Figure 11: A comparison of envelope detection in traditional and Har-Bal dynamics processingBy using a slow moving envelope for dynamics processing we ensure that the short term transient material remains largely unaltered and we simply change the relativity between loud and soft passages of a track.
This point is clearly illustrated in Figure 11, which shows the difference between envelope detection used traditionally and in Har-Bal. The net result is that the dynamics processing in Har-Bal works more like the volume riding technique of recording engineers of days gone past where they would adjust down the level while the music is being recorded because they knew when the loud parts were coming. Because Har-Bal knows the entire history of the track we don’t need fast attack because we know when to pull the level down. We have a slow release time because fast gain change will lead to a lot of distortion. In traditional compression we principally have fast attack and slow release because a compressor cannot predict the future so it doesn’t know when to pull down the level and if it does it slowly a very big transient will push through before it has a chance to bring it down. However it doesn’t sound awful, and here is the reason why.
Now you’ll probably think that makes no sense and will sound awful. By that I mean with a normal compressor you would typically have a fast attack time and slow release which means that the gain quickly drops at the start of a transient and slowly rises at the tail after the transient. As such the gain change that tracks the music is in sync and symmetrical about the content. The envelope it already has from the analysis. Unlike conventional dynamics processing, it doesn’t use attack – decay envelope extraction. You create a transfer function to map the input average level to a new output average level and Har-Bal uses it to figure out what gain to apply dynamically prior to the limiter at any point in time. New features!! Dynamics ProcessingThe dynamics processing in Har-Bal is based entirely on the average level envelope that you see in the time-line. It’s an interactive process of listening and seeing and experimenting with changes. We don’t suggest you simply trust what you see and go by that. More the case that when you are struggling to hear what is wrong (but you know something is wrong) it can give visual insight. It does not mean give way to your eyes if your ears tell you everything you need.
IntuitMatch and IntuitQ – “Eyes to the ears” is a more realistic slogan that we like. Loudness Compensation – Har-Bal leaves the initial volume level unchanged even after performing spectral correction (EQ changes) thanks to its “loudness compensation” algorithm.
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Any time values with peaks above the line are selected and those below are not.Har-Bal updated to version 3.7 Har-Bal 3.7 Available for Mac and PC Match Loudness – Will match your track to the perceived loudness of any commercial recording you input into Har-Bal. Instead on manually trudging through the entire time trace to find the times at where those peaks occur you would use our tool based on placing a threshold line on the peak trace. Those out of control bursts of sounds will show up as excessive peaks in the peak spectrum trace but not in the average trace as they occur rather infrequently. Imagine if you will a great recorded part of a vocal that explodes in volume on a couple of notes.
The ways you use it will is still the same but it will sound better and have a greater range of possibilities, one of which is stereo’ising mono sources. Har-Bal Air as it is now has been replaced with a more powerful and natural sounding Haas zone ambiance process. So the level of the Side component relative the Mid component gives an indication of the stereo spread of your mix. Our Mid / Side decoding is defined by the following equations: Mid = Left + Right Side = Left – Right You can see that with a mono source Side = 0 as Left = Right. The dynamics processing in Har-Bal is based entirely on the average level envelope that you see in the time-line. “Eyes to the ears” is a more realistic slogan that we like. Har-Bal leaves the initial volume level unchanged even after performing spectral correction (EQ changes) thanks to its “loudness compensation” algorithm. Will match your track to the perceived loudness of any commercial recording you input into Har-Bal.
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