I bought the bundle a week ago, and I like it. Do I really need this? Alternatively it could be used to emphasise the natural reverberant sound on a recording rather than adding a reverb plug-in. However, for you to take advantage of the smart bands, you really want to be using it in the mix anyway. In most instances, I used a little bit of both Recover and Tame, adding a hint of Boost to balance any sense of added top end. Today, I wanted to talk about the Gulfoss plugin from Sound Theory.
The lack of time for proper sound monitoring, fast changes in vocals, sudden shifts in frequency and volume will not allow you to concentrate. It will let you reduce the reverb to a certain extent or increase the natural sound of your source. In fact, I was very impressed with how quickly things could really get to popping. This is a track I mixed called Star Gazing by the band Pushing Static. But you can easily create your own: After learning phase adjust eq with the other bands and save as new preset. Positive Bias values favour the Recovery mode at lower signal levels, while negative values lean towards the Tame mode.
Recover increases the intensity of frequencies that Gullfoss has determined are being masked, whereas Tame reduces the intensity of the masking frequencies. You can also reset the learned data and start from scratch. Both have their own amount percentage controls, and a third control called Bias determines how Gullfoss reacts in situations where it is less clear whether Recover or Tame would be most appropriate. Magic didn't happen for me. They claim you can create a perfect spectral balance, hone reverberant recordings or emphasise dynamics in a tonal fashion. It takes about 10 seconds for the plug-in to learn what the source sounds like.
I wanted to talk a little bit about what each of these parameters does, describe them, and then we will get to listening to what Gulfoss does to program material. His music has been featured on Dubstep. Enough with the descriptions though, how does this thing sound? This might be nit-picky, but it is something that stood out to me while testing the plugin. You can of course use the low-range limiter to stop Gullfoss from processing the low end, or you could use the Boost dial to add some lows back in. Recover accentuates those elements that are in danger of getting masked by other sounds, while Tame suppresses those over-dominant sounds responsible for the masking.
It was interesting to see the frequency graph working on the pattern and using Recovery to essentially lift the top end out of the mix in between each high-hat hit. Thanks to its user profiles, you can specify the plug-in module, as it reacts to various sound sources. Check out his website at. You also have a Bias control that allows you to weight whether Gullfoss choses Recover or Tame in borderline cases, a Brighten control to make the overall sound brighter or darker and a Boost control that applies a smile curve or boosts the mids at negative values. Gullfoss provides five adjustable parameters—Recover, Tame, Bias, Brighten and Boost. Reach your mixing goals in less time without sacrificing sound quality. Yes, I would recommend it for orchestral stuff, and I think it should also work with epic orchestral stuff.
Where prominent narrow peaks are evident, Tame is the first parameter to try; here, Bias acts as a kind of threshold control so that when set appropriately, only the resonances are processed. Apparently the designer makes extensive use of Gullfoss in his own projects to clean up mixdowns of multi-microphone recordings starting with equal settings of Tame and Recover, usually in the 20 to 50 percent range with Bias left set at zero. The meter for Bias shows whether Recover or Tame is currently active, while the Recover and Tame meters are combined in a split meter view, with Recover denoted by the top displayed bar and Tame by the bottom. You can see it adds sort of this smiley curve if you look at the visualizer here. The changes you make will not be integrated in the ai I think. Now it can recreate these eq settings. Apparently these plug-ins claim to be linear phase too, which, if true, makes for a very creditable release.
While the user interface is simple, what goes on behind the scenes is apparently very complex, and is based on a model of human auditory perception. Ian Vargo here with The Pro Audio Files and masteringinthebox. A large graph in the middle of the plug-in shows which parts of the spectrum are being affected and there are five main controls at the top. The two main parameters are Recover and Tame. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. In well-mixed parts of a song you may hear little difference, but then elsewhere in the track the effect may be more profound as Gullfoss decides that more work needs to be done.
I would like to see the training function from the live version in the +. Yes, I use it a lot, but mostly in combination with a second eq Frequency from Cubase. If the amount of high-frequency lift is slightly more than you need with the Brightness and Boost controls set at neutral, a small tweak of the Brightness negative and Boost positive controls should get the overall mix tonality back to sounding the way you like it. That produces the best results in my opinion. He will always follow your commands. The parameters on Gullfoss are decidedly nonstandard and, therefore, a bit confusing at first. The one standard parameter you can adjust on Gullfoss is the output gain, on the far right.
The Brighten parameter also impacts the Recover and Tame processes, doing so in a way that pushes the signal to be brighter on positive percentages and darker on negative. Sonible Freiraum is a fully interactive equalizer with modern quality mastering. In fact, it would be very noticeable and unpleasant. You can really sculpt and rescue an otherwise weak track with this tool. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers.