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Andy K Offline OP
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Anyone using this device or its plug-in equivalent? I used the plug-in on all my songs on my first CD. But I quit using it because it seemed to artificially boost the bass and highs too much.

My recent mixes seem to be a little muddier and less defined than my mixes on my "Babes" CD, especially when I A/B them to commercially released stuff by the major labels. I tried using the Maximizer again. This time, instead of just starting with the factory presets and tweaking from there, I adjusted the Maximizer controls so that a spectrum analysis of the resulting mix with the Maximizer matched the spectrum without the Maximizer. I found I had to set both the Lo Contour and Process controls to about 2.5 out of 10, compared to the around 6 to 7 both these controls tend to be set to in the presets. This seemed to clear things up so that my mixes now A/B-ed well with, say a Green Day or Matchbox 20 mix (I figure my music is somewhere between these guys, more pop than Green Day but heavier than Matchbox 20) without any extra boost in the frequency extremes.

BBE's manual is rather vague on what these controls do and a quick search of the net resulted in little with regard to setting these controls and what I did find was contradictory. Do any of you use the Maximizer and what is your experience in setting these controls? Thanks.

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Hi Andy,

I have an old school BBE. Essentially it's a specialized EQ tool. It was great for guitar sounds back in the early 90's for metal guitar players. I've never known someone to use it on an entire mix before.

From what I remember about the "box" version that I have, it adds harmonics to the sound signal, and allows you to tweak a bass and/or treble-presence control. On a single instrument, like a guitar, it can really enhance the character. Though it can quickly get out of control by getting overused - then it loses its special quality.

When I first was using it, I used to crank the highs to get a cutting guitar tone. Then I switched gears and reduced the highs and boosted the Bass a bit to add a bunch of warmth and punch to the guitar. In the end, I quit using the thing as I didn't like what it was doing to the signal at all. I still have it, just in case I ever want that BBE sound again.

I'm willing to bet most mixing engineers getting paid big bux to mix aren't using this in the mixing or mastering stage, as their ability to EQ is probably more refined.

Also, remember to get your mixes sounding as good as you can before you take them to be mastered. But if you attempt to compare them to a released major label CD before you're mastered, it will never quit seem to match. You have to get it mastered by someone that knows what they're doing. Maybe you can sit in with them and ask them questions. Same for a mixing engineer. Find someone good to sit in with and ask them questions when they do a mix for you. You'll learn a lot that way.

Jody

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Andy K Offline OP
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Jody, thanks for the reply. The BBE claims it doesn't add harmonics but phase shifts the highs and lows so that all the frequencies are supposably correctly time aligned when played through speakers. In other words, it is supposed to correct for the phase shifts across the frequency range that speakers inherently introduce, according to BBE's literature.

I have used Aphex Aural Exciters, which do add harmonics, in the past in PA systems. I quit using them and similar devices and software because I found them quite fatiguing to the ears.

Again, thanks for your input.

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Stone Marmot
retro pop-rock original music
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My BBE has been collecting dust since I went digital. I used to use it when I was recording to PortaStudio cassettes and on my old 1/4" 8 track (both analog). Those formats often needed a bit of extra high end.

It's very easy to get used to the extra brightness until you listen to it the next morning. However, one of the main reasons I stopped using it is because of the signal to noise ratio: it's not very good compared to even 16-bit digital. It WILL add noise to your mix. I could see using it on a badly-recorded bass track, for instance. I did that once when I got some tracks from another studio that I had to mix. I added the BBE as an insert effect on the bass guitar track.

My suggestion if you have muddy sounding mixes would be to remix. Mastering may also help, but I've never believed mastering should be used to repair a mix.

Maybe all you need is a little EQ on the master fader to add some sheen back.

It is VERY tough to get mixes that have as much punch and clarity as commercial mixes. Most home studios aren't using $10,000 converters, $5000 mics, and $2000 preamps. You can get very close, though - if you listen for all the little things in a mix. A great reverb really helps add the sense of space and getting the instruments sitting properly in the mix is really a bit of an art, not a science.



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Hi Andy,

I use the plug in.. The thing is great on some mixes
and then really doesn't help on others

You have to keep those settings low I usually set the Lo Contour to about .4 and the high to about .5

Every song is different of course. It definitly kills midrange so it's best to add to something that just lacks low end period. Be careful of the highs and do alot of A-B with the original and the maximizer.

I love the thing but sometimes it's just right for a song.. no manual just use you ears [Linked Image]

peace
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Peace Mike
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As with all things, moderation is the key. The presets on many audio gizmos are set a bit high just to be sure that you can hear the change.
I get good results with delicate use of pitch shifting from effects boxes. The newer ones with good A/D/A converters sound very transparent.
If you have a two channel device, try this. Set channel 1 for +12 cents and channel 2 to -12 cents. Adding a bit of that can really bring a vocal track forward without sounding "chorused."

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Andy K Offline OP
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Thanks for the inputs. I found a couple of reviews of the devices and software that tried to explain the operation of these controls, but the explanations were conflicting.

I haven't noticed any added noise with the plug-in software. I agree you have to go light with the controls, unless you like really boosted bass or highs.

I don't like using stuff I don't completely understand. Being a degreed electronics engineer, I pretty much understand all the other stuff I'm using.

------------------
Stone Marmot
retro pop-rock original music
www.stonemarmot.com
www.soundclick.com/stonemarmot.htm
www.myspace.com/stonemarmot


https://www.stonemarmot.com
Stone Marmot
Nouveau retro pop-rock music
Listen to our latest song “I Sing Along” at:
https://soundcloud.com/stone-marmot/i-sing-along
and its music video at

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