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[Chris Hindle]

Just curios Tim, which tool do you use to know that the bass does not go below 55Hz please?

A trained ear, or a Spectrum Analyzer are common ProSound tools......
Chris.

[Mike Henderson]

- You mentioned playing it from mp3 and YouTube on a computer but then the radio on a surround sound system. Did you play the mp3s and YouTube on the same surround system to compare?

I tried it out and no difference with the tune playing through Spotify on the surround system so that answers that.

[John Scibello]

Not sure if this helps but here are my suggestions. Without using OTS,  play your mp3 and your cd version and see if there is a difference. Re-rip an mp3 from your cd at the highest quality with no changes to the sound to see if you can get them to sound the same.  Then on to OTS - There is an Equalizer button on the top which opens the equalizer. You can shape the sound you want there or leave it flat. Also there is a Dynamic Processor button on the top which opens the screen that you posted. There are 5 presets that you can choose. They vary the Compressor, Limiter and Gain Control settings. Try each one and you will hear the difference it makes. Also at the bottom of that screen there are 3 settings for volume which vary the Fletcher - Munson Compensation. Try each of those - they also make a difference in the sound. Hope that helps.

[Mike Henderson]

Not sure if this helps but here are my suggestions. Without using OTS,  play your mp3 and your cd version and see if there is a difference. Re-rip an mp3 from your cd at the highest quality with no changes to the sound to see if you can get them to sound the same.  Then on to OTS - There is an Equalizer button on the top which opens the equalizer. You can shape the sound you want there or leave it flat. Also there is a Dynamic Processor button on the top which opens the screen that you posted. There are 5 presets that you can choose. They vary the Compressor, Limiter and Gain Control settings. Try each one and you will hear the difference it makes. Also at the bottom of that screen there are 3 settings for volume which vary the Fletcher - Munson Compensation. Try each of those - they also make a difference in the sound. Hope that helps.

Thanks. OTS does a good job with volume leveling so I never have to adjust volume but it is not a multi-band processor.

I just stumbled on these features of my MX200 guys, it has both a De-Esser and Compressor and the document is showing:

A De-Esser is a type of compressor used to control specific frequencies. Excessive sibilance, or the “s” sounds, can be tamed by applying this effect.

Does it mean the De-Esser will function as a Multi-band controller please? This is the manual, it's on page 19:

https://lexiconpro.com/en/product_documents/mx200manual_bpdf

[Chris Hindle]

Thanks. OTS does a good job with volume leveling so I never have to adjust volume but it is not a multi-band processor.

I just stumbled on these features of my MX200 guys, it has both a De-Esser and Compressor and the document is showing:

Does it mean the De-Esser will function as a Multi-band controller please? This is the manual, it's on page 19:

https://lexiconpro.com/en/product_documents/mx200manual_bpdf

Mike, a de-esser is best used on a single track while recording, "sweetening", or live performance.
It is NOT a multiband process. You set the frequency you want to attack, then set "removal" level, and width of activity. Much like a parametric EQ.
Using it on a final mix is not "productive".

You are trying to find a box made of unobtanium.
You want an automated way to "normalize" your collection.
Ain't gonna happen.
100% fix is to resample each track, and fix as needed. VU Level control and EQ should be your tools.
Forget multi-band compression, limiters, and all the other "dynamics" out there.

As a somewhat active photographer, I remember digitizing some 1,000 rolls of black and white and color negatives.
It took a while. A really long while. It was cheaper for me to buy a 4,000 DPI film scanner than to ship it all off to a lab.  Risk of loss and damage while out of my hands played a part in that decision.

Bite the bullet, and just resample your collection to meet your rather exacting standards.

Chris.

[Mike Caldwell]

Bite the bullet, and just resample your collection to meet your rather exacting standards.

Chris.

Chris summed it up well and I'm sure I'm not the only one trying to figure out exactly what the exacting standards are your going for other than trying to make everything sound the same.

[Mike Henderson]

Chris summed it up well and I'm sure I'm not the only one trying to figure out exactly what the exacting standards are your going for other than trying to make everything sound the same.

I was simply trying to understand exactly what the De-Esser does is all.

[Mike Caldwell]

I was simply trying to understand exactly what the De-Esser does is all.

You set the frequency that you want to target to get the "Ess" out of.
You then set the threshold level that you want to start removing the "Ess"
When the input level containing the "Ess" frequency goes higher then the
threshold level setting the De-Esser unit starts turning down the audio bandwidth
that is set up containing the "Essing" frequencies.
In sense removing some of the high end when needed.

Can really help with people speaking at a mic who kind of spit and sizzle their words and on some
vocalist.

[Mike Henderson]

You set the frequency that you want to target to get the "Ess" out of.
You then set the threshold level that you want to start removing the "Ess"
When the input level containing the "Ess" frequency goes higher then the
threshold level setting the De-Esser unit starts turning down the audio bandwidth
that is set up containing the "Essing" frequencies.
In sense removing some of the high end when needed.

Can really help with people speaking at a mic who kind of spit and sizzle their words and on some
vocalist.

I see, well explained, thanks.

[Russell Ault]

I was simply trying to understand exactly what the De-Esser does is all.

I'm not sure if this will create less confusion or more, but I would describe a de-esser as "dynamic EQ", which is sort of like the inverse of a multiband compressor. The former starts by breaking the audio into bands and then applies compression to each band separately, while a dynamic EQ works in much the same way as a traditional EQ except that the level control has been replaced by a compressor; the former uses a series of band-(etc.-)pass filters, the later is based on notch filters (which allows for precision but can limit usefulness as a sound-shaping tool).

-Russ

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