Convolution is one of the more sophisticated processes regularly used in audio production. Its ability to accurately impart the characteristic timbres of spaces and objects on other signals is useful in both sound design and standard processing applications. With a wide range of realistic and otherworldly sonic possibilities, convolution can be a fantastic addition to any producer’s toolkit.
In this article, we’ll discuss what digital reverb, both algorithmic and convolution, technically does to an audio signal to achieve the effect of reverb. With this information in mind, we’ll also cover some considerations for handling reverb in your own projects.
Crazy World (Judgement Day)” is the first glimpse into Jamestown Revival’s forthcoming LP. Band members Jonathan Clay and Zach Chance sat down to reflect on shared experiences about the crazy world we live in, hence the delivery of “Crazy World (Judgement Day).”
I really like the sound of the vocals. Well-centered with a bit of width.
In music theory, the term minor scale refers to three scale patterns — the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) — rather than just one as with the major scale.
I was listening to a podcast yesterday. There were two speakers, both claim to have been classically-trained with degrees in music theory and/or music performance.
Neither of them could “speak” the difference between the “minor” scales
- harmonic — seventh degree raised semitone — leading tone
- melodic — raised sixth and seventh degree ascending, not raised descending
You’ll know it when you hear it.
Most of the time the problem comes from misunderstanding exactly what frequencies affect the bass instrument. Too many times we think that it’s the frequencies below 100Hz (especially 60Hz) that provide the bass we need. While it’s quite true that those frequencies are important for what we might call the girth of the sound, they won’t reproduce well on small speakers, and that’s where the problem lies. In other words, EQing too low.
Below 100Hz Girth
120Hz to 200Hz Bottom
250Hz to 320Hz Low-end definition
1kHz to 1.5kHz High-end definition
2.5kHz to 3kHz String noise/buzz