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Post by bgrotto on Aug 17, 2024 10:05:19 GMT -6
I'm auditioning it a bit this week and it's absolutely blowing my mind. It's like Izotope RX on a VERY healthy dose of steroids. I'm mixing a live video shoot thing where the venue was this MASSIVE space with incredible ambience, but the engineer lost the room mics (🤦🏻‍♂️), and I've been able to re-synthesize them using a Reverb Match feature.
I'm also mixing a live-in-studio performance where the drum spill was heavy in the vocal mic, and I basically removed it to the point where I can comp from two different takes, and even tune some errant pitchiness. And then I can use the spill as a room mic.
It's seriously fucking bonkers what this program can do. I'm like seven days into it, barely scratched the surface, and it's already got me totally gobsmacked.
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Post by damoongo on Aug 17, 2024 10:17:11 GMT -6
Good to hear. How’s the ARA implementation? Working as it should?
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Post by bgrotto on Aug 17, 2024 10:21:06 GMT -6
Good to hear. How’s the ARA implementation? Working as it should? I'm on Pro Tools, so the ARA implantation isn't yet a thing. Hopefully soon!
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Post by FM77 on Aug 17, 2024 10:42:36 GMT -6
A couple years here. Same as you, I have barely scratched the surface as it is generally a need to know/learn feature set. But it has been a very adept surgical tool when needed. Most recently, I have used the unmix feature to isolate tracks for sub gigs with original artists and for a video demo. Nice to have as part of the tool set of a working musician/producer.
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Post by Johnkenn on Aug 17, 2024 11:15:34 GMT -6
Oh wow. I own Cubase 13 - do I own it?
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Post by Johnkenn on Aug 17, 2024 11:57:24 GMT -6
I’ve seen that name for years and thought it was some house techno 808 library. Thanks for pointing this out.
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Post by phantom on Aug 17, 2024 12:38:39 GMT -6
It's an impressive program. And it's evolving each and each new version.
At the same time it's still a tech in development. So it'll fail sometimes, the same amount as it will blow your mind.
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Post by Johnkenn on Aug 17, 2024 13:07:14 GMT -6
It's an impressive program. And it's evolving each and each new version. At the same time it's still a tech in development. So it'll fail sometimes, the same amount as it will blow your mind. So case use - what do you mostly use it for?
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Post by copperx on Aug 17, 2024 16:27:05 GMT -6
It's an impressive program. And it's evolving each and each new version. At the same time it's still a tech in development. So it'll fail sometimes, the same amount as it will blow your mind. So case use - what do you mostly use it for? Not who you asked, but I've used it to remove squeaks in acoustic guitar tracks, cleaning up the sound of the singer hitting the mic which would have made the track unusable, and other fixes involving weird noises of tracks that I didn't record. If you're really vigilant when recording as you should it's not a tool you're going to use that frequently. If you're dealing with other people's tracks, it can save your bacon. To note, Reaper can do some of the same spectral work -- it's just more awkward than Spectralayers if you're doing a ton of edits.
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Post by phantom on Aug 17, 2024 16:42:07 GMT -6
It's an impressive program. And it's evolving each and each new version. At the same time it's still a tech in development. So it'll fail sometimes, the same amount as it will blow your mind. So case use - what do you mostly use it for? I have used it for post-production work and for clean up. What I like about the worflow is being able to separate the sound in different layers, like noise, dialogue, maybe some especific noise. Then I can treat and mix then differently.
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Post by mcirish on Aug 17, 2024 20:01:31 GMT -6
I have it and use it often. It's great at reducing upright bass noises and mouth noises. I had to try to salvage some 30 year old stereo mixes. The remixing function helped a lot. I have RX as well, but since Spectralayers can run inside of Nuendo, I use it almost exclusively now. It's pretty deep and can do a lot. I know I have not scratched the surface.
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Post by thehightenor on Aug 18, 2024 4:22:55 GMT -6
Oh wow. I own Cubase 13 - do I own it? Cubase 13 comes with the free LE version. The full version is payed for and quite expensive.
