Through frequency-specific compression and independently set compression parameters, multi-band compressors are an integral form of processing when mixing and mastering. Previous articles have covered some of the best ways to apply compression when making music, but multi-band compression takes things one step further - they provide control that simply is available when using a traditional stereo compressor. Whether dynamic control or creating tone is your goal, compressors are essential to any mix. Additionally, certain compressors provide coloration or saturation with harmonic generation. First and foremost, they exist to help balance the dynamics of a performancemaking quiet parts louder and louder parts quieter. Perhaps Fabio may know the answer?Īs regards sampling rate wars - why oversampling and sample rates are important is in a nutshell how well a plug-in can process your audio without introducing unwanted artifacts as a side effect of the process.Compressors allow us to do all sorts of processing when mixing and mastering. The forum is moderated by steinberg employees and support people so sometimes we are asking an open question like this to those people. All questions on the forum may be best answered by a steinberg employee but that wouldn’t be practical and it also wouldn’t help others in the future who could find out by reading the forum. I’m not sure why you want to dismiss this discussion from the forum. They should be able to provide you with this information. So why are you babbling about oversampling rates up to 384 khz?įorget about it and go make music and/or help your clients!ĭoes anybody know what the oversampling of the stock Cubase Distortion plugs are?įor you I hope someone does? But I doubt someone here does because it’s actually totally not relevant to making music?’ It’s like asking a carpenter how his nails are produced? In general as children we can hear 20-22000 hz at the most! As a 60 year old it’s hardly 20-11100 hz. So forget about that ‘oversampling’ bulls?it! And start using your skills and your ears!! The only thing you need to make it right is your skills and your ears! I’ve done mixes from 44, 88, 96, 192 back to cd (44) that sound absolutely amazing. No 44, 88, 96, 192, 384 internal oversamplerate with correct oversampling or dithering will guarantee your mix will sound right!
Listen with your ears! Can you really make out the difference in a mix and tell if it was mixed as 24, 48, 96 or 196 resolution? At the end of the day the only thing that matters is how the mix sounds for you, the client and the rest of the world! I really understand it may be extremely important for you guys that don’t really make music but just try to theoretically capture sound like in "SpectraLayers’?īut if you do make music and somehow got tangled up into this theoretically maze of digital bogus? I seriously just have one word of advise to you: Listen!! If it sounds good on all of those I don’t need to know what the internal oversampling of some plugin is? But I deal with ‘sound’ as it comes to my ears and not with this ‘theoretical bogus’! I do my mixes using studio speakers, home speakers, computer speakers, headphones, ear buts, car speakers and kitchen radios. Sorry if that seems ‘extremely’ important to you guys. Oh wait…I’ve seen this already! It’s about the ever ongoing discussion of using 44.1, 88.2, 96.192 khz etc…? What to use for recording, what to use to mix, and what to use to bounce? When to dither or not to dither… I’ve seen a lot already demonstrated about the reflected back harmonics but that little trick he did was a special moment. I especially like how he made the alias folded back tones dance, much later in the video. Here’s a great video by the FabFilter people about it: Particularly for any harmonic generating plugins like distortion or saturation plugins.