Every one of the Anker 's good ideas comes mired in caveats, and all the user tweaking in the world can't solve its fundamental design problems. The software deserves praise for making macros so easy to record and use, but otherwise, the feature set is pretty standard. Whereas, the range of 16 million colors empowers you to set your desired lighting color as profile indicator, that further embellishes the look of the device. Latest: smalltech 10 minutes ago. Question Uninitialized until download 2k16 for pc Post thread.
But by selecting the time line in that manner and then controlling those errant peaks by highly selective filters that only act on the minimum amount of time required to fix the problem you end up with much better results. Complex time selection and filtering is our take on how to control errant peaks in highly dynamic instruments such as vocal parts. The conventional approach is multiband compression, for which we have a disliking, mainly because to our mind it seems like a poor match to the problem at hand.
To read an interesting article about different genres of music and how Har-Bal assists in the process. Apple ï¿½ OS X Elsongs So has anyone upgraded yet? Would like to know how this dynamics processing sounds. Does this mean we don't need to use a mastering limiter anymore? We still need to use our third-party mastering limiters. Har-Bal's built-in limiter does not seem to be designed as an absolute final limiter. It seems to be designed to give a very gentle leveling to be used prior to your favorite third-party limiter.
I use the Har-Bal limiter gain control to bring my songs up to a better level around or dB RMS prior to using a third-party mastering limiter.
When used this way the Har-Bal limiter bar-graph display shows very little activity; it is mostly off. There is very little limiting happening within Har-Bal.
Edit: I used the same source material and compared the sound of the har-Bal limiter to Elephant. Both limiters were set with enough gain to give me a dB RMS master. Har-Bal was suffering, ie: pumping distortion, transients chopped off. Elephant sounded completely usable, ie: not distorted, transients clamped but still sounded OK, no pumping. You are exaggerating and not being fair to the the Har-bal guys.
I paid 99 dollars for the very first version. Then I paid about 30 dollars for an upgrade that was well worth it. Then I paid 12 dollars for the latest update. That said, this software is not for everyone. You have to know what you want to do to the track to use the software. It does not magically fix your track.
I opened an audio file and it was analyzed by Har-Bal and displayed as shown in the image below:. After analyzing the file, Har-Bal displays the frequency spectrum of the audio in three different "power bands":. You will notice that I have a significant drop at a few frequencies, one of which is around Hz, another at about 1. These rogue resonances could be problem areas if you are playing your audio through speaker systems that either happen to have enhanced or diminished response at those frequencies, or if they happened to be crossed over at those frequencies.
What Har-Bal allows the engineer to do is take these peaks and valleys of the EQ spectrum and raise or lower them to smooth out the spectrum so little nuances between speaker systems will be minimized.
This is, my friends, what the fine art of harmonic balancing is all about. Before getting in to the concepts of the application and how it all works, lets get to now the epicenter of the app, the toolbar:. Much of the work is done with the parametric EQ cursor.
Click on the point that you wish to raise a lower and drag the cursor up or down while holding down the button. You can select which band you wish to move by using the tab key on your keyboard. I do most of my work on the green band myself, but the time will come you you will be shuttling back and forth between them all. If you are not happy with the edit you have made, just press the escape button before releasing the mouse button to undo it, or run through a series of undos with the undo button after the button has been released.
If you work anything like I do, the majority of your time will be spent using the parametric EQ cursor, as this does the bulk of the work moving up and down the valleys and peaks of the spectrum to get it nice and smooth. There are other tools you may use from time to time. The zoom in cursor allows you to click and drag over any trouble spots to zoom the graph in on those areas for more fine tuning.
The pan cursor can drag the view from left to right or up and down, which could be handy if zoomed in and needing to view a piece of the spectrum that is not currently in the graph. The High and Low Shelving cursors can move the entire spectrum from the point of click and the highest or lowest ends of the spectrum, high shelf going to the highest, low shelf going to the lowest, and shift that entire range of the spectrum up or down.
The shelving comes in very handy at times saving you from many clicks to raise an entire range. The graph shown below is the spectrum after some tweaks, notice it is much smoother across the spectrum. As a result, it will sound better from system to system, and will likely have added some power and depth to your original mix as well. Har-Bal makes this process so much easier and quicker I almost find it threatening as a mastering engineer ;- This sample file, of course, could still use work beyond what is shown here, but it does illustrate my point.
Har-Bal Har-Bal also comes bundled with a few template filters, which are handy guides to learn with, showing you the basic spectrum of many different genre's of music for you to use as a guide to EQ your own songs. These template filters can help you understand how each genre archives the unique sound they do by working the spectrum of the music to achieve such a sound.
I have personally found them quite interesting, and I am sure you will too. Har-Bal also has a lot of keyboard shortcuts available for you mouse haters:.
Ok, so you have your song or songs harmonically balanced. Groovy, but you're not done yet. The next step for the mastering engineer is the running order of the songs of the full CD and the perceived volume going from song to song. No listener likes to mess with the volume between songs, so the engineers job is to have a nice smooth transition from song to song, so that both the volume and tone flows smoothly. Loudness matching attempts to compensate for the effect of changing apparent loudness that results from equalizing.
Har-Bal does so by measuring a loudness figure for the original recording and adjusting the volume control on the equalized version so that the loudness figure of merit after making adjustments is the same as for the original. In this way you can be sure that the differences you hear are due to the change in spectral balance and not the change in volume.
