I tried to find out more about Acustica's Core 14 AI, but wasn't very successful.
Can someone explain how to work with it?
Thanks!

Here is an article from sos: https://www.soundonsound.com/news/acustica-adds-ai

 

"According to the manufacturer, Cola employs an intelligent learning method based on Deep Learning AI technology...........

whereby it learns from pros using the plug-in how to apply itself to particular kinds of audio material, the implication being that it may be able to automatically apply itself to similar material in the future. "

 

Really? Only from "pro's" or also people who use this thing but do not know how to use a compressor?

 

Yeh seems like its mearly marketing-speak to get some fish too bite the bait using "more modernsounding lingo than last year"

 

Works nicely with the EQ 228 from Cola. You can always have different strategies regarding how to tackle a material, but here with the second AI preset, it usually falls close to what I would have picked, so it's pretty smart. . It smartly adapts to the material. Pre choice, what band, freq, to boost or cut, and the type of band.

Best it to copy what is indicated in Cola manual regarding this new feature. Both what it does, and the best way to use it.


"With Cola, we have introduced a first-of-its-kind in AI-based approaches to mixing. Unlike other companies, who classify audio content (violins, drums, vocals etc.) with the aim of implementing an auto-mix functionality of the software, we have chosen a completely differ-ent approach. We decided to ‘sample’ the engineer and his or her approach to working on a track. Every mixing move is learned by the plugin based on both the audio material and the personal preference of the engineer using it. This is achieved using a method based on a very deep, complex learning technology, which allows us to literally teach the plugin the ‘secret moves’ of a pro. This is all about the style and unique creative approach of every great engineer and not about creating fixed ‘presets’. This means the plugin will react dif-ferently according to what it ‘hears’, based on what it has learned from the engineer who has used it.For Cola, we sat down with Vox-Ton’s head en-gineer Francesco Donadello, and let him use it on some orchestral recordings, whereas we had some fun on the subgroups of some of our mixes. So we basically taught Cola how we do things, in other words, what we like to hear in a mix. Most adjustments were subtle as the material was already pretty balanced but we will defi-nitely try a more aggressive approach to the ‘lessons’ in the future.This new approach might not ‘immediately’ give you the best results - your approach could in fact be the opposite of what some engineers like to do - but it will certainly give you a new perspective on how different people mix the same material. Of course, this new technology is still in its infancy, we are still working on it, but the first results are very promising indeed. Stay tuned for more.

The COLA 228 EQ is the only plugin in the suite that includes the AI Presets The presets are present by default in both the commercial and the trial version of the COLA 228 EQ.By clicking the “PRESET” drop down menu on the right hand side of the COLA 228 EQ you can select a preset from the displayed list. You can choose between ‘Preset 1’: the result of careful work by Vox-Ton’s head engineer Francesco Donadello and ‘Preset 2’: the result of combined learning by Giancarlo Del Sordo, Francesco Donadello, Paolo Aliberti and Dario Khademi from BigBizStudio©.A normal preset would simply load the same settings each time you use it. Our AI presets will assess the audio being fed into the pl-ugin and then based on the data stored in it’s memory from the “sampled” mix engineers knowledge it will make an eq change.For the best results loop a short section of audio you think is best suited for the AI eval-uation. The timeframe is quite short, only a couple of seconds, so different points in the audio will obviously give different results. Then click the preset you would like to use and watch as the eq changes. It works very well on individual tracks and groups, whereas results on the master may vary. "

Hope that helps.

 

Their GUI's are awful. Work on that.

 

Also Sound on Sound made a mistake (or the plan has changed don't know).
There are no AI presets in Honey 3. I can't find any anywhere, in H3
There are however really interesting AI presets in Navy2 EQ unit. Vastly different results, according to the material feeded, and the engineer picked.

 

List of th AI/Engineers available in Navy 2 EQ (from the manual):

01. AI ALLThe “Super Experience” AI Preset is the result of com-bined learning by the following sound engineers who have worked for this intense project:- Oleg Yorshoff (www.yorshoffmix.com)- Emi Cioncoloni (www.elfish.it)- Gianni Bini (www.houseofglass.it)- BigBiz studio (www.bigbizstudio.com)- Alex Picciafuochi (www.picciafuochi.com)- Sergey Taranoff, (www.facebook.com/sergey.taranoff)Needless to say, we are most appreciative of their pre-cious contribution to this project.

02. AI OLEG YORSHOFF Preset Sampling Technique (used in the AI capture phase)- General Purpose EQ suitable for individual audio sourc-es, group busses and mixbus.Oleg “Yorshoff” Yershov – mixing and mastering engineer, pro audio journalist and respected audio mentor and ed-ucator from Ukraine. Former classical piano player, then heavy metal touring vocalist Oleg now focuses on studio work for different artists producing different genres and styles of music – from synth-pop and Indie to EDM, at-mospheric black metal and countless Hip-Hop artists all over East Europe. In 2013 Oleg launched YorshoffMix,a Youtube-channel with the aim of helping Russian speaking audio engineers to grow and become better educated in music production, mixing and mastering. In addition, Oleg writes for Future Music Russia magazine.

