리미터 이해하기: 지능형 릴리스 제어(IRC) 알고리즘 이해하기

### 오존의 IRC(지능형 방출 제어) 리미터 이해하기
* 🛠 시중에는 각각 고유한 기술과 DSP를 갖춘 다양한 리미터가 있으며, **출시 시기에 따라 사운드가 다릅니다.**
* 🧠 맥시마이저의 지능형 릴리스 제어(IRC)는 **심리 음향 모델링**을 사용하여 리미터의 릴리스 값을 조작합니다.
* 📜 IRC 알고리즘은 여러 번의 공격 및 해제 시간을 생성하고 입력 신호에 맞는 마스킹 임계값을 생성한 다음 **왜곡 점수가 마스킹 임계값 미만인 가장 공격적으로 제한된 신호**를 선택합니다.
* 🔄 수신 신호에 대한 최적의 설정을 지속적으로 재계산하고 평가하여 **왜곡을 방지**합니다.
* 🎚 IRC 맥시마이저는 **저주파수, RMS 값의 급격한 변화, 과도 구간에서 지속 구간으로의 변화** 등 구간 간 변동이 많은 자료에 가장 적합합니다.
* 🔊 IRC 맥시마이저는 **다양한 소재를 왜곡 없이 투명하게 관리**하지만 Pro-L 2는 **방출 시간을 동적으로 조정할 수 없을 때 왜곡**이 발생합니다.
* 🎵 FabFilter Pro-L 2의 고유한 클리핑 기능은 **후렴구와 절에서 일관된 에너지**와 반복이 있는 고에너지 팝 또는 EDM 트랙을 제작하는 데 적합합니다.

오존 맥시마이저의 IRC(지능형 릴리즈 컨트롤)는 FabFilter Pro 2와 달리 다양한 소재를 투명하게 관리하여 다양한 음질에 적합합니다.

there are so many limiters on the market, and they all have their own unique technologies and DSP. But which is best, and why do they sound different? And ultimately, when and why should you use one limiter over another? Understanding how tools help us push those boundaries, and when I came across the pattern for the IRC (Intelligent Release Control) used in the maximizer, it's like nothing I've seen before. And it's gonna help us answer why this limiter in Ozone is so revered. So let's think of your typical limiter. You're setting it up. You set the release time too fast, and it's going to introduce audible distortions. You set it too slow, and it's gonna start to pump against the music. The release is what makes the difference. And there's a history of dynamics processes with auto-release. The ARC in Waves limiters vary the release times through calculating the difference between constantly traced peak and RMS values of a signal. Then you go back further. Order release modes on hardware gear operate through a series

of time constant circuits connected together, and each of them will have different discharge values. Where the top capacities arranged have a very fast release time, and the subsequent capacitors slower and slower. And what that does, it allows the release time to vary based on a signal strength that's exciting in of itself. And I can make some videos on that later. But what makes the intelligent Release Control in the maximizer different? Well, it relies on psychoacoustic modeling to dictate how the release values of the limiter are manipulated. And that might sound pretty techy, but let me break it down for you. And then I'll share with you an example of how I choose and when I choose to use the IRC limiter over another. Before we get stuck into it, don't forget to smash that like button, subscribe, and let's get to the juicy bits. Here I've got the patent, which I've linked down below, and it's figure two we're going to look at. To start with, let's start with amplitude envelopes. So after it takes an input signal, it will

generate six to eight individual attack and release times, and construct them in parallel with one another. Some with a fast attack, fast release, fast attack, slow release, and various combinations of all in between. Then, that process signal is normalized and subtracted from the original input signal. What that does is it provides a Delta signal with the resulting artifacts for each of those envelopes. Now, while that's happening, it's also creating a masking threshold. And that masking threshold is created from the input signal, and it's based on an FFT ear model in Picaval's paper Perceptual Evaluation for Audio Quality. What that returns is a masking threshold specific for that input signal, and that is used to calculate a relative distortion score by comparing each of the amplitude envelopes Delta signals to the masking threshold. And then, what IRC algorithm does is it selects the most aggressively limited signal whose distortion score is below the masking threshold. That's a lot to take in, but on top of that, it's also doing it continuously to the incoming signal, so it's not set and

forget it's constantly recalculating and assessing what setting is best for that audio to avoid distortion. Now that's how the IRC algorithm works, and it's a lot to process. But in the field, how do I use the IRC maximize, and when do I opt to use FabFilter Pro 2? I'll tend to use IRC maximizer on material which contains a lot of variation from one section to the next between these various sound qualities. If lots of low frequencies or subs are being introduced and taken away, if RMS values are changing very drastically in the same sections, and also transit and punchy sections to sustain and open sections, that's where I find the IRC maximizer does a great job. And it manages sparse and diverse material like no other limiter does. In this example, I overtrack which embodies all of these sound qualities, and what I want you to listen for is how the maximizer manages it in such a transparent way in opposition of FabFilter Pro 2. What I've had to do

