On Wed, Oct 30, 2002 at 02:30:53 -0800, Paul Winkler wrote:
On Wed, Oct 30, 2002 at 10:30:48PM +0100, Tim Goetze wrote:
it seems hard to come up with a wave shaper that favours higher
harmonics, i've tried some in the past few days.
maybe you're not filtering enough?
Thats definatly
On Wed, Oct 30, 2002 at 10:30:48 +0100, Tim Goetze wrote:
i've been mucking around a little but it seems real hard to
make the harmonics fit, especially with such a wide range of
possible mixes being aimed at.
Yup. Hey, if it was easy, everyone would be doing it ;)
I was planning to vary
On Wed, Oct 30, 2002 at 03:22:35PM +0100, Tim Goetze wrote:
in fact there are some pretty good analog stomp boxes out there
that sound really valvy. i bet they make use of FETs then.
Nearly every stomp box tube distortion i've ever opened,
or looked at a circuit for, uses diodes for clipping.
On Wed, Oct 30, 2002 at 03:22:35 +0100, Tim Goetze wrote:
comparing the frequency spectra of our setup to the amp output
reveals that there is quite a difference. it is visible at low
gain settings and, as expected, becomes emphasized at higher
distortion levels.
the amp output frequency
On Wed, Oct 30, 2002 at 06:11:11 +0100, Tim Goetze wrote:
Steve Harris wrote:
Thanks for doing that, I haven't had the time. Can you produce a spectrum
plot for the current s/w chain?
http://quitte.de/sine-spectrum.gif
http://quitte.de/straight-spectrum.gif
The sine spectrum looks pretty
Steve Harris wrote:
http://quitte.de/sine-spectrum.gif
http://quitte.de/straight-spectrum.gif
The sine spectrum looks pretty close to me, except that some of the low
harmonics are too high, probasbly cutting back some of the parameters to
the valve would fix this.
i've been mucking around a
On Wed, Oct 30, 2002 at 10:30:48PM +0100, Tim Goetze wrote:
it seems hard to come up with a wave shaper that favours higher
harmonics, i've tried some in the past few days.
maybe you're not filtering enough?
i was just reading about the Ibanez TubeScreamer circuit,
its clipping stage is quite
On Tue, Oct 29, 2002 at 12:18:23 +0100, Frank van de Pol wrote:
looking at the distorted signal it look to me like an amp that is clipping,
but it's power supply can't maintain the voltage (eg. relatively high
impendance on the powersupply/series resistance). While +ve or -ve side of
the
Lea Anthony wrote:
Talking of Tubes, does anyone know where I can get cheap GrooveTubes? I
have a Digitech TwinTube preamp and one (maybe both) of the tubes have
blown. Pref in UK...
use sovtek or other cheap ones. groove tubes are simply
relabeled russian, czech or chinese production (this is
Steve Harris wrote:
On Tue, Oct 29, 2002 at 12:18:23 +0100, Frank van de Pol wrote:
looking at the distorted signal it look to me like an amp that is clipping,
but it's power supply can't maintain the voltage (eg. relatively high
impendance on the powersupply/series resistance). While +ve or
On Tue, Oct 29, 2002 at 02:20:32 +0100, Tim Goetze wrote:
i've uploaded another image showing how the line output from
the amp changes as the incoming sine increases in volume:
http://quitte.de/3x-driven.gif
admit i hope that frank's explanation holds, and that the
valve_rect can be
On Monday 28 October 2002 05:33 pm, Steve Harris wrote:
On Mon, Oct 28, 2002 at 10:37:18 +0100, Tim Goetze wrote:
it shows my badly-driven fender amp's line output (top) vs. the sine
wave it was fed at the same time. i'm wondering how come the output
overshoots every time the input crosses
On Tuesday 29 October 2002 10:27 am, Steve Harris wrote:
On Tue, Oct 29, 2002 at 02:20:32 +0100, Tim Goetze wrote:
i've uploaded another image showing how the line output from
the amp changes as the incoming sine increases in volume:
http://quitte.de/3x-driven.gif
admit i hope that
On Mon, Oct 28, 2002 at 02:41:08 +0100, Tim Goetze wrote:
http://quitte.de/easy.mp3
That sounds pretty good. The attack sounds a bit muted to me though, is
that deliberate or should it have more bite?
