[Gary Eickmeier]

Just wondering if you use compression at all in your mastering. Most of the
time my recordings don't seem loud enough when played in the car. In
mastering, I keep the peaks below 0 dB, and so the rest of the material is a
little lower than a client might like. I'm just not real sure how to do
compression carefully and know what the consequences will be.Using Adobe
Audition 2.0.

Gary Eickmeier

[geoff]

"Gary Eickmeier" wrote in message
...
Using Adobe Audition 2.0.


Well you'd better keep the peaks below 0dB then !

If for yourself, compress stuff to what you require for the car if that's a
major consideration.

I keep a bunch of 'reference' tracks on my DAW (commercial tracks I know
well, for whatever aspect), for quick comparision.

geoff

[Tom McCreadie]

On Sun, 20 Jan 2013 23:57:09 -0500, "Gary Eickmeier"
wrote:

..JMost of the time my recordings don't seem loud enough when played in the car. In
mastering, I keep the peaks below 0 dB, and so the rest of the material is a
little lower than a client might like....

If you're perchance doing live recordings where those peaks are from unmusical
sounds such as individual hand claps of enthusiastic audience members close to
the mics, you can often use a limiter on those peaks with a minimal sonic
penalty. Or even knife out some of the offending peaks, or also apply a gain
envelope over the applause section. This can win you a few dB that the
normalization step will gratefully use.

OT: By the way, why stick with Audition 2.0 when you can now get Audition 3.0
legally and for free? ! (And thereafter update it to 3.01)

http://www.adobe.com/downloads/cs2_downloads/index.html
--
Tom McCreadie

What's brown and looks good on a banker?..a Rottweiler

[Mike Rivers[_2_]]

On 1/21/2013 6:49 AM, Tom McCreadie wrote:

OT: By the way, why stick with Audition 2.0 when you can now get Audition 3.0
legally and for free? ! (And thereafter update it to 3.01)
http://www.adobe.com/downloads/cs2_downloads/index.html

Did I miss something here? Looks to me like you have to first join CS2
Cloud for $49.95/month. That doesn't sound like free to me.


--
For a good time, call http://mikeriversaudio.wordpress.com

[Tom McCreadie]

Mike Rivers wrote:

Did I miss something here? Looks to me like you have to first join CS2
Cloud for $49.95/month. That doesn't sound like free to me.

Read through this entire thread from the Tapers Section forum:

http://taperssection.com/index.php?topic=160079.0

(I already owned paid Audition 3.01, but couldn't bypass the opportunity to grab
Premiere Pro 2.0 and Acrobat Pro 8 (since updated through to 8.31).
--
Tom McCreadie

Live at The London Palindrome - ABBA

[John Williamson]

Mike Rivers wrote:
On 1/21/2013 6:49 AM, Tom McCreadie wrote:

OT: By the way, why stick with Audition 2.0 when you can now get
Audition 3.0
legally and for free? ! (And thereafter update it to 3.01)
http://www.adobe.com/downloads/cs2_downloads/index.html

Did I miss something here? Looks to me like you have to first join CS2
Cloud for $49.95/month. That doesn't sound like free to me.


I've just downloaded and installed Audition 3 from the site, without
signing up for anything, and it seems to work without nagging me about
anything. It seems Adobe have cottoned on to letting people try out an
old version in the hope they'll update to the latest one when they've
used the old one for a while.

There are a few gigabytes of free loops and samples on the way, too.

--
Tciao for Now!

John.

[Phil W[_3_]]

Mike Rivers:
On 1/21/2013 6:49 AM, Tom McCreadie wrote:

OT: By the way, why stick with Audition 2.0 when you can now get Audition
3.0
legally and for free? ! (And thereafter update it to 3.01)
http://www.adobe.com/downloads/cs2_downloads/index.html

Did I miss something here? Looks to me like you have to first join CS2
Cloud for $49.95/month. That doesn't sound like free to me.

