On 2015-07-20, Tom Duffy wrote:
Using separate reverbs on each instrument in a DAW recording gives a
richer mix that just a single reverb on the master channel.
What it gives you is higher decorrelation across channels. And our ears
are used to that, because as soon as you move a sound
On 7/20/15 7:49 PM, Nigel Redmon wrote:
To add to Robert’s comment on discrete-time analog…
The only thing special about digital sampling is that it’s stable (those
digital numbers can be pretty durable—the analog samples don’t hold up so well)
and convenient for computation. But the digital
On Jul 20, 2015, at 11:12 PM, robert bristow-johnson
r...@audioimagination.com wrote:
On 7/20/15 7:49 PM, Nigel Redmon wrote:
To add to Robert’s comment on discrete-time analog…
The only thing special about digital sampling is that it’s stable (those
digital numbers can be pretty
On 20 July 2015 at 22:24 Nigel Redmon earle...@earlevel.com wrote:
Here’s an interesting interview:
http://www.studioelectronics.biz/Documents/SSC.DEVICE.pdf
http://www.studioelectronics.biz/Documents/SSC.DEVICE.pdf
Thanks for sharing that delightfully inspiring read to find
in my inbox
robert bristow-johnson wrote:
...
just for the record, none of them content words were written by me.
...
And it's back, in the Prophet-6. I build one of those dual BBD effects
with filters and electronics, with interesting options, with a sine
wave LFO modulated clock to act as a Leslie
Er, minor correction, the effect I was talking about on the tune (where the
echo is more part of the sound than perceived as a repeat) is the bass and the
textural chordal change thing most easily heard in the sparse section starting
at 1:37; my buddy added all the mallet things with echo
Being a long-time fan of delays (and author of Echo farm PT plug-in and DL4
delay modeler stompbox), starting with tape delay (first a Univox tape delay,
graduated to Roland Space Echo (the space echo emulation in Echo Farm is based
on my aged RE-101)…when the digital first came in, it was neat
Whenever vintage delays come to my mind, I hear the sound of the bucket brigade
delay lines
that were made from a chain of capacitors and switches. In the early 80s there
were many
electronic magazine articles and kits to build them. The SAD chips had a maximum
delay time
of about 200ms. Were they
The first delay of which I was aware was in the piece Echo III played on the
viola by Tim Souster in Cambridge in the early 1970s. Not an echo or reverb
but a cannon. Delay was via two reel-to-reel tape machines, with a carefully
measured distance between them. I cannot remember if it was the
Related:
Using separate reverbs on each instrument in a DAW recording gives a
richer mix that just a single reverb on the master channel.
Back in the analog days, you'd use the multitrack tape and mixer
to do multiple passes through the best reverb in the studio.
In the early DAW days, you'd
robert bristow-johnson wrote:
On 7/20/15 2:44 PM, padawa...@obiwannabe.co.uk wrote:
Whenever vintage delays come to my mind, I hear the sound of the
bucket brigade
delay lines
And it's back, in the Prophet-6. I build one of those dual BBD effects
with filters and electronics, with interesting
Here’s an interesting interview:
http://www.studioelectronics.biz/Documents/SSC.DEVICE.pdf
http://www.studioelectronics.biz/Documents/SSC.DEVICE.pdf
I first heard about it at AES (’75 in LA), from Stephen St. Croix himself. It
was a brand new product, and Steve was trying to convince anyone
On 7/20/15 3:00 PM, jpff wrote:
The first delay of which I was aware was in the piece Echo III played on the
viola by Tim Souster in Cambridge in the early 1970s. Not an echo or reverb
but a cannon. Delay was via two reel-to-reel tape machines, with a carefully
measured distance between them.
Most of the old delays were BBD, but the king of discrete-time analog was the
Marshall Time Modulator, which used CCDs. Between the dbx companding for
increased s/n and the wide clock-sweeping range, it had awesome flanging (-80dB
notches claimed)—great double/triple tracking too.
On Jul 20,
On 7/20/15 2:44 PM, padawa...@obiwannabe.co.uk wrote:
Whenever vintage delays come to my mind, I hear the sound of the bucket brigade
delay lines
that were made from a chain of capacitors and switches. In the early 80s there
were many
electronic magazine articles and kits to build them. The SAD
To add to Robert’s comment on discrete-time analog…
The only thing special about digital sampling is that it’s stable (those
digital numbers can be pretty durable—the analog samples don’t hold up so well)
and convenient for computation. But the digital audio samples are just a
representation
On 7/20/15 4:52 PM, Theo Verelst wrote:
robert bristow-johnson wrote:
On 7/20/15 2:44 PM, padawa...@obiwannabe.co.uk wrote:
Whenever vintage delays come to my mind, I hear the sound of the
bucket brigade delay lines
just for the record, none of them content words were written by me.
And
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