Why this treatment doesn't exist as plug-in?
Simply, because it can't be done in real time.
Is this treatment dedicated to a particular type of music?
The algoritm is based on a perceptive model related to the human hearing. No matter the style of the source is, the signal is adjusted to produce intense sensations for the auditor.
How to obtain the best results?
Don't insert any treatment such as clipper, limiter, compressor or equalizer on your master section during the mix/render/bounce, just focus on the mix without searching for loudness.
For 16 bit files, peaks must be in the -6 dB to -3 dB range. For 24 bit files, peaks may be around -18 to -3 dB. If you need to produce a 44.1 KHz 16 bit file from a different format, do it after the MaximalSound processing, make the sample rate conversion on the processed file, then apply noise shaping and dithering during the final bit depth conversion. See Good Practices for Mastering see also MaximalSound at Work.
How are prices calculated?
The pricing is related to the file size. The price is €1 per 7.5 MB uploaded plus €1 per transaction. Processing a 3 minutes song in 24 bit, 96 kHz will cost €14.06. And 3 minutes in 16 bit, 44.1 KHz will cost €5! Using the same sound format, a 60 minutes CD can be mastered for only €81 including VAT if uploaded as one file.
Price per minute:
44k 16 bit 1,33 €
48k 16 bit 1,45 €
88k 16 bit 2,67 €
96k 16 bit 2,90 €
44k 24 bit 2,00 €
48k 24 bit 2,18 €
88k 24 bit 4,00 €
96k 24 bit 4,35 €
44k 32 bit 2,67 €
48k 32 bit 2,90 €
88k 32 bit 5,33 €
96k 32 bit 5,80 €
Prices are even better with the VIP offers.
How to handle multiple tracks engaged in a single payment?
Simply create a single audio file containing all the pieces to be processed. Grouping the tracks in a single file allows to preserve the differences in the track levels when processed.
Opening a VIP account is the other solution.
What should I do if the demo is not representative of the song?
Just re-upload the same file. A new random selection of the processed audio will be included in the demo.
Why not support mp3 files?
This method of size reduction for audio files, also reduces their quality by removing many details according a psycho-acoustic model which determines what needs to be taken into account, and what deserves to be ignored. This file type is therefore an approximation of the original. The information removed by converting to mp3 is lost forever and will always default to the file even mastered.
Is there any interest to use a high sampling rate?
The higher the sampling frequency, the higher the sound is described precisely in time. The difference is particularly sensitive to high frequencies.
Why using 24 bit files?
The number of bits determines the description resolution for each sample. If 16-bit signal can be described according to 65 536 (2 ^ 16) values, in 24 bit, the signal is described with 16 777 216 (2 ^ 24) values.
Harmonic enhancer, why?
The harmonic enhancer, this old invention of the Aphex company, has the advantage on an equalizer to not apply a fixed amplification on the top of the audio spectrum. This technique allows to naturally clarify the sound without fatiguing constant high frequencies boost. In the MaximalSound algorithm the even and odd harmonics are generated separately depending on whether the attack or the body of the note are processed.
32 bands processing?
A 32 bands crossover filter splits the signal to be processed by 32 de-expanders before being rebuilt in broadband by summing all the bands individually processed. This produces a dynamic equalizer where each part of the audio spectrum is magnified in the low levels according to a psychoacoustic model standard. See Equal Loudness Contour.
What is a de-expander?
A de-expander can also be called reverse-expander. A de-expander amplifies the signal below a threshold in contrast to an expander which attenuates the signal below this threshold. This choice is fundamentally different than techniques related to compression. The signal is amplified when it is weak and not planed when it becomes too high (above threshold). The difference may seem subtle, but it is significant when the attack time of treatment is taken into account . A compressor will act always too late (attack time) on the peak values, forcing the limiter to affect the transients which are so valuable to the perception of space. The de-expander just amplifies signal after the attack time, avoiding all unnecessary limiting. See Multiband De-expander at Work and Compressor Versus De-expander.
Why using a limiter?
Unlike the analog domain, digital doesn't support any overload, even briefly. The limiter has to handle situations where the summation of all processed bands produces a signal exceeding the allowed maximum value (0dBFS) in the digital domain. The limiter is an essential part of treatment since at this stage the signal is full band and any defect may lead to tonal unbalance by favoring or attenuating certain parts of the audio spectrum. In limiters the attack time is zero or negative (look ahead) to prevent any violation of the limit value. The art is to find an optimum release time, in order to preserve the frequency content and the perception of the dynamics of the original signal regardless of the complexity of this signal. See Digital Overload and All Limiters Aren't Equal
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