I don’t grasp what you mean by PSD masking?
what do you mean by “that tool”? Which tool?
I was speaking of the tools that “snap” to amplitude in SL: freq/ harm select; magic wand
“for me”…
I was the same when I first started with SL; no way was I going to do anything in SL other than NR
then I spent months in SL
I find it very effective to level in SL using envelopes…I say “effective” and not efficient, because envelope editing in SL is not efficient (zoom takes edit line out of range)…but, mixing peaks in my DAW is reasonably time consuming as well; so I started levelling in SL- then put the audio back in my DAW and very little volume mixing is further required…yes, I level before putting in SL, yet I find SL allows excellent control
I would love to have control over grid line colors in SL, as I asked about months ago
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Funproject, got some drops,too
Drops.zip (2,5 MB)
Wonder, if the spectrum is characteristic for the chemistry of the liquid.
Faster droplets 10x slower and high frequency noise reduction (before resampling)
Some more droplets 10 times slower.zip (2,6 MB)
I assume those water droplets are recorded at 24bits, and the available headroom is mostly used. This is the first step to reduce noise in recordings…
At specific recordings, like building a sampled Virtual Instrument under noisy conditions, I would even try to source a 32bit recording system, now common at the video field, precise because of the need to lower external noise.
Yes definitely
I have 32bit as well but its def not as convenient when out and about so the ixy @96/24 does a good enough job. Once I got my head round it (SL), baked into kontakt etc…its more than good enough although Im yet to hear feedback from audiophile peeps.
I would have assumed the issue does not change though? Once the mic noise was gone, then you could notice the very low level ambient noise, me breathing etc…Ill have to hold my breath next time in confined spaces lol
ie 32bit is floating point relative to the lowest level? The headroom is standard at around -18 so even 40 db down is absolutely more than good enough considering a library (ie listening environ) is approx 40?
Do you mean 32 Bit Integer?
This a good description of the 24 bit integer and 32 floating point differences in dynamic range.
One example of the benefits of recording at higher bits (before conversion) is that one may place microphones closer to the source while exerting higher dynamic range and having not to worry about clipping the signals, effectively distancing the recording from external noise sources.
But are those 32-bit float, as implemented today, are not really 24 bit?
Imagine the following scenario:
- (We’re in 32-Bit float mode) Recording a source uses full 24-Bit range. Everything is fine.
- Now, the soundsource because just a bit louder. The recording device notices it and uses the first bit of the remaining 8. So we need actually 25-bit to cover the whole dynamic range in the scene.
- When in the DAW, we see some clipping, which is fine.
- We normalize and recover the clipped part (because of 32-bit float).
- But now, we are missing the first Bit of the the first 24-Bit (when recording in point 1), right?
So to say, if we use the full 32-Bit float for a recording and afterwards normalize in the DAW, the first 8 Bits are lost. Or else, where is this information?
Therefore 32-Bit float is actually 24 Bit integer (in different ranges).
We are far away from true 32-Bit Integer dynamics, right?
Here a theoretical scenario for this.
Take the little caterpillar
right besides a starting jet engine
With 32-bit float, it is not possible to cover the whole dynamic range of this in one shot.
(Okay, suppose, we would have a mic, that could cover this range. But we could take 2 different mics for this on 2 channels, though.)
Of course, this is a theoretical scenario, but it clarifies the issue.
Also, I don’t know of any true 32-bit AD converter for audio today.
Well this is a problem…close isnt always good, especially dependent on instrument etc. Especially true when you know your mic patterns. eg The reason why a 57 always seems to sound louder and fuller is that its not true cardioid and actually a bit wider. What Im saying is that proximity to source is not about volume its about sound, timbre, pickup pattern.
I mic guitar cabs and rare that I use super close micing…I find it far better sounding (context dependent) to use eg A large ribbon format in MS so that the main mic is on axis, and the sides can be dialled into adapt to the mix.
A cello, because its very omni is pretty sterile with a close spot mc (only)
Proximity to source is probably the most important feature of recording and moving closer, esp with non omni mics is like putting a shotgun on everything…ymmv