The following is an example frequency filter that combines the standard low pass FIR filter with a standard second order low pass Butterworth filter. We are doing this to show that we do not have to stick to the standard filter design, but can experiment. Relying on the standard filters is a start, but there is much we can do.
A few years back, I wrote a few posts about MIDI. Those posts were technical. They explained the messages that MIDI devices use to communicate with each other. Later, we moved most of this to the Wiki, but not all. Some notes, I thought, should come back.
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.
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).
Digital Signal Processing for Audio Application. Second Edition was published on November 18, 2014. What's new in the second edition? A few things.
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.
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.
Arobas Music just released Guitar Pro for mobile phones and tables. This is good. I have always thought that this is great software for guitar players and I have used to learn various pieces and to create pics for music scales and licks for this site.
The time has come to have some fun with this blog. I just did some research on what the worst song ever could be. Here is what I found:
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.