Yeah, fix the rectifier. I had a quick look at it and it looks like I did
something fairly
On Mon, Oct 28, 2002 at 02:12:02 +0100, Tim Goetze wrote:
the longer the wave is on one side of zero, the more energy is
built up that tries to push it back. as long as the system is
fed enough energy to keep it this side of zero, it is basically
decaying exponentially against a (more-or-less)
On Sun, Oct 27, 2002 at 10:05:24 -0500, David Gerard Matthews wrote:
Some people also like to stick a mic right between the two cones of a
2-driver amp.
Miking an open cab from behind is also a popular trick - it yields a
completely different
tone.
Now you're just being difficult ;)
-
On Sun, Oct 27, 2002 at 04:33:26 -0800, Paul Winkler wrote:
1, 2, and 4 are the most common. It's common to only
mic 1 of the cones, pretty close up - but it's also common
to do any bizarre combination of mics and placements you can
think of.
Yup, but for starters, one dynamic mic at a
Paul Winkler wrote:
On Mon, Oct 28, 2002 at 02:12:02AM +0100, Tim Goetze wrote:
the longer the wave is on one side of zero, the more energy is
built up that tries to push it back.
Is it just me, or does that sound an awful lot like a hipass
filter?
this one is supposed to be nonlinear, and
Paul Winkler wrote:
On Mon, Oct 28, 2002 at 02:41:08AM +0100, Tim Goetze wrote:
make that pref 200 Hz for me. this and the sine shaper at .4, and
tell you what, this sounds very much like, but in fact better to
me than the sound i play 90% of the time on the real thing. only
drawback is it
Steve Harris wrote:
On Mon, Oct 28, 2002 at 02:41:08 +0100, Tim Goetze wrote:
http://quitte.de/easy.mp3
That sounds pretty good. The attack sounds a bit muted to me though, is
that deliberate or should it have more bite?
it could do with a little more bite, yes. it's the neck pickup
with the
On Mon, Oct 28, 2002 at 01:56:34 +0100, Tim Goetze wrote:
how are you plugging in your guitar?
if it's a guitar with passive electronics and you're going
straight to the A/D converter, i'd expect it to be
overly sensitive to the volume control.
yes, it's passive, two humbuckers. it's going
On Mon, Oct 28, 2002 at 01:30:49 +0100, Tim Goetze wrote:
it's an interesting pov though, in fact i've been thinking
about algorithms that work like IIR filters (that are often
used for HP/BP/LP) with the addition of nonlinear terms for
recreating the tube distortion. the maths of such a thing
Steve Harris wrote:
On Mon, Oct 28, 2002 at 01:56:34 +0100, Tim Goetze wrote:
how are you plugging in your guitar?
if it's a guitar with passive electronics and you're going
straight to the A/D converter, i'd expect it to be
overly sensitive to the volume control.
yes, it's passive, two
On Mon, Oct 28, 2002 at 03:37:36PM +0100, Tim Goetze wrote:
Thats something that worried me, I seem to remeber that the sound of a
guitar changes if its not impedance matched with the AD converter. I'm
pretty sure, mine doesn't match passive guitars. My bass is active though,
and I dont have
apologies if this reaches you twice, it seems to have been
swallowed by that big black hole in the center of the net.
-- Forwarded message --
Subject: Re: [linux-audio-dev] [ann] unmatched - a LADSPA amp tone
From: Tim Goetze [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Date: Mon, 28
Steve Harris wrote:
On Mon, Oct 28, 2002 at 01:56:34 +0100, Tim Goetze wrote:
how are you plugging in your guitar?
if it's a guitar with passive electronics and you're going
straight to the A/D converter, i'd expect it to be
overly sensitive to the volume control.
yes, it's passive, two
On Mon, Oct 28, 2002 at 05:53:26 +0100, Tim Goetze wrote:
make interesting non-linear filters by using different parameters for the
different halves of the wave cycle. This is what makes the gong sound
gongy (waveguide_nl.h). It could also apply to cone modelling, as the
characteristics of the
Thats something that worried me, I seem to remeber that the sound of a
guitar changes if its not impedance matched with the AD converter. I'm
pretty sure, mine doesn't match passive guitars. My bass is active though,
and I dont have any DI boxes, so no choice anyway.
likewise here.
On Mon, Oct 28, 2002 at 09:50:52 -0800, Tom wrote:
I vaguely remember reading about some inexpensive a/d boxes that have
built in mic pre's and a switch for high impedance instruments, but I
don't remember their names. I use an active direct box.