is to match these up. I've had to manipulate the attack time to be relatively fast, but still open enough that it is as equally aggressive as the IRC one, so giving me the same amount of loudness. I've actually had to drive the compression on the FabFilter parallel to a little bit more, an extra half a dB, in order to match its overall loudness. What I want you to do is I'm going to loop these sections, can be two bars of lots of sub, and then two bars of lots of open tone, and you're going to hear how the Pro-L 2 ends up distorting those subs when they come in because it can't manage to manipulate its release time dynamically with the material. [Music] I wish. [Music] Now you can definitely hear as soon as that sub bass comes in, the FabFilter Pro-Q 2 just starts breaking up. You can hear these little crackles, and that's because I can't adjust its release time for the material appropriately, whereas the IRC maximizer does it.

beautifully. That said, there are still instances where I'm going to use FabFilter Pro 2 over the maximizer. You see, FabFilter Pro 2 has a unique clipping feature for some of its modes when setting the attack time, and I go into full detail on this in this video here, because it's a great tool for crafting slapping pop or EDM tracks, which are consistently high energy and have a lot of repetition in the choruses and verses. With that said, I hope you've enjoyed the video, and if you've enjoyed this, I know you'll enjoy the FabFilter Pro-L 2 as well.

Ozone Maximizer IRC mode, the Reason Why It Sounds BETTER Than Other Mastering Limiters?🙂

Hello. I'm Nicholas Di Lorenzo. I'm a mixing and mastering engineer and owner of Panorama Mastering Studio in Melbourne, Australia. I’m an Italian-Australian. born and raised in Melbourne.

This channel is for anyone involved in the music making process, artists, engineers, producers or musicians.

To stay up to date, hit the "bell" icon for alerts as I release videos weekly on all things audio, mixing, mastering and industry.

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Want to learn more about what I do?
https://panoramamastering.com.au 
@Panorama_Mastering

Panorama Mixing & Mastering

다양한 리미터의 영향과 IRC의 고유 기술

리미터에는 고유한 기술과 DSP가 적용되어 있으며, 특히 Ozone의 맥시마이저에 탑재된 지능형 릴리스 제어(IRC)는 심리 음향 모델링을 사용하는 것이 특징입니다.

리미터의 릴리스 시간을 너무 빠르게 설정하면 왜곡이 발생할 수 있고, 너무 느리게 설정하면 음악에 반하는 펌핑이 발생할 수 있으므로 리미터의 릴리스 시간은 매우 중요합니다.

IRC 리미터는 릴리즈 값을 조작하기 위해 심리 음향 모델링을 사용하여 다른 리미터와 다른 접근 방식을 제공하는 것이 특징입니다.

IRC 알고리즘과 실제 적용에 대한 이해

IRC 알고리즘은 개별 어택 및 릴리스 시간을 병렬로 생성하고 프로세스 신호를 정규화한 다음 원래 입력에서 이를 빼서 델타 신호를 제공합니다.

그런 다음 FFT 귀 모델을 기반으로 마스킹 임계값을 생성하여 각 엔벨로프 델타 신호에 대한 상대적 왜곡 점수를 계산합니다.

IRC 맥시마이저는 음질 변화가 많은 오디오, 특히 급격한 RMS 변화와 다양한 소재가 있는 섹션에 가장 적합하며 FabFilter Pro 2에 비해 투명한 관리를 제공합니다.

동적 음악의 공격 및 릴리스 시간 조정하기

스피커는 IRC 플러그인의 공격성과 음량을 맞추기 위해 공격 시간을 조작했습니다.

전체 음량을 동일하게 맞추기 위해 FabFilter의 압축을 병렬로 높여야 했지만 여전히 서브 사운드가 왜곡되었습니다.

FabFilter Pro-Q 2는 릴리즈 시간을 동적으로 조정할 수 없기 때문에 IRC 맥시마이저와 달리 서브 베이스가 들어올 때 눈에 띄는 크랙이 발생했습니다.

고에너지 트랙 제작을 위한 FabFilter Pro 2 사용

독특한 클리핑 기능과 공격 시간 제어 기능으로 인해 맥시마이저보다 FabFilter Pro 2가 선호됩니다.

후렴구와 절의 반복이 많은 고에너지 팝이나 EDM 트랙을 제작하는 데 매우 유용한 도구입니다.

이 영상에서는 이러한 용도로 FabFilter Pro 2를 사용하는 방법에 대해 자세히 다루며, 시청자들도 FabFilter Pro-L 2를 즐겁게 사용할 수 있을 것이라고 제안합니다.