And Claro's Auto Gain only updates when the EQ curve changes, so you don't need to worry about it behaving like a slow volume leveller. The result is that the track will sound about the same loudness no matter what you do, and no matter how much the input signal's spectrum differs from pink noise. If you boost or cut in a region which does contain energy the output gain is automatically adjusted so that the loudness of your signal stays the same loudness. If you boost or cut in a region which contains no energy the track will stay the same loudness - just like when auto gain is disabled. When an EQ's automatic gain adjustment assumes a pink noise spectrum, adding definition to such a kick drum, or adding weight to such a voice, will make the track sound quieter! This feels unexpected and requires adjusting the fader to compensate - the exact problem we want to avoid! How Claro's Auto Gain is differentĬlaro's Auto Gain follows the spectrum of the input signal. for example:īoth spectra are very different from pink noise. However, most instruments' spectra do not match pink noise. When EQ is applied the output gain is adjusted as if to keep the resulting pink noise spectrum the same loudness as before. They tend to operate by assuming that the input signal's spectrum matches pink noise - constant energy across the spectrum, with energy gently reducing as frequency increases. Some other equalisers also provide automatic output gain control. I've used auto gain before and it didn't work. Mixing feels simpler - use Claro for tone and your DAW faders for volume, rather than the two feeling intertwined. With Auto Gain enabled in Claro, EQ cuts don't sound boring and EQ boosts don't start a loudness race between tracks. Yet compensating for EQ cuts by boosting the track fader is fiddly. The other side of the "louder sounds better" coin is that reducing loudness tends to sound less powerful, less exciting, a little boring. This is one reason for the oft-shared advice to cut more often than boosting. If we aren't careful we can end up with much higher signal levels than we started with across many tracks and potentially overload other plugins further down in the chain, or even the mix bus. If we don't compensate for boosts by adjusting the track's fader, this "louder sounds better" effect can lead us to boost other tracks too. This poses a challenge when boosting with an EQ - are we really improving the tone of an instrument and how it sits in the mix, or is the loudness increase tricking us? Even when comparing two signals which are identical apart from a slight difference in volume, we still tend to perceive the louder one as sounding better. CUT GAIN MIXBUS HOW TOHow to use ListenHub with Process.Audio Decibelīoosting with an EQ makes the track sound louder, which can give the impression that it sounds better. How to use ListenHub with Flux Session Analyser How to use ListenHub with Sonarworks SoundID How to set up a listen bus in your DAW when using the plugin How to change your DAW's mix bus output channels when using the system-wide audio device
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