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I mention this to introduce the fact that although it wasn't a matter of expense, I knew that the recording we wanted to make was going to create issues that would require post-recording correction, so I took a small gamble and set up for the recording with that specifically in mind. My recording decisions then responded not to the rough mix that I actually heard during the session, but to a 'virtual' mix that was being 'processed' in my imagination.
Of course, this way of working can then be applied all the way down the line: if you know that you have sufficient quality tools at your disposal and control over the decisions! This isn't so much fixing in the mix as keeping a single creative line going through what were generally thought of before as three separate processes. So the subsequent challenge for Samplitude 10 was then whether or not it could actualise the virtual and bring off that processing at all, and if so, in a way that would allow the artificiality of it all to be concealed.
The most simple and straightforward example to illustrate the corrective features was that of the far-too-omnipresent low end of the percussion I've mentioned before. Not only was this in the room generally, but given the mic distance for the individual instruments whose natural timbral characteristics ruled out close—miking it was also in all the mics that were open. Often, when mixing such a project, the first thing to do would be to fade down those mics when they were not actually in operation, but here that was not an option, because the placement of the mics and the resulting mic bleed were the result of deliberate decisions taken to create a nice overall acoustic space.
The percussionist controlled his dynamics to suit the sections of the music, playing with great subtlety during the vocal or solo instrumental passages, and really letting his sounds ring out in ensemble sections. The problem then was to allow the mix to reflect this, and the answer was obviously to automate the track EQ.
There are other ways to achieve a similar result, but given the ease with which problematic frequencies, once identified, and well under the fundamental of all the other instruments except the cello, could be dialled in and out, and the ease of listening that easily automated features allow the mix engineer, this was clearly the technique of choice. Magix describe Am-munition as "an extremely versatile, dynamic tool for editing [eh? It has separate units like compression, filtering, side-chain, limiter and clipping.
Am-munition is a powerful and complex mastering dynamics processor. Probably the best way to think about Am—munition is as a device that shares the dynamic manipulation load between compressors, limiters and soft-clipping devices.
These are just some of the internal options available within Am-munition. Knowing more about its actual modes of operation will naturally lead to more efficient and effective use, but as whole articles could be written about how to use it and will be: look out for a forthcoming SOS technique column on this processor , it seems to me that the best way to learn is to start with one of the 44 presets provided and tweak them to taste.
The whole learning curve can actually start quite gently, due to the excellent metering provided. This tells you just how much compression you're adding, just how much limiting and even how much clip management is going on. There's also a hugely useful gain-adjustable bypass button, which enables you to match the level of the processed and unprocessed signal and so hear the effect of the manipulation without being misled by the apparent advantages of mere greater gain.
My own listening tests were entirely positive. Having worked my way diligently through the flow chart provided in the help file, I still began by simply running a variety of mixes through the device, choosing a Samplitude preset that had something like the right name, and then adjusting the main parameters to see what happened.
Having worked out the general procedure, and the way compression 'slope' is nicely different in relative effect from 'ratio', I then began to thoroughly enjoy the experiments — even finishing a couple of projects along the way. In my humble opinion, there is nothing in all of explored space that can match the Pendulum OCL2 for transparent compression duties with acoustic material, but it seems to me that Am-munition benefits from one of the best opto-compressor emulations I have heard so far, especially at the gentle end of the settings, with the warmth and musicality for which this form of compression is renowned.
I was less taken with the sounds of the plug-in pushing hard into the later stages of limiting and clipping, but the music I generally work with has little tolerance for clipping, no matter how well managed, and neither do I. Tastes, indeed perceptions, vary widely here, though, and if absolute level is sometimes still? What is beginning to push Samplitude ahead of the large, unruly pack of DAWs that now offer complete in-the-box solutions for recording, mixing and mastering engineers is the usable quality of what actually comes in their boxes.
Magix's decision to automate their plug-ins, and then add the excellent Am—munition to their roster, makes a strong case for Samplitude being quite the best DAW of its class. In absolute terms, of course, the individual elements have competition from the very highest-quality stand-alone developments both hardware and software , against which they do not compare, but even if you have the budget to employ those tools, I'd still suggest you buy Samplitude for the basics of capture and mix control and then move further with the extra money.
For the rest of us, given that those basics now come in at such a high quality, we can buy Samplitude for nearly everything else as well and be amazed at the money we've saved. I had great hopes for this new feature: most modern DAWs provide some variation on the basic theme, but my experiences with a lot of them have been that although many can do a good job, and some can do an excellent job, on single instrumental or vocal lines, none can really cope with complexities such as orchestral or classical choral work.
Magix claim that their new software can cope: "The new Universal HQ algorithm offers very good quality with almost any audio material. Especially when it comes to complex audio recording like orchestral recordings, this algorithm delivers especially good results. I don't beg entirely to differ, but I would have to qualify that a little. When pitch-shifting small amounts on orchestral recordings that had a back-up role in non-classical settings, the Universal HQ was certainly better than almost anything else I'd tried, but the results did not lead me to think I could transpose much on more exposed classical recordings.
Time-stretching results were similar, which was sad, as I had a classical project underway that needed just this ability. I had recorded a long, highly repetitive choral work by Philip Glass, and when we came to the editing stage the musical director decided that, in the overall context of the piece, he had taken a central choir-only section a tad too slowly and it should ideally be five percent faster.
We actually delayed completion of the post-production to allow for the delivery of Samplitude 10, so that I could try out the Universal HQ, but in the end, after much trial with smaller and smaller chunks of audio, the result was still not quite good enough.
To put all of this in proper perspective, though, the process worked flawlessly and with excellent results on all non—classical tasks.
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