--- Steve Harris <S.W.Harris@xxxxxxxxxxxxxxx> wrote: > On Sat, May 29, 2004 at 12:35:02 -0700, R Parker > wrote: > > > I suspect it should have a peak allowance mode, > > > which ignores very short > > > peaks at over 0dB and clips them. > > > > That does seem like an interesting feature. The > job > > I'm working on now has transient spikes that are > > probably +6.0dbfs above the average. I used the > TAP > > Scaling Limiter post fader to deal with them. This > > does a good job. > > > > Do you imagine that spikes of this extreme are > beyound > > the scope of the peak allowance mode? > > > > I assume they are. Otherwise, we're probably > dealing > > with something that's aggresive enough to become > > audible if the user isn't able to adjust it. I > don't > > really know and am simply speculating. > > I would think 6dB would be in - its a psychoacostic > effect, humans cant > detect the harmonic distortion from clipping at very > short durations (< 1 > ms or so I think). > > In any case it would definatly be an option, the > extra headroom isn't > always desirable, and it might be audible under > certian circumstance In many ways, I am a simple potato farmin' engineer. The law says, do no exceed 0.0dbfs. I keep pickin' and don't exceed that level. Of course our transient spikes are forcing the desirable content to max at or below -6.0dbfs--definitely not worth beans. As an option, do you mean it's part of the user interface so it can be turned on and off while a transport is rolling? With peak allowance mode, we then have a lookahead peak limiter. Right? The above example could have been: *desirable content max -0.2dbfs *transient peaks +4.0dbfs This brings me to my next point; I believe our final output gain should be capable of +6.0 or +10.0dbfs because the only way I can get close to 0.0dbfs is to; A. overdrive the limiter with compressor makeup gain, B. overuse the boost stage, or C. use an external gain stage (ardour return bus). Of course, A and B produce distortion. I've done a fair amount of work with JAMin and the external gain stage is not the exception. It is the "rule". Unfortunately, Ardour return bus settings can only be recalled using snapshots--imagine a 10 song album. Snapshots, if at all, can't be effectively recalled while transport is rolling. So, JAMin Controler and OSC lose the ability to reference exact levels with a single button push. If the JAMin Output has headroom then its capable of being the final gain stage for every scene/song and mute or unmute at any Ardour mixerstrip produces final objective. Shoot me, I'm guilty of another topic switch/feature request but make the case based on practicle experience. With that, I've gotta deal with the aftermath of having my studio burglarized late last nite. Oh well, it's part of life and if you asked my dad he'd tell ya'll I was wrotten kid. :) ron > - Steve __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/