This is the only equalizer I know of that does this in this manner, and really makes a substantial difference when toggling the EQ to hear the difference you are making, so as not to be fooled by the volume difference, and then be able to base your judgement on the difference in the sound.
Har-Bal makes this pretty easy with it's reference file capabilities. Open a reference file, then click the Equalizer button in the menu bar and select Loudness Matching. What it does then is take various aspects of the reference file that determines its perceived loudness and applies those aspects to the audio you are working on. Use the "match loudness" feature in Har-Bal as a reference for your limiter.
When using this feature, write down the gain number. Now pull the fader back to 0. Set your outceiling to If there was an increase in Har-Bal of 4. It works every time and the volume level is consistent throughout the entire album.
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|Har bal download||Then I paid about 30 dollars for an upgrade that was well worth it. I've used it. Use the "match loudness" feature in Har-Bal as a reference for your limiter. TeyshaBlue It's the smell. Yes, my password is: Forgot your password? Last edited: Nov 14, Har-Bal also has a lot of keyboard shortcuts available for you mouse haters:.|
To my ears it seems effective in increasing spread by at least 10 to 15 degrees in either direction and possibly more but the wider it gets the less noticeable any further position change becomes.
Note that the algorithm will not be effective for headphone listening in the manner described because it relies on the left to right and visa-versa cross-talk that occurs with listening to loudspeakers in a free space.
However, It is unlikely to degrade headphone listening experience and it will similarly have little effect on mono compatibility because for the wide panned scenarios it is only adding a negative image of one channel in the other. Ultimately I plan to document the entire algorithm as a scientific article and hopefully have it published in an appropriate journal, as well as make the demonstration source code publicly available and completely unencumbered ie. Why buy Har-Bal? You can immediately view the problem areas of your stereo files and Har-Balize the corrections.
If you are serious about your mixes sounding their best, then Har-Bal should be a standard application used in your studio to test every song before final limiting loudness is applied. Where are all the reference files located?
What kind of output does it generate? The combined effect of decay processing plus envelope gain is illustrated below. Further into the process of transient limiting we have the logic that decides the required compensation gain to avoid crossing the threshold, of which the output signal will have sharp transitions.
Sharp transitions are generally a bad idea as they can lead to obvious artifacts so this control signal output is filtered by the control low pass filter. Again, this filter will introduce a propagation delay into the system which must be taken into account if the corrective gain is to temporally align with the actual signal. This delay is evident in the figure below showing the gain control signal before and after filtering.
Note that the signal shown is in log space so a value of 0 corresponds to unity gain and positive values correspond to attenuation. When the control signal is finally exponentiated anti-log and presented to the input of the final multiplier it aligns in time with the actual signal.
This can be seen in the following figure. This process of transient limiting results in the following signal transformation. The very large transients are removed with little to no artefact and the process gives plenty of control to the user as to the degree and character of the limiting thorugh the use of the Attack Time , Rise Time and Envelope Gain controls.
Note that there is an overall latency to the process so Har-Bal Dynamics Processor will not be of use in real time monitoring applications, but in the case of post recording mixing and production work the latency is correctly reported and accounted for by the DAW.
The compressor section works in a manner similar to tradition single band compressors with the exception that it includes the delay compensation for the rise time component of the envelope detection. As such, compression with this compressor will not result in the creation of compression related transient artifacts, as the envelope signal is in sync with the actual signal being compressed.
The typical relationship between compression ratio , unity gain level and threshold for the compressor section is illustrated below. The unity gain level may be an unfamiliar concept but it simply means the input level that corresponds to the compressor having 0dB gain. Think of it as a preservation level so if your pre-processed input averages at dB and you wish to preserve that then set the unity gain level to dB.
If you want the compressed level louder set it to a value greater than the input average and if you want it lower then set it lower than the average. For levels below the unity gain level the compressor will have gain greater than 0dB and for levels above it will be less than 0dB.
Gating occurs when the input signal is lower than the Threshold for a duration at least as long as Delay Time. If the input level is temporarily lower than Threshold but for a duration less than Delay Time , noise gating will not be triggered. When gating does occur it takes a finite amount of time to do so and the speed of gating is controlled by the Decay Time parameter. Whether a fast or slow turn off time is required is application specific and will depend upon the desired effect.
The transient limiter feature was specifically implemented to address issues with percussive transients but it should be noted that as a side effect, this can also provide a distortion like effect for other instruments such as guitar. With guitar for example, as the envelope gain is decreased from a level of around 10dB down it the minimum you will likely hear a distortion effect reminiscent of clipping creep in.
The character of that distortion will be altered by the value you choose for the attack time and the control rise time. In general keep in mind that if you hear this sort of distortion but do not want it then you most likely have an envelope gain level that is too low for the material in question.
Har-Bal Dynamics Processor. Block Diagram of the Processing Chain in Har-Bal Dynamics Processor To illustrate the issue of propagation delay consider the figure below that shows a snare drum strike signal applied to the rectifier and attack low pass filter. Output of rectifier and attack filter for a snare strike.
Delay compensated rectifier and attack filter for a snare strike showing the effect of envelope gain. Possible transient limiter thresholds for a snare strike and a range of envelope gains.
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