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Johnny Blade

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Posts posted by Johnny Blade

  1. 4 hours ago, Sascha said:

    Thing is, am-munition's output stage can push levels really high. I mean it. You can easily create loudness levels that surpass most other brickwall limiters by 3 to 4dB.

    Yes! It's interesting to see how many elite limiters fail in my projects (Hard Rock / Heavy Metal) when I need to remaster songs that have been very compressed. To keep them at an RMS volume of, say, -10dBFS, the peaks generally decrease and the wave takes on a small flat shape even though the volume is strong (-10dBFS RMS). AM-Munition is the only processor I don't see this happening, which amazes me. The waves retain their natural design and the peaks freely strike the specified top (-0.1dB) without any forced decrease.

    The way AM-Munition handles transients is, to put it mildly, spectacular.


    5 hours ago, Sascha said:

    But it comes at a price, and needs a cautious and wide-awake approach. Too soon and you've overcooked and burned a track.

    Added treble beyond a pleasent level can easily be the result of too much distortion/saturation induced.

    Yeah ... I have serious reason to believe that my relationship with AM-Munition has failed all these years because I didn't handle it properly, even though I'm not an equalization lover...


    5 hours ago, Sascha said:

    Although, when using the dual-band saturation and output-clip stage, you can adjust it a bit. If the saturation sliders are more towards 'soft' rather than 'clip', less upper harmonics will be produced, e.g. the harmonic series takes on a smoother decay towards the top end. This is easily visible in Samp's output meter, especially when using its 'true peak' (intersample peak) detection mode: the softer the saturation curve, the smoother the approach towards the ceiling will be, and less intersample overshoot. IMO hard clipping should only be tolerated if you aim for a general transparency up to a well-defined threshold.

    Here is a fundamental explanation. In fact, I've always calibrated the saturation sliders in every way imaginable, really being certain that this way I'd get warmer or at least less "cold" sound.


    5 hours ago, Sascha said:

    One could also try balance the spectral behaviour with the dual-clip stage. To retain clarity and impact on the bass, allow for more hard clip in the low band (or like 50:50 or so), and set the upper band to all the way 'soft'. This will lead to a more 'wooly' character in the highs, gently smearing the top end, but retain bass punch. Similar to what tape does. You might have to play a bit with the crossover frequency, as when it's too high the hard clip from the lower band might create too much harmonics that bleed into the treble band. Of course, it all depends a bit on the incoming signal. The 'purer' the sources (especially the less odd-numbered harmonics), the more added saturation/distortion will change their character.

    Yes, as I said above, whenever the result didn't satisfy me, I focused on saturation sliders.

    My frustration is that I know what AM-Munition is and its potential, but I have never been satisfied with it.

    However, with the repeated rereading of your explanations, I begin to believe that my approach to the plugin is unfair and cruel. AM-Munition is not a doctor or pharmacist to cure previous oversights. I see here that my approach to it really needs to change so that it can deliver what is to be expected of him and not what I want it to do.

    Processors preceding AM-Munition in the plugin chain should be handled with more caution on my part. It's a unique tool and I see that I shouldn't be treating it the same way as more conventional ones.

    More than that, it is quite true that a certain lack of patience with the calibration of these sliders (saturation) contributed a lot to a quick disappointment.

    I need to talk to him again. I need to hear better and more carefully what it has to teach and show me. Patience is a virtue and insistence is the path of success.

    I have no adequate words to express my thanks for the time you have decided to devote to this topic. I am very grateful indeed.

  2. 14 hours ago, Nordlead said:

    The first thing I noticed in "9" was that the first time scanning of the new VSTs had already taken an unusually long time (several minutes!). 
    When opening Ozone 9 in the mastering section of the mixer I had to wait 15 to 20 seconds until the plugin was open. Ozone 8 opens within 2 seconds. When Ozone 9 was open, I could use everything without any problems so far.

    Then I asked if it was Samplitude (Pro X3 still has problems with VST3) and did the same in Reaper - the same experience (both when scanning the VSTs for the first time and also later when opening the plugin).

    The same here!!! And many users of other DAWS have also experienced this delay.

    I am disappointed!

    14 hours ago, Nordlead said:

    --- Postscript: There was an update overnight (9.02), so now the standalone version opens as fast as the 8er so far. In both DAWs it still takes so long. Apparently iZotope is still working on it...

    Good news, I'm going to check this out, thanks for that!!

  3. 4 hours ago, Sascha said:

    But again, give an example of what sounds 'cold' to you, and one can try counteract it.

    OK, it is quite possible that I did not have a cognitive level at the height of great technical specifications, but in the case of this topic, when I referred to "cold" I was focused on the prevalence of mid-high frequencies that the results were presenting me.

    I don't like to use EQs indiscriminately. I avoid them. In my perception of the results, AM-Munition delivers a very nice, open sound - as you might expect from Optos Compressors - but at the same time I felt that this "opening" also ended up contributing more "treble" end results like if high-mid frequencies were injected, and that's what kept me from the plugin.

    However, it is very possible that my lack of dexterity caused this...  :blush:

  4. hi, @hyper.real. Thanks for reading this topic.

    AM-Munition is a fabulous tool, but unfortunately it doesn't fit on my projects (audio mastering for friends who have fun with music). I have preferred the iZotope Ozone 8 options and recently Limitless - which I avoided for a long time for being multiband. These options deliver a more analog and warm sound to my ears.

    And about Molot, it is very dark. Any Fairchild emulation is better, I don't like it.