"smoother, cleaner" room mics

[jpvt]

I love AD with one exception... the room mics are waaaay too "crunchy" sounding. Is this due to low bitrate compression? I don't know. All I know is that in AD2, I'd like to see (hear) higher resolution files, or whatever is needed to make the stock room mics usable. If I need to smash or distort the room mics, I'd prefer to do it as an option. Thanks!

Thanks for listening. Keep up the great work!

JP

[Tore XLN Audio]

I love AD with one exception... the room mics are waaaay too "crunchy" sounding. Is this due to low bitrate compression? I don't know. All I know is that in AD2, I'd like to see (hear) higher resolution files, or whatever is needed to make the stock room mics usable. If I need to smash or distort the room mics, I'd prefer to do it as an option. Thanks!

Thanks for listening. Keep up the great work!

JP

All sounds in AD are recorded, edited and mixed at 24 bit/96 kHz. They are then converted to our own format, which is 44.1 kHz and uses variable bit rate which is very effective on percussive sounds. Our compression algorithm is virtually lossless, and the signal to noise ratio is around 140db, equivalent of 24-bit resolution.

I'm not sure what you're hearing, but is it possible that you're simply not fond of the room itself and the coloration of the microphones/preamps?

EDIT: variable bit rate, not bit depth

[jpvt]

I guess it kind of sounds like the "variable bit depth" feature in your algorithm is dropping the room mic's bit depth down between 8 and 12 bits, lending towards a slightly "crunchy" or distorted sound. My feature request is that you open up the "bandwidth" in the algorithm to reduce the chances for too low of a reduction in the bit rate, which is what I suspect is happening here (with the room mics).

is it possible that you're simply not fond of the room itself and the coloration of the microphones/preamps?

Are you saying that the mics and/or preamps are purposely overdriven for "character"? I'm not a professional engineer, so I don't know if that's the norm, but personally I would prefer a "cleaner"-sounding room mic, again, with the option of introducing overdriven characteristics.

Thanks!

[MD XLN Audio]

To clarify: Our internal format is variable bit-rate. The bit depth is always 24-bits.

[Tore XLN Audio]

To clarify: Our internal format is variable bit-rate. The bit depth is always 24-bits.

Thank you for that.

[jpvt]

Okay, please replace "bit depth" with "bit rate" in my feature request.

Seriously though, you can have an AAC/MP3 audio file at full 24 bit depth resolution, but if the bit-rate drops too low for complex harmonic material (full-spectrum room mics, for example), it will still sound awful crunchy, especially in the high-end. These room mics sound anything but smooth and I often have to bury them in the mix and use a convolution reverb solution to create a more natural sounding room (from the overheads or master bus). I don't know if the distorted-crunchy edgy sound is a production "technique" or what, but if that's not the case, I encourage you to open up the bandwidth on these room mic files and let them shine! I believe broadband internet is ubiquitous enough that XLN should consider easing up on the (overly?) conservative nature of it's compression algorithm a bit.

So to sum up my request for AD v2.0: higher bit-rate sound files, please!

Thanks for considering my request!

Cheers!

[MD XLN Audio]

The compression in AD is not comparable to AAC/MP3. Think of it rather as a slightly lossy 24-bit FLAC file...
There should be no "MP3-type" artifacts like coloration or pre-echo. What we do have is a noise floor which varies in level proportionaly to the signal strength, and which is typically magnitudes lower than the noise level inherent in the actual recordings...

On the other hand, the mic and the room used when recording it, as well as the mixing and production process do have a significant impact on the sound character - and this is very much a matter of taste. Our different ad-packs have been recorded in different rooms and with different selections of mics, under supervision of producers and drummers familiar with that target music style, with the ambition of getting the right sound for each resp. style.