OK, can someone recommend a DI box I can buy
Steve Harris wrote:
I don't know its hard to seperate phase effects from waveshaping, thats
why it needs FFTing. Onve we have the aproximate harmonic series we can
simulate that with a cheby, and if neccesary put the phase back with an
allpass or two.
ok, i'm slowly beginning to understand this
Steve Harris wrote:
That is a side effect of class B amps IIRC. I would have though that
preamps would be class A, but maybe not.
they are, afaik. you're right, it's a property of class B.
still my amp's preamp stage shapes the lower half differently
(less) than the top.
i'm still trying to
[Note: I've only been loosely following this thread, but this message caught
my broadcast engineer eye, being that I work with tube gear nearly daily.]
On Monday 28 October 2002 01:55 pm, Tim Goetze wrote:
Steve Harris wrote:
That is a side effect of class B amps IIRC. I would have though that
Steve Harris wrote:
Thats something that worried me, I seem to remeber that the sound of a
guitar changes if its not impedance matched with the AD converter. I'm
pretty sure, mine doesn't match passive guitars. My bass is active though,
and I dont have any DI boxes, so no choice anyway.
Yeah,
On Mon, Oct 28, 2002 at 07:42:04 +0100, Tim Goetze wrote:
I don't know its hard to seperate phase effects from waveshaping, thats
why it needs FFTing. Onve we have the aproximate harmonic series we can
simulate that with a cheby, and if neccesary put the phase back with an
allpass or two.
On Mon, Oct 28, 2002 at 10:37:18 +0100, Tim Goetze wrote:
it shows my badly-driven fender amp's line output (top) vs. the sine
wave it was fed at the same time. i'm wondering how come the output
overshoots every time the input crosses zero. trying to model this
I dont think it does, I still
Steve Harris wrote:
On Mon, Oct 28, 2002 at 09:50:52 -0800, Tom wrote:
OK, can someone recommend a DI box I can buy in europe for a reasonable
ammount of money? Studiospares lists a range from E50 (behringer) to E460
(MTR) +tax.
19 and XLR output is perferable, but I can live without either.
Steve Harris wrote:
The chebyshev is a way of generating specific harmonics, eg. you can
output the fundamental + the 2nd harmonic at -6dB, the 4th at -16, the 6th
at -21, etc. You can't easily control the phase though.
gee, i remember. i've just taken a look at harmonic_gen_1220,
this must be
On Mon, Oct 28, 2002 at 10:37:18PM +0100, Tim Goetze wrote:
i'm sure frequency responses and Vin/Vout mappings for common
amp tubes (EL34 comes to mind, too) would be very helpful, but
can i ask you to take a look at
http://quitte.de/driven.gif
first?
it shows my badly-driven fender
Talking of Tubes, does anyone know where I can get cheap GrooveTubes? I
have a Digitech TwinTube preamp and one (maybe both) of the tubes have
blown. Pref in UK...
Cheers,
-Lea.
On Mon, 2002-10-28 at 22:35, David Gerard Matthews wrote:
I use a PreSonus BlueTube - stereo, comb DI/mic pre, with
On Sun, Oct 27, 2002 at 12:23:28 +0200, Tim Goetze wrote:
that is great to hear! i can almost see the box glowing from
the heat when the valves are turned on. the iir 'convolver',
btw, suffers greatly when competing for the cache with other
plugins now (8-9% 64/44.1). think i'll try the
On Sun, Oct 27, 2002 at 12:23:28 +0200, Tim Goetze wrote:
i've uploaded yet another recording, line-sine-16.flac, which
contains the line out (left) and the sine that went in. seems
our total transfer function until that point needs more work.
Did you upload the right file? The left channel is
Steve Harris wrote:
On Sun, Oct 27, 2002 at 12:23:28 +0200, Tim Goetze wrote:
that is great to hear! i can almost see the box glowing from
the heat when the valves are turned on. the iir 'convolver',
btw, suffers greatly when competing for the cache with other
plugins now (8-9% 64/44.1).
Steve Harris wrote:
On Sun, Oct 27, 2002 at 12:23:28 +0200, Tim Goetze wrote:
i've uploaded yet another recording, line-sine-16.flac, which
contains the line out (left) and the sine that went in. seems
our total transfer function until that point needs more work.
Did you upload the right
me wrote:
Steve Harris wrote:
Did you upload the right file? The left channel is clipped and the right
doesn't look like a pure sinewave, we need to get an unclipped signal from
the output stage for the FT to get the right results.
still found some space for line-sine-2.wave -- another
On Sun, Oct 27, 2002 at 03:05:36 +0100, Tim Goetze wrote:
still found some space for line-sine-2.wave -- another
recording from the same sources, uncompressed this time.
