Hi,
I have noticed that if I apply hard limiting to my track after har-balising it, if I re-open it in har-bal the frequency curve gets messed up (i.e. there are peaks and troughs that were not there before). I presume this is due to the fact that limiting is causing certain elements of the song to be boosted but not others.
If I load a file into har-bal that has been limited and is therefore quite loud, I sometimes get clipping / distortion when I try to adjust the frequency curve.
What's the best way of doing this? Do I limit first or last? If last - should a file be a certain volume level before har-balising it to minimise the effects that limiting will have on the frequency curve?
Great bit of software by the way!
Phil
Limiting
I don't have that problem, anymore. After some tips from the Har-Bal guys, here's how I do it:
If I am going to master a full CD, I start with the 'hit' (the artist will make that decision). I then find a 'pro' mastered song from a commercial CD that is in the same genre, direction, sound, instrumentation, etc.
Using a preselected song from the commercial CD, as my INITIAL reference / template, I'll first select 'match loudness', this will put the volume of the clients song in the same ballpark as the reference. You will then need to note this number - it might be something like 7.4 - you can see where the slider goes to get this value. The clients song will probably be considerably softer in volume than the commercial song.
Next, create an EQ filter file for the clients song. Often selecting the entire spectrum, you can move it over the template to reference it easier. And then adjust smaller areas.
Now, when you are done and very importantly, return the client's song's volume BACK TO ZERO. But make a note of the number (i.e., 7.4). SAVE your new filter file and process.
Now you can open your Harbalised file in an application to apply multiband limiting. I use T-RackS with the preset 'opto+half-inch'. I turn off the EQ (already did the EQing in Har-Bal) and set the limiter value to the number I got from Har-bal (i.e., 7.4). I process.
Then, when I open this T-RackS processed file in Har-Bal and reference it against my template, most of the time, it'll match the 'pro' song nearly exactly. If the are differences in values - as noted in the upper right of Har-bal - you can make those adjustments + or - in your limiting program. Sometimes I'll need to redo the limiting application one or two more times. You'll get the hang of it.
Using this method I never experience any distortion or blinking red graph, in Har-Bal. It amazes me how close the EQing and volume are to the 'big-boy' mastering job. Sometimes right on. Almost eerey.
Now that I have the clients FIRST song done. I'll run through the above procedure but now use the clients inital song as the reference / template. At this point I will redraw the EQ of the subsequent songs EXACTLY from 500 Hz down and get 'in the neighborhood' from 500 Hz and above. I do not copy the upper frequencies exactly to keep the difference from song-to-song. But keeping the lower frquencies nearly identical I can create more consistency from song-to-song.
Utilize the 'match loudness' to get that 'number' for the limiter. But you ALWAYS need to return back to zero before you process the Har-Bal file. And, always save a filter file for each song in case you need to go back to it for further tweaking.
Using this method I can spend more time on the first song and quickly master the subsequent songs by letting the applications 'do the math'. But always listening.
The results are amazing with NO distortion and a well balanced song collection.
If I am going to master a full CD, I start with the 'hit' (the artist will make that decision). I then find a 'pro' mastered song from a commercial CD that is in the same genre, direction, sound, instrumentation, etc.
Using a preselected song from the commercial CD, as my INITIAL reference / template, I'll first select 'match loudness', this will put the volume of the clients song in the same ballpark as the reference. You will then need to note this number - it might be something like 7.4 - you can see where the slider goes to get this value. The clients song will probably be considerably softer in volume than the commercial song.
Next, create an EQ filter file for the clients song. Often selecting the entire spectrum, you can move it over the template to reference it easier. And then adjust smaller areas.
Now, when you are done and very importantly, return the client's song's volume BACK TO ZERO. But make a note of the number (i.e., 7.4). SAVE your new filter file and process.
Now you can open your Harbalised file in an application to apply multiband limiting. I use T-RackS with the preset 'opto+half-inch'. I turn off the EQ (already did the EQing in Har-Bal) and set the limiter value to the number I got from Har-bal (i.e., 7.4). I process.
Then, when I open this T-RackS processed file in Har-Bal and reference it against my template, most of the time, it'll match the 'pro' song nearly exactly. If the are differences in values - as noted in the upper right of Har-bal - you can make those adjustments + or - in your limiting program. Sometimes I'll need to redo the limiting application one or two more times. You'll get the hang of it.
Using this method I never experience any distortion or blinking red graph, in Har-Bal. It amazes me how close the EQing and volume are to the 'big-boy' mastering job. Sometimes right on. Almost eerey.
Now that I have the clients FIRST song done. I'll run through the above procedure but now use the clients inital song as the reference / template. At this point I will redraw the EQ of the subsequent songs EXACTLY from 500 Hz down and get 'in the neighborhood' from 500 Hz and above. I do not copy the upper frequencies exactly to keep the difference from song-to-song. But keeping the lower frquencies nearly identical I can create more consistency from song-to-song.
Utilize the 'match loudness' to get that 'number' for the limiter. But you ALWAYS need to return back to zero before you process the Har-Bal file. And, always save a filter file for each song in case you need to go back to it for further tweaking.
Using this method I can spend more time on the first song and quickly master the subsequent songs by letting the applications 'do the math'. But always listening.
The results are amazing with NO distortion and a well balanced song collection.