DanRad wrote:"unity gain" (+0) on the output bus being a factor in bounce quality.
DanRad wrote:This post raised two questions that I'd be curious to have answered by those more knowledgable than me. (7.6 billion or more)
1. Would things like compression or other dynamic processing react differently in a real time vs. offline bounce. (I would hope not, but that seems possible)
2. Someone mentioned "unity gain" (+0) on the output bus being a factor in bounce quality. Is that an accepted fact? If so, why.
Thanks, still learning after all these years (25 with Logic_45 in pro studios)
fuzzfilth wrote:DanRad wrote:"unity gain" (+0) on the output bus being a factor in bounce quality.
I mentioned the Master Fader, which is different from the Stereo Out. It's the devil's work and here's why:
MF affects all outputs, and invisibly, so if MF is set to -3, your drummer's headphones will be 3dB quieter, despite that output's fader looking untouched. Add to this that the conveniently placed, easy to reach, *unnamed*, horizontal fader top right in the Main window is controlling that very MF and you're set up for some frustrating troubleshooting. There are countless posts on this and other forums which go "My Bounce levels are different! Logic sux!". And as a substitute for the IT-Guys' proverbial "Is it plugged in ? Have you tried turning it off and on again?" the proper reply is "Disable Normalize. Set the Master Fader back to unity." and lo and behold, everything is fine again.
MF does not affect Bounce quality, it changes its level, and there is no known use case where you actually want that to happen invisibly.
David Nahmani wrote:I've been a victim of this as well. It's really become a habit for me to constantly double-check that the master fader and the Stereo Out fader are always, always set to zero.
And I've been lobbying Apple to remove the Master fader from the Mixer altogether when working only with a single stereo output (Stereo Out = Output 1-2) which I would suppose is the case for 98% of Logic users. For years. And remove the silly amateurish volume slider in the Control bar, which is responsible for so many users scratching their head in disbelief come bouncing time. But I suppose they (Apple) don't want to hear it.
Does that mix level determine how much dynamic range (in use of bits) you get from your bounce?
normalizing happens to the FILE
fuzzfilth wrote:normalizing happens to the FILE
Yes. An invisible temp file is written (quite possibly with no resolution loss in 32bit), then measured and scaled to 0dBFs, the result written into the actual 24bit file. No dynamic fader changes are involved whatsoever, this is a static level adjustment across the entire file.
fuzzfilth wrote:So what's the right word then ?
DanRad wrote:IF as I've added tracks, that "Output 1-2" starts getting deep in the red, and I simply turn it down, say from 0.0 to -3.0 ... or vice versa, turn it up to have a nice level that stays within a realistic range on the meter, am I degrading my final product in some way?
DanRad wrote:Am I committing sonic murder of some sort with this behavior? If the majority of my individual tracks are not peaking, nor languishing at the bottom of the meter, can I just adjust that last level to make sure the final product is getting the full resolution of available bits?
DanRad wrote:I also usually "normalize" when bouncing. Assuming that if I'm "Leaving Bits on Table," I'll reclaim that resolution with normalization.
DanRad wrote:Ok... one last question. Does that mix level determine how much dynamic range (in use of bits) you get from your bounce? If my output looks super low, am I only getting a portion of the bit depth? It would appear to my untrained eye, that the normalizing happens to the FILE, after the mix/bounce, not before. Though the "Overload Protection" option might undermine that theory, indicating that some sort of autopilot fader change is happening behind the scenes.
Thanks for all the great education.