![]() The net result is that the dynamics processing in Har-Bal works more like the volume riding technique of recording engineers of days gone past where they would adjust down the level while the music is being recorded because they knew when the loud parts were coming. We have a slow release time because fast gain change will lead to a lot of distortion. By that I mean with a normal compressor you would typically have a fast attack time and slow release which means that the gain quickly drops at the start of a transient and slowly rises at the tail after the transient. As such the gain change that tracks the music is in sync and symmetrical about the content. The envelope it already has from the analysis. It does not mean give way to your eyes if your ears tell you everything you need. Will match your track to the perceived loudness of any commercial recording you input into Har-Bal. It solves one of the most challenging phases of the mastering process. The name is a short form for Harmonic Balance. ![]() The Harbal mastering software has been around for more than seven years now, and its first release version was reviewed by Martin Walker back in SOS March. ![]()
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