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I am not at all satisfied with this plugin, I bought it because of the positive reports in order to quickly and easily make any phase corrections to my mix tracks. Unfortunately, in reality I wasted a lot of time and nerves. Use Studio One 4 Professional to mix my songs. Whenever I load the plugin on a track, Studio One hangs up after a short time. Have done the installation several times, with the latest version. An update from Studio One to the current version did not help either. The operating system I use is Windows 7 with the latest updates. The support from Melda Productions was very friendly, but couldn’t solve the problem either. The plugin wasn’t expensive, but unfortunately I can’t use it. I’ll get a faster studio computer soon. I will dare to do the installation again. Maybe it will work then?I’ll chime in here. I tried both and thought the melda one was better initially for my application but after working and listening to both I ended up liking the SR Auto Align better. What your application is and what you goal is can make a big difference. I did contact SR support about what I was hearing initially with the two wondering what the differences were in accounting for that and their insightful reply is below.
[From SR Support]
Technically speaking, with Auto-Align you have more flexibility on your alignment references configuration, it doesn’t use an all-pass filters which tend to soften the transients of the original recording and it can do both negative and positive delay correlation compensation, which is crucial to maintaining the performance time of the musician. If all the close mics are delayed to the distant mics, in reality, you’ll be pushing the performance late to the time of arrival of the distant mic which in turn will mess up with how the track moves. Furthermore, Auto-Align offers alternate correlation point selection which allows optimizing phase correlation of while maintaining a delay between some mics for artistic reasons and can help dialing a phase-optimized pre-delay on reverb processors etc.
FWIW, not all correlation algorithms are made equal. I’d warmly suggest experimenting with different sources (guitars, drums etc) and simply pick whichever tools work best for youI think the noise floor setting is intended for drums where bleed from other kit pieces might confuse the tracking/aligning. You set it above the level of the parts you don’t want auto-align to look at. The noise floor setting for each might be different because you are using different mics/locations so that setting may not be the same. It may not matter much for solo instruments or other applications.
I don’t use it for drums myself so I’m just guessing based on the manual. I have used it with piano miked from different places. I wasn’t happy with the how they were combining no matter how I mixed it because of comb filtering so decided to try aligning the phase to see if it would help. Malign seemed better at first because the bass seemed stronger but after listening at length I decided that was at the expense of clarity as the low end of the piano became fuzzy. Auto-align did a better job with preserving clarity and I found I could more easily eq and balance it after alignment while still keeping the clarity. That’s just my application so maybe the results would be different with other instruments.
The animated color display is there it gives some visual feedback about the phase correlation. Ideally what you want to see is vertical bars going up and centered. For most real world situation you probably won’t but the more it tends to that the better alignment you have.
You of course can do all this by ear and sliding tracks in time but that can be very tedius and time consuming for many tracks. This plugin just saves a lot of time in those situations. AJeamsler,
What exactly was it that you found better with Sound Radix?
Personally, SR Auto-Align for me was giving me real, usable options. Even the 3rd and 4th choices down the line were usable , and sometimes better.
Melda is buggy, and it just only sometimes gave me something usable. Honestly, I felt like the damn thing was just randomly guessing. It made no rhyme or reason to me.
There is one thing about Sound Radix AA that I’m a bit confused on: Why is there 2 noise floor sliders? I get that the “input” is the track I’m slaving to the source and the noise floor must be set, but why do I have to repeat set the NF on the source , if I’ve already set it in the original instance ?
Also , what exactly am I looking at in that crazy colored lightning ball?I’ll chime in here. I tried both and thought the melda one was better initially for my application but after working and listening to both I ended up liking the SR Auto Align better. What your application is and what you goal is can make a big difference. I did contact SR support about what I was hearing initially with the two wondering what the differences were in accounting for that and their insightful reply is below.
[From SR Support]
Technically speaking, with Auto-Align you have more flexibility on your alignment references configuration, it doesn’t use an all-pass filters which tend to soften the transients of the original recording and it can do both negative and positive delay correlation compensation, which is crucial to maintaining the performance time of the musician. If all the close mics are delayed to the distant mics, in reality, you’ll be pushing the performance late to the time of arrival of the distant mic which in turn will mess up with how the track moves. Furthermore, Auto-Align offers alternate correlation point selection which allows optimizing phase correlation of while maintaining a delay between some mics for artistic reasons and can help dialing a phase-optimized pre-delay on reverb processors etc.
FWIW, not all correlation algorithms are made equal. I’d warmly suggest experimenting with different sources (guitars, drums etc) and simply pick whichever tools work best for you.DynOne was designed from the ground up to put 5 bands of quality parallel compression at your fingertips. Transparent and adjustable filters will help control your audio levels without discarding the nuances of your sound. Intelligent and responsive attack and release settings work within pre-set values to get you closer to the sweet spot, faster, and with less guessworDespite the help it offers, it doesn’t take your creative decisions away from you, so if you’re the type who isn’t satisfied until everything is just right then the comprehensive options, clear metering, and intuitive controls will get you where you want to be. Features you won’t find elsewhere include a unique weighting algorithm to offer specific control of your sidechain, and a Center-Side Mode to give attention to your stBeautiful Retina design with most common controls on one screen and a complete range of fine adjustments only a click awayAvailable on Mac OSX (10.12 +), Windows 8, 10 (64-bit only) in AAX-Native, VST, VST3 and AU
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