I read a few articles about flangers vs. phase shifters and watched some videos. I found them unsatisfactory. It is hard to tell the difference. Many videos talk about more or less "whooshing", "bright", and "pronounced", but all of that means little to me and depends on the settings. Also, videos contradict each other.
Having designed flangers and phasers, I would say:
Yet another post about Orinj – our software for recording, mixing, sequencing, etc. Yep, so what? I've been spending a good amount of time with it recently, so that is what's in my head. Plus, I want to keep this blog alive while I am spending all my time tinkering with the software.
A decade ago I was traveling to and from Sarajevo and spending a lot of time in boutique hotels and local bars. I made friends with bartenders. I even recorded a song with one of them.
It is usually better if there is some separation between the guitar and the bass. If they occupy some of the same space in the frequency range, one or both will be hard to hear, and the song may become a lot less interesting.
This is un update of an old post – from ten years ago. A post about software ten years ago obviously needs an update, even though, frankly, not that much has changed.
I am testing my compressors. I start with a simple frequency of 400 Hz over the sampling rate 8 kHz. I apply a volume envelope over this frequency. The envelope is simple.
We are releasing version 4 of Orinj.
This is a beta release.
Beta means that this release has not been fully tested. We do not guarantee that it is stable. Use it if you are adventurous and want to experiment with the new features of Orinj.
When equalizing vocals, much of the work involves removing offending frequencies. We do so by cutting out a narrow band of frequencies.
Typical recommendations are:
I have been testing various sine sweeps for use in impulse reverbs. I thought it would be useful to show the Java code for creating a short wave file with a sine sweep. The code is simple, but also interesting. It is interesting not only because it creates a sine sweep, but also because it shows the structure of simple wave files. Beginner DSP designers, who want to create or read wave files, may find it useful.
Often, a song becomes stuck. Sometimes it is the arrangement. The song is boring, slow, or repetitive, or a hook is missing. Sometimes it is the mix. Perhaps the bottom end is hollow and unexciting. There is too much in the middle. Perhaps the mix is just a flat nothing going nowhere. Sometimes it is the song itself. Maybe the lyrics are corny. Or the melody has so much pop and march that it belongs only in a movie soundtrack – probably only in a western.