It seems rather like Adobe wanted to offer activation-free versions for
*existing* customers of their CS2 software.
Then a "news" page got it wrong and thousands of others copied this
misunderstood "news" without any own research or reflection - that´s how
"journalism" works these days...

Anyway, it´s no wonder, that people think Adobe is giving away the stuff for
free.
Just like some here think, Reaper would be on the model "pay, if you want to
and if you don´t pay, that´s fine and you can still use it anyway".
Even though, http://www.reaper.fm/purchase.php is pretty clear about that,
as I understand it:

"If after 60 days you decide that REAPER is not for you, simply delete it.

If you decide that REAPER is for you, you must purchase a license."

....


Phil

[John Williamson]

Phil W wrote:
Mike Rivers:
On 1/21/2013 6:49 AM, Tom McCreadie wrote:

OT: By the way, why stick with Audition 2.0 when you can now get
Audition 3.0
legally and for free? ! (And thereafter update it to 3.01)
http://www.adobe.com/downloads/cs2_downloads/index.html

Did I miss something here? Looks to me like you have to first join CS2
Cloud for $49.95/month. That doesn't sound like free to me.

It seems rather like Adobe wanted to offer activation-free versions for
*existing* customers of their CS2 software.
Then a "news" page got it wrong and thousands of others copied this
misunderstood "news" without any own research or reflection - that´s how
"journalism" works these days...

Err.... That's exactly what they are doing. They're old versions, so
possibly "abandonware" but seem to be fully functional when used with
the activation code on the download page. You don't need to be a
customer, as far as I can tell after installing Audition 3.0 off the page.


--
Tciao for Now!

John.

[Mike Rivers[_2_]]

On 1/21/2013 10:12 AM, Phil W wrote:

It seems rather like Adobe wanted to offer activation-free versions for
*existing* customers of their CS2 software.
Then a "news" page got it wrong and thousands of others copied this
misunderstood "news" without any own research or reflection - that´s how
"journalism" works these days...

Anyway, it´s no wonder, that people think Adobe is giving away the stuff
for free.

Well, like others I downloaded the file, entered the serial number, and
it runs. I haven't tried it out extensively and probably won't (I paid
for my copy of Reaper) but the meters don't indicate record level when
tracks are armed or recording. It records, and the meters read on
playback. Maybe an odd color scheme? I've tried it with two different
interfaces.

Not complaining, just that it should work. Could be kind of like the Pro
Tools Free that didn't work on anything newer than Win98 when that
version of Windows was on its last legs.



--
For a good time, call http://mikeriversaudio.wordpress.com

[Frank]

On Mon, 21 Jan 2013 12:44:46 -0500, in 'rec.audio.pro',
in article Adobe Audition Free (was: Compression),
Mike Rivers wrote:

Well, like others I downloaded the file, entered the serial number, and
it runs. I haven't tried it out extensively and probably won't (I paid
for my copy of Reaper) but the meters don't indicate record level when
tracks are armed or recording. It records, and the meters read on
playback. Maybe an odd color scheme? I've tried it with two different
interfaces.

Not complaining, just that it should work. Could be kind of like the Pro
Tools Free that didn't work on anything newer than Win98 when that
version of Windows was on its last legs.

Mike, if it works like version 1.5 did, go to the 'Options' menu and
ensure that the "Monitor Record Level" and "Show Levels on Play and
Record" items are both selected (will display a check mark or tick
next to the menu item).

--
Frank, Independent Consultant, New York, NY
[Please remove 'nojunkmail.' from address to reply via e-mail.]
Read Frank's thoughts on HDV at http://www.humanvalues.net/hdv/
[also covers AVCHD (including AVCCAM & NXCAM) and XDCAM EX].

[Mike Rivers[_2_]]

On 1/21/2013 12:44 PM, Mike Rivers (that's me) wrote:

the meters don't indicate record level when
tracks are armed or recording.

