Possibly on topic: Some people like to apply insane compression with a lazy attack/release to their bass drums. Then they amplitude modulate the rest of the mix with that. They call it "house" music.
On Fri, Mar 28, 2014 at 5:13 PM, Sampo Syreeni <de...@iki.fi> wrote: > On 2014-03-28, Charles Z Henry wrote: > > Probably everybody knows that you lose something when you mic a bass drum >> and send the output to a vented box subwoofer. It lags a little bit behind >> and the tone gets smeared out in time by the resonance. A successful >> loudspeaker like this would be able to reproduce impulses (drum hits, >> canons, etc...) with greater clarity. >> > > That's an excellent point, and the reasoning is similar to why I for one > as a techno freak have always preferred closed speaker designs to reflex > ones. A well constructed speaker behaves approximately as a minimum phase > system wrt the listener, so the gentler the amplitude variation, the > gentler the envelope smear caused by group delay variation as well. That's > a particular problem at the low end, and you really, *really* can hear the > difference even between a critically tuned reflex and a closed box. > > If you want to get a hold of what it sounds like and don't want to do real > filter design, try an allpass with severe phase nonlinearity at the bass > frequencies (a comb allpass section with near unity gain and long delay > will do). It's by definition not minimum phase so you can't do anything > quantitative done, but it'll get the job one as far as phase goes. A sharp > acoustic kick or practically any one of the snappier standard ways of > synthesizing tech bass drums will do. They turn from kick to a distinctive > slurp, and lose a good amount of their subjective power. Once you get the > taste of it, you'll learn to absolutely hate the effect. Of course that'll > then try your sanity, since nowadays pretty much every home theatre comes > with a subwoofer that is sluggish in that way, not to mention what your > typical poorly damped room modes contribute besides. With orchestral music > it's not such a problem because the aesthetics favour lively halls and > steady state content, but anything electronic or percussive, with lots of > sharp transients and a wide bass extension simply turns to mush. > > -- > Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front > +358-40-3255353, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 > -- > dupswapdrop -- the music-dsp mailing list and website: > subscription info, FAQ, source code archive, list archive, book reviews, > dsp links > http://music.columbia.edu/cmc/music-dsp > http://music.columbia.edu/mailman/listinfo/music-dsp > -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
