing console and analog compressors, parallel compression is achieved by sending a monophonic or stereo signal two or more directions and then summing the multiple pathways, mixing them together by ear to achieve the desired effect. One pathway is straight to the summing mixer, while other pathways go through mono or stereo compressors, set aggressively for high-ratio gain reduction. The compressed signals are brought back to the summing mixer and blended in with the straight signal.^[2]
If digital components are being used, latency must be taken into account. If the normal analog method is used for a digital compressor, the signals traveling through the parallel pathways will arrive at the summing mixer at slightly different times, creating unpleasant comb-filtering and phasing effects. The digital compressor pathway takes a little more time to process the sound?on the order of 0.3 to 3 milliseconds longer. Instead, the two pathways must both have the same number of processing stages: the "straight" pathway is assigned a compression stage which is not given an aggressively high ratio. In this case, the two signals both go through compression stages, and both pathways are delayed the same amount of time, but one is set to do no dynamic range compression, or to do very little, and the other is set for high amounts of gain reduction.^[4]
The method can be used artistically to "fatten" or "beef up" a mix, by careful setting of attack and release times on the compressor.^[3] These settings may be adjusted further until the compressor causes the signal to "pump" or "breathe" in tempo with the song, adding its own character to the sound. Unusually extreme implementations have been achieved by studio mix engineers such as New York-based Michael Brauer who uses five parallel compressors, adjusted individually for timbral and tonal variations, mixed and blended to taste, to achieve his target sound on vocals for The Rolling Stones, Aerosmith, Bob Dylan, KT Tunstall and Coldplay.^[5] Mix engineer Anthony "Rollmottle" Puglisi uses parallel compression applied conservatively across the entire mix, especially in dance-oriented electronic music: "it gives a track that extra oomph and power (not just make it louder?there's a difference) through quieter portions of the jam without resorting to one of those horrific 'maximizer' plugins that squeeze the dynamics right out of your song."^[6] While parallel compression is widely utilized in electronic dance music, "side-chain" compression is the technique popularly used to give a synth lead or other melodic element the pulsating quality ubiquitous in the genre. One or more tracks may be side-chained to the kick, thereby compressing them only when the beat occurs.
http://en.wikipedia.org/wiki/Parallel_compression