Now, most listening no longer passes thru the CD medium, and the file exchange is taking an increasing share. Many musicians and self-productions want to present their tracks in good conditions at the early stage of the demo without having to apologize for the poor perceived quality compared to commercial productions. This service is dedicated to musicians and self-productions which have neither the desire nor the time to learn to adjust the "threshold of hysteresis in the compressor section of the multi-band processor". The aggressive pricing allows to finalize a 3 minutes title for only 5 €. MaximalSound proposes a quality "ready to wear" solution, and purchasing only occurs after try. The job is usually available in less than one hour. MaximalSound does no traditional mastering -indexing, editing, cleaning or fade in/out- but premastering which is only sound enhancement.
Here's the techninical description of the applied treatment:
The harmonic enhancer, this old invention of the Aphex company, has the advantage on an equalizer to not apply a fixed amplification on the top of the audio spectrum. This technique allows to naturally clarify the sound without fatiguing constant high frequencies boost. In the MaximalSound algorithm the even and odd harmonics are generated separately using dynamic content signal depending on whether the attack or the body of the note are processed.
32 bands processing:
A 32 bands crossover filter splits the signal to be processed by 32 de-expanders before being rebuilt in broadband by summing all the bands individually processed. This produces a dynamic equalizer where each part of the audio spectrum is magnified in the low levels according to a psycho-acoustic model standard.
A de-expander can also be called reverse-expander. A de-expander amplifies the signal below a threshold in contrast to an expander which attenuates the signal below this threshold. This choice is fundamentally different than techniques related to compression. The signal is amplified when it is weak and not planed when it becomes too high (above threshold). The difference may seem subtle, but it is significant when the attack time of treatment is taken into account . A compressor will act always too late (attack time) on the peak values, forcing the limiter to affect the transients which are so valuable to the perception of stereo space. The de-expander just amplifies the signal after the attack time, avoiding any unnecessary limiting.
Unlike the analog domain, digital doesn't support any overload, even briefly. The limiter is there to handle situations where the summation of all processed bands produces a signal exceeding the allowed maximum value (0dB FS) in the digital domain. The limiter is an essential part of treatment since at this stage the signal is full-band and any flaw may lead to tonal unbalance by favoring or attenuating certain parts of the audio spectrum. In limiters the attack time is null or negative (look ahead) to prevent any violation of the limit value. The art is to find an optimum release time, in order to preserve the frequency content and the perception of the dynamics of the original signal regardless of the complexity of this signal.
Free sample for approval before purchase
Aggressive pricing policy based on the size of the processed files
The job is generally available in less than an hour