mic's blog

Orinj version 2.5.0 and more

Submitted by mic on Fri, 03/30/2018 - 09:56

We began uploading a series of updates to Orinj, starting with version 2.5.0 of March 11, 2016. As we are working to develop Orinj version 3, we are fixing bugs and applying cosmetic changes that can also be useful in version 2. There is no sense in waiting for version 3 to be ready. This can take some time. In the meantime, version 2 will be updated as often as needed.

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Programming the simplest reverb

Submitted by mic on Thu, 03/29/2018 - 21:29

A typical reverb is supposedly implemented in two parts. First, a tapped delay line is used to simulate the initial (early) reflections that may be few in number and distinct. Second, a Shroeder reverb is used to simulate the late reverb, which contains a large number of indistinct reflections. The Shroeder reverb itself consists of several sequential all pass filters, the output of which is fed through a several parallel feedforward comb filters (simple delays).

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SoundCloud

Submitted by mic on Thu, 03/29/2018 - 21:25

I am a bit behind the times. Until yesterday, I didn't even know SoundCloud.com existed. I do now, but only because I landed on a random tweet about it (thanks to Scottkerrmusic). I should have expected it. It was just a matter of time, before a site like SoundCloud pops up. This one has apparently been running for 6 years and already has over 10 million registered users, including some popular names in music.

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The Music Producer's Survival Guide

Submitted by mic on Thu, 03/29/2018 - 21:22

Some time ago I received a copy of a book – The Music Producer's Survival Guide. Chaos, Creativity, and Career in Independent and Electronic Music – by Brian M. Jackson, published by CENGAGE Learning (ISBN-13: 978-1-285-19892-7, ISBN-10: 1-285-19892-1). First, I should apologize to the author and publisher for taking so long to write this. I was traveling over the past one month. And the book is dense.

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Impulse based reverb through deconvolution – Part 3 – deconvolving

Submitted by mic on Thu, 03/29/2018 - 21:16

This is the third article about deconvolving a reverberated sound to get the impulse response of natural reverberations. If we can do so, then we can use the impulse response as the artificial reverb. In the first post, we created a possible impulse response of a reverb. In the second post, we used the impulse to look at what a drum hit could look like after the reverb. In this article, we will do the opposite. We will try to get the original impulse response, if we assume that we only have the original drum hit and the reverberated drum hit.

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Impulse based reverb through deconvolution – Part 2 – using the impulse response to produce reverberations

Submitted by mic on Thu, 03/29/2018 - 21:10

This is the second post in a series of articles about deconvolving a reverberated sound to get the impulse response of natural reverberations and then using this impulse response as the artificial reverb. In the previous post we created the impulse response of an example reverb. In this post we will take a short sound – a drum hit – and we will reverberate it with the impulse response developed before. Later, we will take the reverberated drum and we will pretend that we do not know the impulse response. We will try to recreate the impulse response and see how well we do. As a reminder, it should be possible to record the natural reverb of a short sound, such as a drum hit, in a room or a hall and to deconvolve this natural reverb to create an artificial reverb.

A short drum sound may look something like this.

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Impulse based reverb through deconvolution – Part 1 – creating an example impulse response of reverb

Submitted by mic on Thu, 03/29/2018 - 21:07

This should be an article about deconvolving an actual recorded reverberated sound to produce the impulse of a reverb, but we do not have all the needed tools to do so yet. To get there, we will prepare several articles. Once we are ready – and if we succeed – we should have a reasonably good imitation of the actual reverb and should be able to use the resulting impulse to simulate the actual reverb on any recorded sound.

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