![]() ![]() ![]() "Katz's explanations of the requirement for dither in any digital system and how dithering works are simple to understand, but technically accurate." Or maybe that should be a configuration option.Ĭertainly the combination of a master-fader fadeout and dither is only going to work right if the dither is post-fader.Įxactly.some people arent interested in dithering, some are, like Bob Katz. One could argue that the trim control should have been set pre FX in the first place (more like a physical mixer) rather than post FX as at present. All three can be in operation at once, but only one is shown on the interface at a time.Ĭhanging the relationship between the three faders and the FX would be pretty fundamental, but IMHO providing a single display of the three faders by a right click on the displayed fader would be less so and might relieve some of the confusion about their operation. The design at the moment is intended to be more flexible, that is, having three faders, one a non-automatable post FX trim, the other two being automatable and located pre and post FX respectively. I think what you would like is to have one fader but place the FX in different places in respect of it. If you always want to have master FX post fader, set up your default project that way perhaps with the likely FX already in place. Use the JS or 3rd party volume control effect at the start of the chain. Shouldn't mastering plugins also be run post-master-fader? Certainly the combination of a master-fader fadeout and dither is only going to work right if the dither is post-fader. If the "grab all faders and slid" reduces them by an equal number of decibels, it won't mess up your mix, but I don't know if this is how it is computed or not.īut it is something to be aware of if you use level-controlled effects - they aren't tolerant of levels widely outside their normal range. ![]() Given that the "mix high and attenuate later" approach is not really necessary in REAPER, it's best to just fix this one (the Jesusonic thing or the master envelope will do just fine for one song). The fact that it's a drag on analog gear too doesn't make it any better. The only problem is, once you've set up a whole mix, it's a drag to change them all to get a reasonable master level. It's floating point, so whether 32-bit or 64-bit, it has such a ridiculous dynamic range that you needn't worry about it, wherever you run your levels. The same thing happens if someone mixes too low, and compensates with master fader gain - compressors, gates, exciters don't work. Level-sensitive effects tend to assume an operating level somewhere below 0db, regardless of their potential dynamic range, which in the VST world is enormous. Adjust so the bars just reach up to the 0 mark.This problem can happen with other level-sensitive effects (exciter-type things, de-essers, gates). If you don't have a VU meter, right click the main master meter display and set it for K14 or K12. (set calibration obviously for the required rms level) Then all the files will be exactly the same volume too. If you put small fade ins and outs on the start and end events you will end up with quite a professional sounding bounce that wont need any extra editing or work.īefore you do the bounce, put a VU meter on the main output and play each track briefly and adjust for a 0db VU reading. Adjust event boundaries to match the loop. They will be in stereo though, unless you setup a mono master.īefore the bounce, zoom in and spend a little time setting the loop start and end points accurately. Doing it this way will give you track inserts processing and master effects processing. They will all end up in the Mixdown folder. The bounce will fly through for each one. Repeat for each one until they are all done. Set the loop length for each of them, put the required one into solo mode, do an Export Song. For something like this you need to process them individually. You are not going to be able to do all of them at once or some sort of fast method. ![]()
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