Recent content by schnarf2

To some extent this is true. In particular, a lot of the PEQs use the same formulas for generating filter coefficients. They're the formulas from Robert Bristow-Johnson, if you google "RBJ cookbook filters" or something like that, you'll find them. There are some PEQs that use different digital...

Basically, yes, there's a mathematical process that reduces the waveform to the sum of sines. But it's not as complicated as it seems. Like, there is a way to do that, it's called a Discrete Fourier Transform, and it's used in DSP all the time, but that's actually not necessary. It's really just...

Well, haha, basically the point is, no information has actually been lost! If you're interested in some nitty gritty I've written it up, you don't have to understand all the math but I've tried to write it clearly enough that you can at least get the gist. And we're not talking about pure sine...

This is a common misconception. Ok, so here's the thing. If you look at the digital samples, that is true. There ends up being like 2 samples per period or something and it just "looks" like a triangle. The part you're forgetting is D/A converters. You're not hearing those discrete samples...

I'll second the suggestion of just tracking with monitors on the rejection axis of the mic. You're going to get bleed anyway because it won't perfectly reject the sound, and because of room acoustics, the sound will bounce back towards the mic, but it doesn't matter. I've found that singers...

The tubescreamer with the gain all the way down is linear enough that an impulse response would capture what you'd use it in front of an amp for, which is the mid hump and bass rolloff. If anybody wants I can post a sine sweep that you could use to take an impulse response.

Cool stuff giancarlo, thanks a lot for sharing! I'm curious, what do you guys do for time-invariant stuff like chorus/flange?

I'm just guessing based on DSP knowledge and reading what Nebula does. Read some papers by Angelo Farina, particularly one about real-time not-linear convolution -- I forget the exact name, but it's something like that. Basically, after deconvolving a logarithmic sine sweep, you have the linear...

Read: http://www.izotope.com/products/audio/ozone/OzoneDitheringGuide.pdf

An important thing to remember is there is an analog noise floor -- we can talk all day about adding more bit depth but at some point the molecules in your microphone and cable and AD/DA converters are bouncing and making noise and using a higher bit depth than that does nothing for you. If I...

What you guys are hearing with the steep filters could be the actual filter ringing -- the filter itself can oscillate a bit. The deal with minimum phase, if it makes things any easier to understand: You can look at the amplitude and phase response of a filter: how loud does the filter make...

Because of the way even temperment works, you actually don't want to tune to the 7th fret harmonic, because the harmonic will produce a perfect fifth above the string, and you want an even tempered fifth.

Also, when I'm adding a lot of grit, it doesn't feel like I'm pushing that hard. In a way it feels like I'm spending less effort on keeping the sound clean and just letting it break up.

Try gargling some water. Do it a lot and get really used to the sensation. Feel a fast pulsating on your soft palette (if you take your tongue against the roof of your mouth, and run it back until the top of your mouth is soft, that's your soft palette). That's the sensation you want to feel...

I think you've got a point. I had caved in and added a bit more low end to the patch, and it made it sound better to me on its own, but not so much in the mix.