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Post by bgrotto on Aug 18, 2024 10:19:28 GMT -6
It's an impressive program. And it's evolving each and each new version. At the same time it's still a tech in development. So it'll fail sometimes, the same amount as it will blow your mind. So case use - what do you mostly use it for? In one of my cases, the band recorded a live video shoot in a massive space ( http://instagram.com/p/C-VR_rUp-8R There *had* been a monitor feed getting printed live to 2, and some one-hits of the drums were taken for use as possible samples, and that feed had all the ambient capture in the feed. So, there was a stereo recording of the ambience (albeit with the spot mics also in place). Initially, the plan was to replicate the reverb using a plugin by listening to that live-to-2 capture and doing my best to re-create those sonics. The plugin Tai Chi is great for this, btw, and I actually managed to get something pretty good going with it. But it wasn't quite right, so I took the aforementioned one-hit samples, made a Slate Trigger instrument, then triggered them with a VERY slow attack envelope so that the spot mics were effectively removed from the samples and all I had was the tail. That worked well for the shells, but the cymbals and the bass and guitars felt dry, so I used some Tai Chi reverb on them. Then I decided to try using Spectralayers. Here's what I did: 1. captured the ambience of that live-to-2 print as a reverb profile in SL 2. duplicated the Overheads (which had a lot of bass and guitar bleed) and applied it there to create a very ambient sound 3. reversed that new track's polarity and combined it with the 'dry' OHs to remove everything but the new ambience 4. load that new ambience-only track into SL, and separated the signal into three layers: transient, tonal, and noise 5. attenuated the transient signal to decrease the feeling of proximity the drums and cymbals had, effectively moving the mics 'further away' from the kit 6. isolated 100-200hz in the tonal and noise layers, and separated those ranges on to their own ranges, so I could re-balance the 'rumble' of the guitars and bass, allowing me to keep the impact of the shells without creating too much unwanted mud 7. recombined the whole thing, sent to an instance of Split EQ to shelf out some extra LF of the 'tonal' portion of the composite 8. blend to taste. Sounds fucking GREAT. Glues the whole mix together in a very convincing way and adds a lovely depth of field. I was able to turn down the ambience samples that I'd made, so the whole thing feels way more 'real'. When the video comes out, I'll try to remember to post a link here. It's pretty bad ass. The OTHER use I had was a bit simpler. We did a live-in-studio recording of a client we love, and the band spill into the singer's mic was making it difficult to work with. I loaded the vocal mic into SL, separated the vocals from everything else, and now I have a vocal signal isolated perfectly with some very acceptable artifacts (sounds a little like swirly MP3 on some longer quiet notes). I can tune and even comp from alternate takes. And I also have a great-sounding instrumental room mic to blend in with the band.
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Post by bgrotto on Aug 18, 2024 10:33:53 GMT -6
Oh, and btw, I now have a profile of that massive room that I can apply to any signal I want with just a couple clicks.
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Post by Dan on Aug 18, 2024 10:51:48 GMT -6
So case use - what do you mostly use it for? Not who you asked, but I've used it to remove squeaks in acoustic guitar tracks, cleaning up the sound of the singer hitting the mic which would have made the track unusable, and other fixes involving weird noises of tracks that I didn't record. If you're really vigilant when recording as you should it's not a tool you're going to use that frequently. If you're dealing with other people's tracks, it can save your bacon. To note, Reaper can do some of the same spectral work -- it's just more awkward than Spectralayers if you're doing a ton of edits. how is the de-squeek vs izotope? How are the vocal/dialogue cleaners versus acon and waves clarity?
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Post by bgrotto on Aug 18, 2024 11:06:18 GMT -6
Not who you asked, but I've used it to remove squeaks in acoustic guitar tracks, cleaning up the sound of the singer hitting the mic which would have made the track unusable, and other fixes involving weird noises of tracks that I didn't record. If you're really vigilant when recording as you should it's not a tool you're going to use that frequently. If you're dealing with other people's tracks, it can save your bacon. To note, Reaper can do some of the same spectral work -- it's just more awkward than Spectralayers if you're doing a ton of edits. how is the de-squeek vs izotope? How are the vocal/dialogue cleaners versus acon and waves clarity? The thing that makes SL so powerful is data needn't be 'removed'. It just gets bumped to a new layer, which can be modified and edited separately. So, instead of simply de-squeaking, you move the squeaks to a new layer. They can be muted or attenuated, eq'd, and so forth. And, if you find that SL has misidentified something as a squeak, you can bump it back to the main layer. So it's less about the quality of the processing, and more about the flexibility.
