Adventures In Audio with Audio Masterclass
Recording SoftWare for Blind people. Can anybody Please help?

Extreme EQ (part 4)

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The remaining controls are not so EQ orientated. The distortion control is
very harsh and only applicable in certain circumstances. What a pity the filter
couldn’t be applied after the distortion, but you can always create a distorted
copy of your sound file and then filter it. The delay facilities are simple
but effective. Again, what a pity that the feedback loop can’t be put through
the filter. Many delay units have the provision to low-pass filter the feedback,
but with 24dB/octave filtering, resonance and envelope generation, so much more
could have been possible. (Try patching a Mutator into a feedback loop around
a hardware delay unit – and be careful not to blow your drive units!).

Soon to be released in its final form, the Waldorf D-Pole filter plug-in is
available in a demo version from Steinberg’s web site which gives a good
indication of its capabilities, and you can actually get some use out of it
if your audio segments are short enough. As you can see from the graphic, it
is similar to Mutator and North Pole in that it has a 24dB/octave low-pass filter
and an envelope generator. This time the options are multiplied to include low-pass,
band-pass, high-pass, notch and ‘resonator’. High-pass is useful for
special effects, and you really can cut virtually everything below the cut-off
frequency. Dance music producers would use this for mixing the mid and high
frequencies of one sampled loop with the low frequencies of another, in the
same manner as DJs use the ‘kill switches’ on their specialised DJ
mixing consoles. Someone told me that if I’m not doing this sort of thing
every day I must be behind the times. Well with D-Pole, I’m going to try
and catch up and – if necessary – you can too! The notch option is useful, not
only for taking out mains hum or video monitor line frequency pickup (although
you wouldn’t buy it for this), but for homing in on particular sounds where
they are fairly constant in pitch and sucking them out of the mix. The resonator
function offers a high Q boost and is fun to play with for special effects,
particular when operated hands-on as the music plays. Like Mutator, and unlike
North Pole, D-Pole has an LFO with which the cut-off frequency can be modulated.
This is calibrated in BPM and although it can’t be synchronised to a beat,
it can be applied over a short segment and through a process of trial and error
a new file can be created with exactly the right feel. It’s also nice to
use the LFO on a rhythm track and intentionally let it drift slowly in and out
of tempo which gives variety to a loop that might otherwise lose interest over
time. Other goodies include an amp simulator, pan modulation and once again
an envelope generator triggered by the input signal.

David Mellor

Acoustics

Acoustics

In this course, trainer Joe Albano explains how sound interacts and is modified by the listening environment. Learn the powerful influence of acoustics on our perception and the propagation of sound.

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David Mellor