On 2014-03-28, Charles Z Henry wrote:
Probably everybody knows that you lose something when you mic a bass
drum and send the output to a vented box subwoofer. It lags a little
bit behind and the tone gets smeared out in time by the resonance. A
successful loudspeaker like this would be able
On Fri, Mar 28, 2014 at 4:07 AM, Emanuel Landeholm
emanuel.landeh...@gmail.com wrote:
Except for 1812 Overture. That sinks rather near DC at substantial
amplitude, given the live cannon in the percussive section.
As a human being, I tend to view DC as a non issue. I can't hear it so it
may
Possibly on topic: Some people like to apply insane compression with a lazy
attack/release to their bass drums. Then they amplitude modulate the rest
of the mix with that. They call it house music.
On Fri, Mar 28, 2014 at 5:13 PM, Sampo Syreeni de...@iki.fi wrote:
On 2014-03-28, Charles Z
On 27/03/2014, Doug Houghton doug_hough...@sympatico.ca wrote:
consider this from a wiki page
A bandlimited signal can be fully reconstructed from its samples, provided
that the sampling rate exceeds twice the maximum frequency in the
bandlimited signal.
Actually twice the *bandwidth*. In
On 2014-03-27, gwenhwyfaer wrote:
In music the distinction isn't terribly important, because the lower
limit of the bandwidth is about 20Hz; other applications may find it
more useful.
Except for 1812 Overture. That sinks rather near DC at substantial
amplitude, given the live cannon in the
Yeah this is sometimes called bandpass sampling or under sampling (
http://en.wikipedia.org/wiki/Undersampling) and is commonplace in the
context of like RF communications and such.
But it can also come up in audio applications, for example critically
sampled filter banks. I.e. say you split a
