it's basically harmonic saturation and some other stuff I don't understand.aeox wrote: ↑19 Jul 2018Unfortunately I can't afford that stuff :/MarkTarlton wrote: ↑19 Jul 2018
a lot of hardware that was made back in the day has a sound. I like to put the fairchild on the mix buss and leave the comrpression circuit off while it passes through all the tubes/modeling...it's pretty cool try it out! make sure the threshold is off.
I tried with a PuigTec EQ once and it didn't phase cancel. So, something is happening (not volume) Could just be mild saturation TBH. I'm just looking for more of a scientific answer as to what is happening.
Random audio trivia of the day
- MarkTarlton
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Very interesting none-the-less!MarkTarlton wrote: ↑19 Jul 2018it's basically harmonic saturation and some other stuff I don't understand.
Between the inductors and the tubes, there CAN be some harmonic saturation, and sometimes the “color” comes from old components that need to be replaced...remembering that all “vintage” gear was designed as best they could to NOT saturate under normal conditions. It’s only today we appreciate the color they can add - it used to be cursed by most… When I’ve tested Pultec plugins you really do need to push them to get the “color” many assume is always present.MarkTarlton wrote:it's basically harmonic saturation and some other stuff I don't understand.
There is also the band interaction you get with Pultecs that sets it apart from some other EQs. But the curves themselves are certainly nothing “magic”, certainly on the digital reproductions.
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Selig Audio, LLC
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660 or 670? Very very few of these left, nice to see another hardware guy. My baby is the Gates Sta-Level...after 60 years (and much TLC) she still holds down the low end of every track.MarkTarlton wrote: ↑19 Jul 2018a lot of hardware that was made back in the day has a sound. I like to put the fairchild on the mix buss and leave the comrpression circuit off while it passes through all the tubes/modeling...it's pretty cool try it out! make sure the threshold is off.
DAW: Reason 12
SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine
SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!
www.soundcloud.com/jimmyklane
SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine
SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!
www.soundcloud.com/jimmyklane
Another hardware guy here, at least in my past. When I lived in Nashville my good friends ran the biggest gear rental company and are now at Blackbird Audio, the biggest rental (and studio) in Nashville. They have a sweet 660 and 670 that is highly coveted (McDSP used it for their modeling). Lucky to live in such a gear friendly town for so many years, and miss it now (even though I’m in NYC) mainly because I knew the folks running the companies there!jimmyklane wrote:660 or 670? Very very few of these left, nice to see another hardware guy. My baby is the Gates Sta-Level...after 60 years (and much TLC) she still holds down the low end of every track.MarkTarlton wrote: ↑19 Jul 2018a lot of hardware that was made back in the day has a sound. I like to put the fairchild on the mix buss and leave the comrpression circuit off while it passes through all the tubes/modeling...it's pretty cool try it out! make sure the threshold is off.
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Selig Audio, LLC
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Chicago (where I’m at) also has a thriving gear market and we’ve still got a few multi-room studios left that will make you gawk!selig wrote: ↑19 Jul 2018Another hardware guy here, at least in my past. When I lived in Nashville my good friends ran the biggest gear rental company and are now at Blackbird Audio, the biggest rental (and studio) in Nashville. They have a sweet 660 and 670 that is highly coveted (McDSP used it for their modeling). Lucky to live in such a gear friendly town for so many years, and miss it now (even though I’m in NYC) mainly because I knew the folks running the companies there!jimmyklane wrote:
660 or 670? Very very few of these left, nice to see another hardware guy. My baby is the Gates Sta-Level...after 60 years (and much TLC) she still holds down the low end of every track.
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Isn’t Vintage King based out of NYC, Giles?
DAW: Reason 12
SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine
SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!
www.soundcloud.com/jimmyklane
SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine
SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!
www.soundcloud.com/jimmyklane
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I have a fairly deep understanding of the workings of digital audio, base 2 maths, Shannon-Nyquist theory, and basic DSP building blocks....this video is a good one that I’ve suggested to beginners before.
However, my question is this: is this merely bringing the thread back on topic or is it directed toward the previous comments that you’ve seen in the thread?
DAW: Reason 12
SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine
SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!
www.soundcloud.com/jimmyklane
SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine
SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!
www.soundcloud.com/jimmyklane
I just post random audio trivia here. Inspiration are the forum, real life, the interwebs and a big white bunny that apparently only I can seejimmyklane wrote: ↑19 Jul 2018However, my question is this: is this merely bringing the thread back on topic or is it directed toward the previous comments that you’ve seen in the thread?
Tell Harvey I said hi…normen wrote:I just post random audio trivia here. Inspiration are the forum, real life, the interwebs and a big white bunny that apparently only I can seejimmyklane wrote: ↑19 Jul 2018However, my question is this: is this merely bringing the thread back on topic or is it directed toward the previous comments that you’ve seen in the thread?
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Selig Audio, LLC
- MarkTarlton
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most of the stuff you post goes way over my head, but every now and than I understand a little chunk because you take the time to explain it...also selig too. even though I am sure I can be a pain in the butt, I do appreciate your input and knowledge... most of the time I don't reply, but I try and read everything here.normen wrote: ↑19 Jul 2018I just post random audio trivia here. Inspiration are the forum, real life, the interwebs and a big white bunny that apparently only I can seejimmyklane wrote: ↑19 Jul 2018However, my question is this: is this merely bringing the thread back on topic or is it directed toward the previous comments that you’ve seen in the thread?
When processing audio most DAWs and plugins are using a higher bit depth version of the audio, for example 32bit or 64bit.
This is because when you do processing on the audio data your algorithms might create intermediate values that are so big or small that they can actually pull up quantization noise or even clip.
As a simple example imagine a DAW where the channel fader is pulled down by -12dB and then the bus fader is pulled up by 12dB. If the audio had a perfect -144dB quantization noise floor in the channel and the audio is processed with 24bit then the noise floor would already be at -132dB in the master.
This is because when you do processing on the audio data your algorithms might create intermediate values that are so big or small that they can actually pull up quantization noise or even clip.
As a simple example imagine a DAW where the channel fader is pulled down by -12dB and then the bus fader is pulled up by 12dB. If the audio had a perfect -144dB quantization noise floor in the channel and the audio is processed with 24bit then the noise floor would already be at -132dB in the master.
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