That looks better. I dont know what was wrong with the flac file, the
others all came out OK.
I have a reasonable bass
On Sun, Oct 27, 2002 at 02:41:17 +0100, Tim Goetze wrote:
used for all the stages, I suspect a chebychev would be better for the
output, it would also alow us to model different amps with the same code.
forgot to ask ... you mean emulate a 'preamp', filter and
apply a 'power amp' [and
Steve Harris wrote:
I have a reasonable bass sound now:
ecasound -i jack_alsa,in_1 -o jack_alsa,out_1 -el:valve,0.6,0.7 -efh:25
-el:inv -el:valveRect,0.5,0.6 -el:inv -el:sinusWavewrapper,2
-el:valve,0.7,0.8 -efh:30 -el:unmatched
i take -efh:25 to mean 25 Hz hipass ... looking at the filter
code
Steve Harris wrote:
forgot to ask ... you mean emulate a 'preamp', filter and
apply a 'power amp' [and filter again] and a 'cabinet'
stage i guess?
Yes, I'm not sure what the interrealtion between the cabinet and code is
though - I think a simple cabinet delay line + your IIR filter would be
On Sun, Oct 27, 2002 at 02:41:17PM +0100, Tim Goetze wrote:
forgot to ask ... you mean emulate a 'preamp', filter and
apply a 'power amp' [and filter again] and a 'cabinet'
stage i guess?
You forgot a couple - then there's the mic, the mic placement,
and the room... there's no end to the
Paul Winkler wrote:
On Sun, Oct 27, 2002 at 02:41:17PM +0100, Tim Goetze wrote:
forgot to ask ... you mean emulate a 'preamp', filter and
apply a 'power amp' [and filter again] and a 'cabinet'
stage i guess?
You forgot a couple - then there's the mic, the mic placement,
and the room...
Steve Harris wrote:
ecasound -i jack_alsa,in_1 -o jack_alsa,out_1 -el:valve,0.6,0.7 -efh:25
-el:inv -el:valveRect,0.5,0.6 -el:inv -el:sinusWavewrapper,2
-el:valve,0.7,0.8 -efh:30 -el:unmatched
god save our glorious steve! this is really beginning to sound
like an amp. i've found it sounds better
On Sun, Oct 27, 2002 at 09:04:42PM +0100, Tim Goetze wrote:
Paul Winkler wrote:
On Sun, Oct 27, 2002 at 02:41:17PM +0100, Tim Goetze wrote:
forgot to ask ... you mean emulate a 'preamp', filter and
apply a 'power amp' [and filter again] and a 'cabinet'
stage i guess?
You forgot a
On Sun, Oct 27, 2002 at 06:19:24 +0100, Tim Goetze wrote:
i take -efh:25 to mean 25 Hz hipass ... looking at the filter
code in there right now. i still need your new valve and rect
implementations to evaluate the right thing.
They dont sound different AFAIK, they are mathematically the same.
On Sun, Oct 27, 2002 at 08:58:10 +0100, Tim Goetze wrote:
ecasound -i jack_alsa,in_1 -o jack_alsa,out_1 -el:valve,0.6,0.7 -efh:25
-el:inv -el:valveRect,0.5,0.6 -el:inv -el:sinusWavewrapper,2
-el:valve,0.7,0.8 -efh:30 -el:unmatched
god save our glorious steve! this is really beginning to
On Sun, Oct 27, 2002 at 11:03:23PM +, Steve Harris wrote:
Whats a typical arangement for speaker cones? I remeber seeing single cone
(obviously) and 2x2.
1, 2, and 4 are the most common. It's common to only
mic 1 of the cones, pretty close up - but it's also common
to do any bizarre
Steve Harris wrote:
Cheers :) I have no real idea what it shouldsound like, so I just tweaked
it until it sounded OK. I think the key is the sinus, it gives the double
dump from the british amp scope-shot.
/me plays another one, about britannia ruling the waves ...
make that
Steve Harris wrote:
code in there right now. i still need your new valve and rect
implementations to evaluate the right thing.
They dont sound different AFAIK, they are mathematically the same.
it's an ideal case of exp2 approximation then. :)
still some higher-order harmonics missing, i
On Mon, Oct 28, 2002 at 02:12:02AM +0100, Tim Goetze wrote:
the longer the wave is on one side of zero, the more energy is
built up that tries to push it back.
Is it just me, or does that sound an awful lot like a hipass
filter?