03. AI SERGEY TARANOFF Preset Sampling Technique (used in the AI capture phase)- EQ for individual tracks (on distorted guitars, drums etc )- EQ for Mix Bus purposes- EQ for Master Bus purposesSergey Taranoff was born 28 may 1979 in Vladivostok city, Russia, in a family of musicians and was always sur-rounded by music. At that time there was no digital, only vinyl and tapes. In 2000 he graduated from Vladivostok College of Art as a guitar player artist. In 2005 he founded the T-RECords sound recording studio, which is now the best studio in the Far Eastern region of Russia. Collaborating with such artists as GREYDER, “ИВАН ПАНФИLOVE”, ЛюSEA, Starcardigan, Roon Staal, and many others.

04. AI EMI CIONCOLONI Preset Sampling Technique (used in the AI capture phase)- EQ for individual tracks (on voices, guitars and drums)- EQ for Mix Bus purposes- EQ for Master Bus purposesEmi Cioncoloni - born in 1979, started his career as a mul-ti-instrumentalist with a passion for recording, which was solidified in the early 2000s with the creation of his first studio (studioe recording lab), and then in 2013 with EL FISH, the recording studio he currently runs.Over the last 20 years Emi has worked on a great diversity of projects which has allowed him to gain much experi-ence and refine his skills in producing albums in a variety of genres including jazz, metal, blues, indie rock, elec-tronic music, funk, world music, and alternative rock.Another significant service that EL FISH has provided for many years is ‘multimedia’ such as jingles, soundtracks, voiceovers, e-books, and school coursebook materials in various languages.Emi is currently specializing in music composition and sound design for video games, TV, and cinema, with a view to further broadening his areas of expertise.He his also a beta-tester for a number of Italian plug-in software houses and has been working also as a plug-in GUI designer.

05. AI FRANCESCO DONADEL CAMPBELL Preset Sampling Technique (used in the AI capture phase)- EQ for Master Bus purposes (various TV series, com-mercials and promos)Francesco Donadel Campbell was born in Padua, Italy, on 17 July 1972. In his early teens he developed a clear inter-est in music and began playing the guitar and the elec-tric bass. In later years his passion for the world of music and its more modern genres pushed his own interests towards high fidelity, digital audio and video. In particu-lar, computer-related music, CD-R burning and the digi-tization of his extensive VHS cassettes archive. Not being allowed to listen to music at high volumes until late at night, he started to share his love of the world of hi-fi and especially professional headphones using various brands and models over the years.Francesco’s love of Japanese cartoons led him in 2002 to assume the role of quality control supervisor and DVD project technical coordinator at Shin Vision, a company specialized in the commercialization of products related to Japanese animation.From 2005 to 2013 he covered the role of coordinator and quality control supervisor at SoundnVision, a company based in Milan well placed in the field of video post-pro-duction. His love for precision and his natural under-standing of issues related to the quality of the video mas-ters for broadcasting and for marketing on DVD led him to become head of the department of digitization and digital video restoration using the Archangel Real-time HD & SD Video Restoration software by Snell & Wilcox. He has also been an audio mastering engineer since 2004. From 2014 to the present day he is the senior audio and video mas-tering engineer for Yamato Video Srl, the most important company in Italy that publishes and sells Japanese ani-mation on Dvd and Blu-Ray.

06. AI GIANNI BINI Preset Sampling Technique (used in the AI capture phase)- EQ for individual tracks in particular on rhythmic sounds (kick, clap, snare, hi-hat, toms) but also on bass and synths. Genres: House and Lounge.- EQ for Mix Bus purposesGianni Bini, has for more than 20 years been producing dance music and remixes for international artists such as Jamiroquai , Simply Red, Whitney Houston, Diana Ross, Vasco Rossi and many others. Gianni began his adventures in the music world in the late ‘80s, as a DJ in clubs in Tuscany. In the early 90s he be-gan to expand his horizons by creating a small recording studio where he could develop his musical ideas, creat-ing productions destined to leave their mark in the dance scene, not only in Italy, but all over the world.Thanks to the quality of his work he captured the attention of “gurus” such as Pete Tong, Danny Rampling, Sasha, Dave Seaman, John Digweed, of the British music scene.In 1994, the “Renaissance”, one of the most important or-ganizations in the UK, called him to be part of their DJ agency, creating a relationship that has lasted for years and that will bind its name to the likes of Ministry Of Sound, Cross, Wobble, Que Club, Tunnel and many others in the UK.In 1996 he created with the Paul Martini the “Ocean Trax” and “House Of Glass” Studios two of the most important studios in the world (this year named among the top 4 in Europe by the prestigious magazine “Resolution”) and a reference point for the dance scene worldwide. Ocean Trax, has created worldwide hits such as Soul Heaven (The Goodfellas), Disco Down (House Of Glass) Makes me love you (Eclipse) and brands like Bini & Martini, Fathers of Sound, Netzwerk.In the House Of Glass Studios, Gianni has arranged, re-corded, mixed, produced and remixed Whitney Houston, Jamiroquai, Backstreet Boys, Gabrielle, Kylie Minogue, Simply Red, Diana Ross, Eternal, Raffaella Carra, Vasco Rossi, Mario Biondi, Paola & Chiara Daniele Silvestri, Do-natella, Chiara Civello, just to name a few.