Eventide Newfangled Audio Elevate (mastering bundle)

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Elevate Mastering Bundle

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OreoSplitter wrote:Listening to the before and after I can hear a difference but I wouldn't say the mastering improved it. I've put work into my songs where at the end one isn't better then the other, just different, a matter of preference. I like the first one since it feels more airy like an open room vs being right next to a speaker. Again, I think it's just preference. If a vst is going to sell me it needs to sound noticeably better with vs without. I really like equivocate a lot. I just don't think these examples showcase what this bundle can do. Maybe it does? This is it?
I hear what you are hearing. To be honest, I can't account for it. So I am going to dig into this and see what is going on and why that "sense of room" has been comprimised. Is it a result of Elevate? Or, is it something else? Stay tuned...

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Been playing with this all night and I am really loving it!, much better to me than Ozone. The clipper drive works really well as does the adaptive transients although you can easily over do it but that is true of all mastering. It is intuitive as well with the bypass gain matching so you can focus on changes to the transients over the volume change. Definitely recommended.

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MogwaiBoy wrote:Limitless is definitely the benchmark for me, so I will wait to hear how it can compete.
Totally agree. Interesting time as people are mentioning Ozone with v8 just aroud the corner...

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plexuss wrote:
OreoSplitter wrote:Listening to the before and after I can hear a difference but I wouldn't say the mastering improved it. I've put work into my songs where at the end one isn't better then the other, just different, a matter of preference. I like the first one since it feels more airy like an open room vs being right next to a speaker. Again, I think it's just preference. If a vst is going to sell me it needs to sound noticeably better with vs without. I really like equivocate a lot. I just don't think these examples showcase what this bundle can do. Maybe it does? This is it?
I hear what you are hearing. To be honest, I can't account for it. So I am going to dig into this and see what is going on and why that "sense of room" has been comprimised. Is it a result of Elevate? Or, is it something else? Stay tuned...
Something is going on that is narrowing the stereo width when i render the pre-master. the only difference was I turned off the limiter to allow for headroom. so I removed the example tracks because the jury is still out.

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shroom81 wrote:I demoed it for a few minuets and bought it straight away, it's really amazing imo and the transient processing is just something else. It really brings out certain elements in your mix without sounding overly processed.

Plexuss; I hope you're not only leaving -0.1 db headroom on you're masters cause that will distort on all playback systems when played loud.

All in all another great plugin from Newfangled Audio.
OK, trying the demo...

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Alright, Logic's issues strike again. TL;DR (see below for the rant). but for now I was able to get a decent master and have put the pre-master and master on the second post of this thread. the pre-master was mastered with just Elevate and a little bit of buss compression post. Since Elevate isn't a true-peak limiter I used ISL2 for limiting on the master. Note I master to -16 LUFS to preserve quality.

Logic issue
As OreoSplitter noticed, there was a reduction of air and "room". Essentially the side signal was comprimised. after some troubleshooting I found the issue: in the mix I had the tracks frozen. These tracks route to 3 different group busses. the groups are mixed to the output buss. In Logic I can only freeze source tracks, I can not freeze group busses. After the freeze I did a little more work on the tonality of the track. In the end the issue was that there was some kind of interaction between the frozen tracks that caused the anomaly that was heard.

Now, one should be able to freeze track and rely on the DAW to manage the audio so that nothing changes. But in Logic, this is not the case because in this project after freezing, and after a little tweeking, the audio was comprimised in the way OreoSplitter heard it.

The solution was unfreeze the tracks and render that way. doing this, the new pre-master exported with the same sound as the previous bounce before I made some tweeks. Lesson learned: unfreeze tracks before bouncing in Logic - it shouldn't be this way, but yet again Apple strikes again screwing things up in unitunitive ways.

Thanks OreoSplitter for pointing that out! Great example of how the mind works. I had just assumed that I could bounce with the tracks frozen and it didn't even dawn on me to compare that bounce to the one I made earlier without frozen tracks. Why would they sound different. I proceeded assuming the freeze-bounce was the same. It was not. But we are back on track. Apple will be notified of yet another Logic issue. (I wish there was a better DAW out there - every other one I've explored also has it's own issues so I am not compelled to switch, unfortunately).

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In case you were experiencing crashes, extreme slowness with the UI open, or graphics problems, Elevate Bundle 1.0.5 should fix this, and is now available. This new version has a new OpenGL implementation which should fix almost all problems, and allows you to turn off OpenGL entirely, which should fix the rest.

https://www.eventideaudio.com/support/p ... installers

Sorry for the problems, now on to feature requests

Dan
Dan Gillespie from Newfangled Audio (and sometimes Eventide)

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Fabfilter Pro-L vs iZotope Ozone 8's limiter vs DMG Limitless vs Newfangled Elevate vs PSP Xenon.... Who would win in a big limiter battle royale ?

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Sonnox Oxford Limiter v3. :)
Anyone who can make you believe absurdities can make you commit atrocities.

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mcbpete wrote:Fabfilter Pro-L vs iZotope Ozone 8's limiter vs DMG Limitless vs Newfangled Elevate vs PSP Xenon.... Who would win in a big limiter battle royale ?
AOM Invisible trounces the lot.. Although I long for the day, as a mastering engineer, that we come down to an average of -13/14 LKFS/LUFS so that we won't need any of these tools to push silly loudness 'boundaries'. The day I only ever need L1 as my final plugin will be a grand day indeed.
Mastering from £30 per track \\\
Facebook \\\ #masteredbyloz

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We have new contenders in the battle arena .... who will claim the victorious limiter trophy ?!

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How does Plugin Alliance DSM compare to this? It's a similar concept isnt it?

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Clearscreen wrote:How does Plugin Alliance DSM compare to this? It's a similar concept isnt it?
I think so, just slightly fewer bands ... however it looks waaaaaaay more expensive to Elevate

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I found the DSM, now a little dated, is more geared towards EQ-matching style - I mean geeze one of the presets is an Adele song's frequency profile that you can apply to your own track for a laugh :roll:

You really don't get anywhere near the level of control that Elevate gives you. They are really different beasts. I'd compare Elevate more to Limitless.

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How does Plugin Alliance DSM compare to this
DSM does a different job in a different way. Additionally, DSM would only handle a part of the duties that elevate does. Both are good tools in my opinion. I found DSM was able to retain the character of my material more accurately, especially if the track had a lot of bass.

Elevate, on the other hand, seems to overly squash the bass. I'm still playing with limiter/eq bands to try and compensate. Elevate is much brighter and seems to lift things up and create a sheen that wasn't already there; I suspect due to the HF limiting.

Despite these comments, I feel Elevate is great on electronic music especially.

Additionally, Elevate can get much much more level, easier than everything I put it up against, including L3-16. I don't have LImitless but I've read that can hold its own.

I'm very happy with this purchase and put it in the same league as Greg Wells Mix Centric. A multi tool that makes workflows faster without sacrificing quality.

I purchased in part because of the way it changes the sound , instead of being completely neutral.

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