A lot of my recent posts have been technical in nature: MIDI specifications, multitap delay designs, etc. It is time to write some more interesting posts starting with some info on my practicing of the guitar. I am, for the most part, a "sloppy" guitar player. Even though I took some guitar classes some fifteen years ago, I always played for fun and rarely actually practiced my guitar technique. About twenty years of playing now and I can pull together some relatively complex solos by famous guitarists and even compose and improvise, but I can rarely do so cleanly.
A couple of posts ago I described the idea behind designing the inner workings of the Orinj multitap delay. I ended up with the graph below, but that design is a bit too much in practice. There are a couple of things that can be done to simplify the effect. First, the gains on the input signal of each of the delay units are unnecessary (the two top triangles in the first picture below). Given that the delay unit simply repeats the signal and that there are decays (gains) for each of the output signals, the input gain is redundant. I removed it from the design. Second, I scrapped the separate feedback and tap gains of each of the delay units. I added one gain to each delay units that controls both the feedback and the tap signals. Third, to achieve some similarity across Orinj effects I included a single “wet mix” gain common to all delay units.
I wrote before about the newly designed Orinj multitap delay, but that post was just a general description of what delay effects look like, what parameters they have, and what purpose they serve. As promised, here is the actual design of the Orinj multitap delay.
It has been a month since my last post, but that is for a good reason. We spent significant time on a couple of important tasks. RecordingBlogs.com finally has a good sitemap submitted to various major search engines such as Google, LiveSearch, Yahoo, and Ask.com. Also, I have now done enough work on version 3 of Orinj to know where the application is heading. This post is about the improvements to Orinj that will show up in version 3.
I am not an expert on this, but the topic keeps coming up every now and then. Some time ago I talked to a movie producer friend about his sound setup. He mentioned many interesting things. The one specific thing that caught my attention was: "unbalanced XLRs". I looked around for info on balanced signals and XLRs. This is what I learned.
I started transcribing some songs for a friend of mine who is learning piano. I do simple songs for the most part, but sometimes also more complex pieces. I use Guitar Pro 5 and I find it impressive as it can easily deal with the complex contemporary music notation: the staff, clefs, key signatures, accidentals, note durations, articulations, codas, ties, tuplets, etc. Contemporary music notation is all one needs to transcribe songs. Most contemporary songs are simple anyway: they stick to a key signature and have repetitive note duration patterns. I just finished the main theme (one repetition of the progression only) of Grant Green’s "Joshua Fit the Battle of Jericho". It has four underlying chords and I am guessing that it uses the harmonic minor scale (I put it in D harmonic minor). Who cares really? It was pretty easy to transcribe.
Orinj has several types of delay effects: regular delay, echo, chorus, bass chorus, bouncing echo, and reverb.
The Orinj regular delay takes the incoming signal and repeats it once with a certain delay in time and with a change in amplitude. The output of this effect is the combined original signal and the new repeated signal. The original signal is called the "dry" signal. The repeated signal is called the "wet" signal. The amount of time delay between the two is the "delay". The change in amplitude between the two signals is called the "decay" as the repeated signal usually has lower amplitude than the original one. The decay is also the difference between the dry and wet signal and can also be called the "dry / wet mix" of the delay effect.
I play relatively cheap acoustic guitars when practicing at home. The sound is not so important, the comfort is. Up to a year ago I was playing a Jasmine by Takamine, model no. ES33C, acoustic-electric made in Korea. It goes for about $200.
n-Track was the first piece of software that I used for recording. I used it for one song only around the time when n-Track was at version 2 or 3. I was curious how far the software had gotten from these versions to its current version 6.
Orinj version 2 (beta) was released. Orinj is designed to handle wave files, loops, MIDI files, and multi- track recording sessions. Thus, it is a relatively large software application. There are, however, infinite options for extensions and improvements.