Infinite Music Tech Blog
I’m sure many already know this, but I’ll be assembling a page dedicated to sites that offer free samples, synth patches & plug ins.
The first of which is LOOPERMAN. Definitely check out the DJ Snake page for loops. Note that many of these samples are for writing and construction use so make sure you are aware of that.
Experience the ARCADE 3D audio codec on your computer!
Courtesy of Coronal.Audio.com
We are very pleased to announce the update of Tech Preview DAW plugins to version 2.0.0, with improved encoding and binaural rendering quality. Consisting of three VST/AAX plugins for macOS, the ARCADE Tech Preview suite is still available for free!
What’s new in 2.0.0?
- Previously missing low frequencies are now handled by the codec
- Encoded stereo stream: more balanced diffuseness
- Decoded stream: deeper and more balanced diffuseness
- Binaural rendering HRTF database updated
- Binaural rendering spatial resolution improved
- Binaural rendering hemispherical mode added
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Excerpt taken from Eventide.com:
Perfect for mixing and mastering, Eventide EQuivocate’s auditory filters and match EQ functionality make it incredibly powerful, simple to use, and natural sounding. EQuivocate uses filters which are modeled on the human ear. Each of the 26 critical bands tickles a different part of your inner ear, making any combination of settings sound as natural as possible. Combining this with a linear-phase filter shape that reduces pre-echo makes EQuivocate an EQ with a difference you can hear.
by Belinda Huang courtesy of SonicBids
Here is a great article on the Songwriting’s Social Impact on our culture. The entire article can be found here.
As musicians, we are carriers of influence, whether or not we are aware of it and whether or not we intend to be. The sound and messages we release through our art form directly impact our listeners in powerful ways. This is especially true of the youth and adolescents of our society, who are still extremely malleable to the world around them. I remember sitting in the car with my two little cousins, ages five and eight, when “Get Lucky” by Daft Punk came on the radio. They both started singing every word at the top of their lungs. And when Katy Perry sang during the Super Bowl halftime show, the kids at the party sang nearly every lyric verbatim, putting me to shame because I didn’t know all the lyrics, and I’m aspiring to be a pop artist. It began to shock me just how acutely youth are being impacted by the music they listened to, and how much attention they’re paying to the music being played around them.
New Roland Boutique module recreates the renowned D-50 Linear Synthesizer from the 1980s
The sound of the Roland D-50 was a staple of the late 1980s, famously appearing in the intro to Michael Jackson’s ‘Man In The Mirror’ as well as a large portion of Jean Michel-Jarre’s Revolutions album and was used by Enya, Eric Clapton, Vangelis and more. The Roland D-05 is a miniaturized version of the classic! Released 30 years ago, it was very much a competitor to the iconic Yamaha DX7, and now Roland have announced that they’re bringing it back with their miniature Boutique format. The D-05 Linear Synthesizer is a compact reproduction of Roland’s D-50 Linear Synthesizer, the company’s very first all-digital synthesizer. The module makes use of Roland’s brand new Digital Circuit Behavior (DCB) technology — as opposed to the company’s much-used Analogue Circuit Behaviour (ACB) — for its sound generator. It also uses the exact PCM attack and loop samples that were so vital to the D-50 sound.
Th original D-50 was powered by the revolutionary Linear Arithmetic (LA) Synthesis engine, the instrument’s unique mix of sampled attacks and synthesized sustaining waveforms — plus built-in chorus, reverb/delay, and EQ for studio-quality polish — made it a must-have synth for musicians around the world.
This week's Friday Free Plug-in
What Is The TH3 Free Time+Space Edition?
This exclusive free version of TH3 includes all the features of the full version but features fewer models. The TH3 Time+Space Free Edition includes:
- 3 guitar amplifiers
- 3 guitar cabinets
- 4 pedal and rack effects
- 2 microphone models, with up to four mics on each cabinet
- 15 presets
- 4th generation analog emulation technology, with proprietary nonlinear processing algorithms
- 3D, gap-less positioning of microphones and room simulation
- Advanced cabinet emulations with ReSPiRe 2 technology
- Easy to build or modify your own signal path
- Intelligent MIDI controls
- Download size: 739MB (zipped)
- Mac & Windows compatible
Visit the Time+Space website to download your free copy today.
For more info visit pro-tools-expert.com
EQ & Compression: Chicken & the Egg??
If you use a chain of multiple processes on an instrument, you might wonder what the order should be regarding EQ & Compression. Equalization is primarily about changing signal levels, albeit in carefully specified frequency regions, so pre‑compression EQ can alter the gain‑reduction action of the compressor, but post‑compression EQ won't.
If you're happy with the way your compressor is working, just put any equalization after it in the processing chain, but if you find that frequency‑based problems make it difficult to achieve the compression you want, dealing with this problem via pre‑compression EQ makes sense. For example, extreme low‑frequency thumps from a vocalist tapping their foot on the mic stand can play havoc with attempts to compress the vocal itself. Filtering out these low‑frequency level peaks with EQ, pre‑compression, can immediately make the compression sound much more predictable. Sporadic low‑frequency resonances from acoustic guitars or guitar/bass cabs can also be tackled in this way.
When combining an EQ and a compressor the order in which they are placed in the signal chain makes a big difference in the overall effect. These differences are due to both technical and psychoacoustic factors. Placing an EQ before a compressor can have the effect of exaggerating the applied EQ, due to a phenomenon similar to the psychoacoustic effect known as "frequency masking".
Frequency masking is a phenomenon by which louder sounds (or louder frequency ranges within a sound) tend to draw our attention away from the less audible sounds (or frequencies) nearby. Any frequency boosted by the EQ will cause the compressor to lower the overall level whenever the signal source contains frequencies in the boosted range, and this sudden level shift can make the track "sound EQ'ed" without actually producing the frequency specific level changes intended by the EQ. This phenomenon explains why many people think that compressors sound "dull".
This phenomenon explains why many people think that compressors sound "dull".
EQ After Compressor
Placing an EQ after a compressor you can often attain more audible results with less EQ, (and therefor fewer EQ artifacts), producing results that often do not "sound EQ'ed". Most mastering engineers EQ post compression in order to enact the most change with the least EQ.
To understand this technically, think of a compressor and EQ as one integrated unit. Placing the EQ before the compression in this view is like a having a compressor with a frequency dependent threshold. An EQ boost (for example) will send more signal at that frequency to the compressor, which in turn will react to this increase in level and try to control the output level by compressing more, often thwarting the intention of the knob-turner.
From the perspective of Psychoacoustics, the human nervous system is designed to detect changes in our surroundings as a survival skill: A loud sound in a quiet environment, a sudden silence in a noisy environment, a breeze on a still day, etc... These changes in our environment command our immediate attention. In the example above, the compressor will react more to the boosted frequency and we perceive the overall change in level as a sort of "focusing" on the boosted frequency.