Last post by ajinfla -
Lossy codecs can smear vinyl ticks.So no MQA either then?
Wanting to make another try, I switched to "Use Track Gain" back. And now v.1.3.17 (latest) player behaves without strange.Curious. If you had a backup of the config from that time it could be verified. Or Peter could read the code to see if it's possible.
What do you mean by "old ReplayGain tags"? Are they non-R128-conformed RG tags, which were used in Opus long time ago, but some software may still use them?I mean the ReplayGain tags used pretty much everywhere, REPLAYGAIN_TRACK_GAIN and the other three similar tags. They have never been used in Opus by programs that respect Opus specs, foobar2000 for example has not written them there. Opus wants people to use R128_TRACK_GAIN tag.
I meant that I don't experience the problem you described. When I had RG in use and I played three Opus files tagged with the three different header setting they all had identical loudness.
Just guessing: Can the bug be related to Media Library somehow? But, I mainly stick to the preferences corruption cause.Were your files located on the harddrive of your machine and not on some network storage? Media Library shouldn't affect things but some weird storage that doesn't report file changes perhaps might.
And is it possible to run a software too?
"C:\Program Files (x86)\MixMeister BPM Analyzer\BpmAnalyzer.exe"
This is the code of the program but when I right click on the file the program does not run.
Did you use something else than foobar2000 to ReplayGain scan the Opus files?Nope, the Opus files were coded using foobar2000 including its RG scanner. As much as I can remember, it was all right before the last software update. Several plug-ins were installed/updated too.
Wanting to make another try, I switched to "Use Track Gain" back. And now v.1.3.17 (latest) player behaves without strange.
Guessing: Could it be any preferences corruption?
Opus specs forbid the use of old ReplayGain tags as it has its own R128 gain tags. Header gain adjustment is also part of the specifications. Decoders are supposed to always apply the header gain and optionally R128 Gain from tags as an additional adjustment. Since not all players support tag based ReplayGain foobar2000 allows writing the desired RG info to header. That feature is supposed to give ReplayGain with Opus everywhere where the format can be decoded.Thank you for verbose explanation. What do you mean by "old ReplayGain tags"? Are they non-R128-conformed RG tags, which were used in Opus long time ago, but some software may still use them?
That said I get the same ReplayGained loudness with Opus with all header writing options when I use foobar2000 to do the tagging and playback.Sorry, it's difficult for me to sense this sentence. Should I leave "Use Track Gain" option checked? =)
When the mentioned bug was acting, foobar2000 failed to get ReplayGain info from Opus files as if they had none:
- playback volume changed when I adjusted "Preamp for files w/o RG info" value but not of "Preamp for files with RG info";
- file properties didn't show any RG info.
But strange result of scanning "+5 dB" on every second time. When I applied the "+5" result, volume level became higher. Now, knowing amplification algorithm, I suppose that header gain-related part of playback code was acting.
Just guessing: Can the bug be related to Media Library somehow? But, I mainly stick to the preferences corruption cause.
Built on December 12, 2017, GCC 7.2.0
A neural network could be trained to try to replicate lost information, using original and downsampled audio, but this sort of replication is not totally reliable, and has only really been trained and demonstrated on visual data, not really on audio.Yeah, attempting to marry two waifus can cause you a lot of trouble, especially waifus of an audiophile.
Last post by dc2bluelight -
There were actually quite a few early all digital recordings, many pre-dating the CD by several years (using the Soundstream system, for one). In fact, the process of transfer of an analog master to CD involved the same gear you'd use to record digitally in the first place: the Sony PCM-1600/1610/1630 (those are different models) working with an slightly modified U-Matic video deck. There were strict guidelines for CD mastering published by the big CD houses - Matsushita in particular - that dictated you put the highest peak of the entire CD at or below 0dBFS (it wasn't called that then), and that any audible transients be clearly logged and identified by the corresponding time code so they wouldn't be confused for errors in the CD master. Somebody at the plant would actually QC these things by listening!
Mastering for CD, actually digital editing too, was handled via the Sony DAE-1100 editor, a crude device that controlled up to 3 U-Matic machines, time-code locked, and could accomplish digital cross-fade edits and apply simple digital gain control, fades, etc. The final tape was sent to the CD plant where it was transferred to glass master with no data changes, but with PQ subcode added and formatted for CD.
Digital processing really began with reverb, the Lexicon 224, and Ursa Major Space Station, both in 1978, but dynamics processing wouldn't become practical until the late 1980s.
Also: "In 1994, the digital brickwall limiter with look-ahead (to pull down peak levels before they happened) was first mass-produced." And that accords with my recollection of when it all really started going to hell.Yup. All true. However, loudness processing in the analog domain was already brutal in some areas decades before that. Radio in particular, where multi-band limiting and deliberate clipping was already going on in the late 1960s, but also 45rpm single records, which were cut hot almost universally for several decades. The pop hit "Please Go All The Way" by the Raspberries (1972) has blatantly audible peak limiting artifact (rapid attack and release) all over it, and was one of the loudest singles of that year.
Movie companies were brick-wall processing trailer soundtracks then too, even back to the Academy mono optical days. The "loud trailer" problem became epic for a couple of decades, and it got really bad when digital film tracks became common in the 1990s. With so many patron complaints, a program was instituted to pre-qualify trailers to the Leqm 85 standard. Films would be run and metered on a system made by Dolby that would return an Leqm figure. Trailers that didn't pass were "rejected", but it's not clear to me how much impact this actually had, since we still have loud trailers today. Theater projectionists would respond to complaints by turning down the fader for trailers, then forgetting and leaving it low for the feature, which generated the inverse complaints. It was/is a mess.
We think of brick-walled CDs as the beginning of the problem, but in reality it had already been going on for 30-40 years. Yes, digital processing made it easier to make it really bad.
Last post by dc2bluelight -
No, that's not right. Mass market radios were introduced in the late 1920s, and by the 1930s they'd already improved a lot. They were not narrow band devices yet, as stations were few and selectivity wasn't a big issue, and the RF limiter circuit wasn't invented yet either. Dynamic range was not limited by the radio, it was limited by the medium being highly affected by electromagnetic noise, and the fact that broadcast audio processing had not been invented, so average modulation levels were quite low. When peak limiters (actually invented by the film industry for optical sound) appeared, stations to raise modulation levels without peaks taking the transmitter off the air from an overload, then S/N ratio got better. But the real loudness war on radio didn't start until rock and roll really took off and stations began some serious competition. I'd put that at the late 1950s as the start. But loud mastering on singles was already a huge problem, hence the jukebox compressors.
Last post by cliveb -
OK- I have it recorded. Does this site host sound files?Please remember - do NOT encode them with a lossy codec (eg MP3). Lossy codecs can smear vinyl ticks. Use something like FLAC.
Last post by kode54 -
As I PMed to you, this sounds more like something that would be useful for mastering audio.
I have never tried Sonar in recent years, but I have used both Logic Pro X and Reaper. You may have better luck with the real time auditioning in Reaper?
What are your machine specs, if I may ask? That may go a long way to identifying whether it's even worth switching to a different DAW.
Rendering with tracked tools in a text or json based format, using either rendered MIDI with foo_midi or any other plugin, or using a MIDI with no notes as a CC system to apply controls to the audio streams you're rendering from, may be possible, but I haven't tried something that bold as far as projects go.