--
Paul Winkler
http://www.slinkp.com
Welcome to Muppet Labs,
On Mon, Oct 28, 2002 at 02:41:08AM +0100, Tim Goetze wrote:
make that pref 200 Hz for me. this and the sine shaper at .4, and
tell you what, this sounds very much like, but in fact better to
me than the sound i play 90% of the time on the real thing. only
drawback is it becomes faint far too
Paul Winkler wrote:
On Sun, Oct 27, 2002 at 11:03:23PM +, Steve Harris wrote:
Whats a typical arangement for speaker cones? I remeber seeing single cone
(obviously) and 2x2.
1, 2, and 4 are the most common. It's common to only
mic 1 of the cones, pretty close up - but it's also common
On Sun, Oct 27, 2002 at 10:05:24PM -0500, David Gerard Matthews wrote:
Miking an open cab from behind is also a popular trick - it yields a
completely different
tone.
Some people also put mics in front and behind the cabinet
and flip the phase on one of them.
But let's leave poor Steve alone
Steve Harris wrote:
On Sat, Oct 26, 2002 at 12:47:53 +0200, Tim Goetze wrote:
the neck, usually placed exactly where the second octave is on
an over-sized fretboard, has far less dominant harmonics than
Cheers, I really should learn how to play the thing sometime.
i've found playing along
On Sat, Oct 26, 2002 at 05:53:53 +0200, Tim Goetze wrote:
Maybe, or maybe the valve reacts to transients in some way - that could
partly be a side effect of the HP filter, emphasised by some valve effect
we haven't modelled yet.
i think that what we are missing is this transition from hard
Steve Harris wrote:
can you drop a hint about how you came up with the valve
algorithm?
I didn't, it came from a paper, one of the COST6 ones I think.
can't seem to find a trace of cost6 with google. do you
remember where you dug it up?
tim
On Sat, Oct 26, 2002 at 08:08:29 +0200, Tim Goetze wrote:
I didn't, it came from a paper, one of the COST6 ones I think.
can't seem to find a trace of cost6 with google. do you
remember where you dug it up?
I think I've found it, Ragnar Bendiksen's thesis:
Steve Harris wrote:
but it doesn't look that familiar, and I can't read norwegian, so maybe
there is a translation out there. Definately the same code though.
i can decipher some (danish and swedish, though i could not
tell one from the other :), but it doesn't seem to contain
anything you
Paul Winkler wrote:
On Thu, Oct 24, 2002 at 05:31:04PM +0100, Steve Harris wrote:
On Thu, Oct 24, 2002 at 08:23:32 -0700, Paul Winkler wrote:
On Thu, Oct 24, 2002 at 08:41:36AM +0100, Steve Harris wrote:
Looking at the scope traces from that guys site (which I will read later
today),
Tom wrote:
This pseudo-knowledge comes from a distant dream of having studied
impulse, step, and ramp responses of analog circuits 20+ years ago.
thanks for looking into this.
tim
Steve Harris wrote:
On Thu, Oct 24, 2002 at 05:32:22 +0200, Tim Goetze wrote:
I suspect this dip is some kind of reflection from the limit, but I can't
tell without trying one.
you mean you intend to change valve to have adjustable
slope where it compresses? sounds good, if that is what
On Fri, Oct 25, 2002 at 10:15:20 +0200, Tim Goetze wrote:
Nope, that would be hard ;) I was thinking of having a second, hard
clipping alg. and bringing that in for high ampltudes.
oh yes, please keep on bringing them on.
OK, I have some pending (easy) improvements to the meters, then I'l
: [linux-audio-dev] [ann] unmatched - a LADSPA amp tone
Steve Harris wrote:
* the sound gets muddy and faint when you turn down the
volume at the instrument, instead of keeping loudness and
reducing distortion.
On Fri, Oct 25, 2002 at 10:11:02PM +0100, Steve Harris wrote:
OK, time for a quick lesson - whats the difference between the pickups? My
bass (cheapish active 4 string) has two sets, a single wide one and a pair
slightly offset (they say duncan on them FWIW). There is a knob that, I
think
Steve Harris wrote:
On Fri, Oct 25, 2002 at 10:15:20 +0200, Tim Goetze wrote:
Nope, that would be hard ;) I was thinking of having a second, hard
clipping alg. and bringing that in for high ampltudes.
oh yes, please keep on bringing them on.
OK, I have some pending (easy) improvements to
On Sat, Oct 26, 2002 at 12:47:53 +0200, Tim Goetze wrote:
the neck, usually placed exactly where the second octave is on
an over-sized fretboard, has far less dominant harmonics than
Cheers, I really should learn how to play the thing sometime.
