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So I've been listening to Janet Jackson's new record. Aside from the fact that I don't like the overall eq on the tracks (they sound puffy, bottled up, and my ears get tired verrry quickly), it sounds like they used a low-pass limiter in mastering and reminds me of what I get when I push the HarBal limiter. The only difference is I can tell they have control of the releases because the "ebb and flow" of the low end swells in perfect time with the tempos. I find it kind of obnoxious coupled with the overall EQ, but I think with using HarBal for a well-balanced equalization, this subtle effect could be very cool and would let me push the HB limiter harder without it sounding like a mess. Have you guys thought about adding the option for an adjustable release?
There's a whole host of things we could try to improve the limiter. The fact of the matter was that it was largely a "seat of the pants" implementation done in a short space of time. As such it isn't adjustable. It was a time constraint thing and not because we don't want it to be adjustable. At some stage it will be given an interface for you to adjust the parameters within. I just haven't got around to it yet.
There are a number of things I'd like to try to implement "better" limiting and compression but they will have to wait until I've got some time. I've had one particular idea sitting in the back of my mind for over three years now. I'm confident it would be a very fruitful modification to current compression / limiting approaches but as yet I haven't had the opportunity to implement it.
Here's a unusual suggestion for you ... The pumping is coming from too short a release ... so ... how about connecting release time to limiter gain ... i.e. the more the limiter is working , the longer the release .... It would save a separate 'dial' for release control ...
Cheez ....
" I hate compression with a vengeance . I avoid it . I'm a great believer in the dynamic range being preserved " Alan Parsons
That's an interesting idea that I'll have to investigate along with my plans for tonal compensation, though I don't think I'll be looking at it any time soon. I really want to get this re-write of Har-Bal seriously underway and distractions like this will just make it drag on.
The nature of the work is rather intense so it needs undivided attention. That is probably the main reason it hasn't proceeded with much speed. On the other hand, the long time coming has been invaluable to me to get a clear picture on how to structure this re-write and how it can be made so much more flexible.
