traitements fichiers

[jean GROS]

Bonjour,

Avez vous eu connaissance de ce procédé ?

https://www.on-mag.fr/index.php/102-non ... numeriques

présenté ici:

https://www.on-mag.fr/index.php/topaudi ... f-toulouse

Cordialement

[Pio2001]

Connais pas,

Sur l'image donnée en illustration, on peut voir en action un procédé de restauration des crêtes à partir d'un enregistrement clippé.

[Pio2001]

J'ai parcouru le site de RootMasterSound. Le mécanisme du procédé n'est pas dévoilé, mais cela s'apparente pour moitié à une recréation de défauts analogiques plaisants à l'oreille par des modifications de la stéréo et de la dynamique, et pour moitié à de la bidouille audiophile assimilable au sens des fusibles ou au rodage des câbles : élimination du pré et post ringing (par ailleurs totalement inaudibles), travail à 32 bits au lieu de 24 bits, DSD 1024 au lieu de DSD 265...

[jmaa]

Bonjour,
Beaucoup de morceaux musicaux sont post-traités afin d'en améliorer la qualité musicale( à chacun de définir ses critères). Et l'oreille et le cerveau, qui sont des organes imparfaits d'un point de vue audio, aiment ça.
( un peu comme les photos traitées façon carte postale( accentuation, saturation des couleurs) plaisent à une majorité de personne).

A tire d'exemple j'inclus ci-dessous le traitement effectué sur la chanson "rolling in the deep" d'Adèle ( source Sound on SOUND Tom Elmhirst: Recording Adele 'Rolling In The Deep' analysé sur ce Post du forum computer audiophile; Does big labels spoil the audio quality? ie Adele vs Carmen Gomes ).

Vocals: Waves Q6 & De‑esser, Digirack EQIII, Lo‑Fi & Trim, Pultec EQ, Urei 1176, Tube‑Tech CL1B, various spring reverbs and delays.The Lo‑Fi plug‑in got another outing on the backing vocals, where some tonal shaping was applied with EQIII.
The Lo‑Fi plug‑in got another outing on the backing vocals, where some tonal shaping was applied with EQIII.
Tom Elmhirst: Recording Adele 'Rolling In The Deep'
"I had the Q6 on the chorus vocal, notching out 930, 1634 and 3175 Hz very, very heavily: ‑18dB, ‑18dB and ‑12.1dB respectively, with very narrow Q. I also had the EQIII on the lead‑vocal sub, notching something out again. Something obviously needed to be taken out. The vocal is the most important thing in the track, and taking those frequencies out allowed me to keep it up front in the mix, particularly in the chorus. You can never account for what mic the vocals were recorded on, and whatever it is that bugs me, I can take it out. 'T' on the lead vocal bus is the [Massey] Tapehead plug‑in, which wasn't used, but I did use two Waves De‑essers, one taking out at 5449Hz and the other at 11004Hz. Rather than use one to try to cover all the sibilance I used two. I do that quite often.
Tom Elmhirst always creates stem mixes, and in the case of 'Rolling In The Deep', these were recalled and augmented with extra sub‑bass and vocal parts for the release version.
Tom Elmhirst always creates stem mixes, and in the case of 'Rolling In The Deep', these were recalled and augmented with extra sub‑bass and vocal parts for the release version.
"Regarding the outboard, I had the Pultec EQ, Urei 1176 and the Tube‑Tech CL1B on the lead vocal sub insert (desk channel 25). The Pultec boosted around 100Hz and 12k. It's colourful, but not drastic. There was not a lot of gain. The blackface Urei had fast attack and fast release, whereas the Tube‑Tech had slow attack and slow release, it was more evening out the level. You can use compression as an effect, but on the vocal you mainly want control. You want to set it up right so you're not constantly moving the channel fader to fit the vocal in the mix. If you're constantly moving the fader, rather than just doing the occasional ride, you know that you need to look at your compression. There's also Paul's Roland Space Echo track, which I used throughout, and which was the only lead vocal effect in the first chorus. On the backing vocals I had the Digirack Trim, again the Lo‑Fi, and the EQIII, cutting a bit around 405Hz and boosting a little around 3.17k. I used quite a few spring reverbs on the backing vocals, because I wanted them to have a lot more ambience. In the choruses I would also have added several delays. The delays make the backing vocals swing a bit, and they also fill up the space and make sure that they fit in the mix.”

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Google peut vous le traduire approximativement.
Je suis trop flemmard pour le traduire: En résumé beaucoup de post-traitements sur le titre d'adèle pour un résultat plaisant à l'oreille ( en tous les cas cela s'est très bien vendu).

A titre personnel, j'utilise un streamer Sony HAP-Z1ES dont j'apprécie beaucoup le post-traitement ESS sur les flacs: C'est très musical à l'oreille même sur du classique.

[jean GROS]

merci