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Post by Dan on Aug 18, 2024 11:12:16 GMT -6
how is the de-squeek vs izotope? How are the vocal/dialogue cleaners versus acon and waves clarity? The thing that makes SL so powerful is data needn't be 'removed'. It just gets bumped to a new layer, which can be modified and edited separately. So, instead of simply de-squeaking, you move the squeaks to a new layer. They can be muted or attenuated, eq'd, and so forth. And, if you find that SL has misidentified something as a squeak, you can bump it back to the main layer. So it's less about the quality of the processing, and more about the flexibility. That’s a huge improvement on izotope which I only use for squeaks and other unique processes. Last mix in reaper which just got approved, there’s just muted original guitar tracks and the imported “desqueeked” versions from rx and yeah a little is lost but I didn’t bother automating the mutes or faders to have the desqueaked version just around the squeaks because it didn’t really matter when they’re bussed together hitting vintage warmer for more crunch but if I wasn’t adding fake crunch to some peavy bandit sort of amp, I would’ve had to automate.
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Post by phantom on Aug 18, 2024 11:12:54 GMT -6
how is the de-squeek vs izotope? How are the vocal/dialogue cleaners versus acon and waves clarity? The thing that makes SL so powerful is data needn't be 'removed'. It just gets bumped to a new layer, which can be modified and edited separately. So, instead of simply de-squeaking, you move the squeaks to a new layer. They can be muted or attenuated, eq'd, and so forth. And, if you find that SL has misidentified something as a squeak, you can bump it back to the main layer. So it's less about the quality of the processing, and more about the flexibility. Yep, non destructive. That's also what I like the most about it. And the transfer tool. You can really be a perfectionist and spend hours on the transfer tool isolating the thing you want to isolate.
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Post by geoff738 on Aug 18, 2024 11:37:02 GMT -6
So, I can decicada? Freaking thing is driving me crazy.
Cheers, Geoff
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Post by bgrotto on Aug 18, 2024 16:56:05 GMT -6
So, I can decicada? Freaking thing is driving me crazy. Cheers, Geoff honestly, yes, probably. if you are serious, and want to send me a file, I can try my hand. It'd be a good excuse to learn the software a bit more. bennygrotto.wetransfer.comLay it on me via that link
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Post by geoff738 on Aug 18, 2024 17:20:02 GMT -6
So, I can decicada? Freaking thing is driving me crazy. Cheers, Geoff honestly, yes, probably. if you are serious, and want to send me a file, I can try my hand. It'd be a good excuse to learn the software a bit more. bennygrotto.wetransfer.comLay it on me via that link I wasn’t completely serious but the thing seems to be right outside my window. As is sometimes a neighbour’s kid, and there is a yappy dog somewhere in the vicinity. And occasionally chickens. And this is all coming into a minimally treated recording space. Aka known as the bedroom. I’ll see what I can do. Cheers, Geoff
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Post by bgrotto on Aug 20, 2024 8:19:09 GMT -6
Just got into the drum unmixing feature, and it's incredibly powerful for cleaning up bleed. wow.
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Post by Tbone81 on Aug 20, 2024 10:51:01 GMT -6
Alright, I gotta look into this. I have Cubase so it’s a no brainer. Thanks for bringing this up.
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Post by Dan on Aug 20, 2024 11:20:14 GMT -6
So, I can decicada? Freaking thing is driving me crazy. Cheers, Geoff honestly, yes, probably. if you are serious, and want to send me a file, I can try my hand. It'd be a good excuse to learn the software a bit more. bennygrotto.wetransfer.comLay it on me via that link can it remove hf hash and noise from bad guitar dis? i have been looking for a tool that can do that for a while. right now i have given up and just experimenting with phase cancelations
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Post by damoongo on Aug 20, 2024 17:03:37 GMT -6
Just got into the drum unmixing feature, and it's incredibly powerful for cleaning up bleed. wow. Any quick start guides / videos you'd recommend? Or just jump in?
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