I receive a message that clipping has occured but not where or when,
I can't watch very long exporting reports for even 20 minutes! Is there a way to know it?
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Not right now unfortunately. Its likely the sum of the tracks, not one in particular. Myself, when this happens, whatever the clipping amount was, I drop the main fader by that amount and re-export.
Also, are you using a limiter on the main? you may want to just to catch those stray peaks. Make sure the limiter is on the post slot of the main, not the insert. |
A notice of the very moment in which a clipping occurs should be something simple to implement in the software!
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vertigo wroteA notice of the very moment in which a clipping occurs should be something simple to implement in the software! Possibly, however knowing the moment may not make the fix easier. For example, clipping occurs at 1:37. Which track was it? Or most likely, the sum signal of multiple tracks. Now you risk jacking up the mix to correct, or wasting time trying to figure out which track to lower, or write automation. Easier to just bring the main down by a few db However, maybe head over to answers.presonus.com to the Studio One feature requests. Take a look and see if there is an existing request, and vote it up. If there isn't one, create it. |
I too thought it was strange that they did not tell you the time that it occurred ( since they know it).
I have a feature request in to add it, but it get very little notice. The response was similar to Matt's. If it is .3db over turn the master down .3db. This is true but puts a tax on all tracks due to one track. If you prefer to leave the master at 0 db as I do, selecting all channels and adding a VCA is a quick way to bring the entire mix done.
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That's the thing... and I know I risk kicking off another one of those long "gain staging" debates just by saying it ... but if your mix clips by 2db, just pull the master fader down 2.5 db or whatever (or trim any master bus plugin by 2.x) and print it again.
It quite literally doesn't even matter, not at all. Or, if you plan to "master" it later render it 32-bit float and ignore any such messages. |
~Old post alert~
Hey, we've all done it. I
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Lawrence wroteIt quite literally doesn't even matter, not at all. I’ve been waiting for someone to finally confirm this. I figured as much but didn’t want to be wrong. Thanks Lawrence
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None of the suggested "solutions" to add limiters/compressors or lowering the volume of the entire track work if you are recording classical music. The whole job is one or two audio clips, maybe one hour long and you don't want to compress at all, let alone limit your audio. The normal procedure is riding (automating) the faders but to do that you need to find the offending (clipping) spots.
Running the export function and marking all clipping spots with a different colour on the waveform shouldn't be that hard? |
Since we don't know what it is you're recording, and classical music doesn't have a corner on requiring any more limit reduction than most genres, you can try the suggestion with a limiter quite easily.
Just know what the amount of clipping was. That will come up on the clipping occured notice. So if the overload was for example 1.8 dB. You could try the export again but with a few tenths of a dB lower ceiling difference. In this case 2.0 dB reduction. It's important that you don't just set a ceiling level and reduce, but see the 2.0 dB reduction on the limiter (theres a reduction indicator). Studio One's limiter is quite good up to about 5 to 6 dB's. You may hit another spike that is higher in the export, so it's a good idea to always run a peak check with your limiter, or metering before any export. That's just the right practice, bar none. If it's a rather forgiving export in fidelity, you could try dropping by one half dB instead of two tenths. Again, the best method is going through the whole piece and see where peak readings are and by how much. Then, you have a set number to go by, automate gain or whatever. Good luck!
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There were a lot less solutions then than now, lot can happen to software in short amount of time.
The dynamic eq (ProEQ) might be good for killing resonate tones maybe, interesting to try. So it wouldn't do anything until a threshold at a particular frequency could trigger a reduction of that frequency band.
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Tacman7 wroteThere were a lot less solutions then than now, lot can happen to software in short amount of time. Absolutely. If not for resonant tones, then taming low frequencies which often boost the signal in some almost unnoticeable ways. So instead of lopping off below 45Hz, or dropping a few dB's at 60 Hz, you can set the dynamics to only react when needed. So really where any resonant or problem frequencies produce a problem, levels can be better managed. Glad to see the ProEQ 3 came along. Even though I don't have S1v6. It's a very useful addition.
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