Never mind. I found the magic drop-down menu. Goes to show that with
Windows, if you click in enough places with all the buttons, you'll
eventually stumble on something useful.

Or I suppose I could have read the manual, though I'm not sure it was in
that download bundle.



--
For a good time, call http://mikeriversaudio.wordpress.com

[Arny Krueger[_5_]]

"Gary Eickmeier" wrote in message
...

Just wondering if you use compression at all in your mastering. Most of
the time my recordings don't seem loud enough when played in the car. In
mastering, I keep the peaks below 0 dB, and so the rest of the material is
a little lower than a client might like. I'm just not real sure how to do
compression carefully and know what the consequences will be.Using Adobe
Audition 2.0.

I don't use formal dynamics compression as such very much.

What I've found is that most music and speech tracks have a relatively small
number of peaks that are 3-6 or more dB above the rest and often have a very
brief duration.

I use a set of custom gain envelopes for Audition/CEP2 that start out at
unity gain and implement shaped valleys that I can then apply to these
spurious peaks and bring them into line with the rest of the track.

I then use overall gain or normalization to bring the track average levels
up. I can generally boost average levels 3-6 dB and sometimes more, which
makes a big difference in how these tracks sound when played in a noisy
context. Yet the normal bounce and dynamics of the track are largely
preserved and there is not the mind-numbing sameness that seems to plague
heavily compressed tracks.

[Sean Conolly]

"Arny Krueger" wrote in message
...

"Gary Eickmeier" wrote in message
...

Just wondering if you use compression at all in your mastering. Most of
the time my recordings don't seem loud enough when played in the car. In
mastering, I keep the peaks below 0 dB, and so the rest of the material
is a little lower than a client might like. I'm just not real sure how to
do compression carefully and know what the consequences will be.Using
Adobe Audition 2.0.

I don't use formal dynamics compression as such very much.

What I've found is that most music and speech tracks have a relatively
small number of peaks that are 3-6 or more dB above the rest and often
have a very brief duration.

I use a set of custom gain envelopes for Audition/CEP2 that start out at
unity gain and implement shaped valleys that I can then apply to these
spurious peaks and bring them into line with the rest of the track.

I then use overall gain or normalization to bring the track average
levels up. I can generally boost average levels 3-6 dB and sometimes more,
which makes a big difference in how these tracks sound when played in a
noisy context. Yet the normal bounce and dynamics of the track are
largely preserved and there is not the mind-numbing sameness that seems to
plague heavily compressed tracks.

The hard limit function works very well for the outlier peaks, if used with
common sense and restraint.

Sean

[Les Cargill[_4_]]

Arny Krueger wrote:
"Gary Eickmeier" wrote in message
...

Just wondering if you use compression at all in your mastering. Most of
the time my recordings don't seem loud enough when played in the car. In
mastering, I keep the peaks below 0 dB, and so the rest of the material is
a little lower than a client might like. I'm just not real sure how to do
compression carefully and know what the consequences will be.Using Adobe
Audition 2.0.

I don't use formal dynamics compression as such very much.

What I've found is that most music and speech tracks have a relatively small
number of peaks that are 3-6 or more dB above the rest and often have a very
brief duration.

I use a set of custom gain envelopes for Audition/CEP2 that start out at
unity gain and implement shaped valleys that I can then apply to these
spurious peaks and bring them into line with the rest of the track.

I then use overall gain or normalization to bring the track average levels
up. I can generally boost average levels 3-6 dB and sometimes more, which
makes a big difference in how these tracks sound when played in a noisy
context. Yet the normal bounce and dynamics of the track are largely
preserved and there is not the mind-numbing sameness that seems to plague
heavily compressed tracks.




This:

http://www.gvst.co.uk/gmax.htm

does an excellent job of spike mashing. Just
set the "Ceiling" to whatever your top limit needs
to be, and add zero gain. Gain in this case is
before the ceiling.

--
Les Cargill