* the attack phase is 'flat', compared to the
On Thu, Oct 24, 2002 at 02:02:51 +0200, Tim Goetze wrote:
603k! ah well i needed a fresh set anyway,
you changed the plate since .2.8, right?
Yes, though it could still do with some work. I'm not sure what exactly,
I've never played with a real plate. Its a physical model, and they can
be
On Wed, Oct 23, 2002 at 05:24:48 -0700, Paul Winkler wrote:
On Thu, Oct 24, 2002 at 12:45:27AM +0100, Steve Harris wrote:
No, it will not be bandlimited. I'l have to think about how to do this.
Maybe just by using an oversampled Chebyshev(sp?) and increasing harmonic
level with the
On Thu, Oct 24, 2002 at 01:50:29 +0200, Tim Goetze wrote:
ah, now i dig it. maybe you could make a note about the intended
use in the valve doc?
Yeah, I should probably do that. Documentation (well english in general!)
is not my strong point.
good. do you think the 44100/12 oscillation is a
On Thu, Oct 24, 2002 at 01:50:29 +0200, Tim Goetze wrote:
Steve Harris wrote:
Stacking the valve plugins is the key to making them sound interesting.
ah, now i dig it. maybe you could make a note about the intended
use in the valve doc?
Er, one more. There is also the valve rectifier
On Thu, 2002-10-24 at 08:41, Steve Harris wrote:
Its not that suprising, it seems to be one of the
things that gives 303's there distinctive bite, and might play well with
further waveshaping stages.
Talking of 303s, how come Freebirth had to be pulled? I heard
propellerheads threatened them
On Thu, 2002-10-24 at 01:12, Tim Goetze wrote:
Lea Anthony wrote:
Have you guys heard amplitube? Man, those sounds rock!
haven't heard it yet, no.
if you happen to use it, it'd be very interesting to hear
how much cpu load the different sub-modules generate.
It's a windows app so I
On Thu, Oct 24, 2002 at 10:02:02 +0100, Lea Anthony wrote:
Talking of 303s, how come Freebirth had to be pulled? I heard
propellerheads threatened them as they had copied their layout. Which
begs the question, why isn't Roland suing P/heads for copying the layout
of the 303/808/909
I
On Thu, Oct 24, 2002 at 10:05:49 +0100, Lea Anthony wrote:
Also, I must ask this, how much of the LAD stuff is designed with 32bit
audio in mind? I ask because that's what I work in, then dither down to
16bit when mastering.
My code it is all at least 32bit internally (much is 64bit) and all
That's great news! For some reason I was thinking that most LAD stuff
works in 44.1/16 which really isn't the best for professional audio. I
only dither down when mastering to a CD.
Hmm.. ok. Does anyone go up to 96Khz sampling?
Just trying to get a feel what people see as acceptable etc.
On Thu, Oct 24, 2002 at 10:02:02 +0100, Lea Anthony wrote:
Talking of 303s, how come Freebirth had to be pulled? I heard
And it wasn't Freebirth (which is still going AFAIK) it was reborn.
- Steve
On Thu, Oct 24, 2002 at 10:52:06 +0100, Lea Anthony wrote:
Hmm.. ok. Does anyone go up to 96Khz sampling?
A few people do, yes. It eats through ADAT and TDIF channels very quicly
though.
PS: I never use 96Khz but I'm sure there are plenty who would want to
use LAD technology for DVD
On Wed, Oct 23, 2002 at 09:01:03 -0400, Paul Davis wrote:
Have you guys heard amplitube? Man, those sounds rock!
seconded. i've heard amplitube and its amazing. if you have it, you
can toss out every cabinet you've ever used except your favorite, just
Hehe, thats what people said about bass
On 24 Oct 2002, Lea Anthony wrote:
That SUCKS big time. They want to use someone elses layout but then get
pissy when someone uses theirs.
Time to write an email :(
Umm. You really should read the archives on this topic first. The
discussion got rather out of hand and I'm pretty sure
Sure. Where are they?
-Lea.
On Thu, 2002-10-24 at 12:00, Taybin Rutkin wrote:
Umm. You really should read the archives on this topic first. The
discussion got rather out of hand and I'm pretty sure all the bases were
covered.
Lea Anthony wrote:
On Thu, 2002-10-24 at 01:12, Tim Goetze wrote:
Lea Anthony wrote:
Have you guys heard amplitube? Man, those sounds rock!
haven't heard it yet, no.
if you happen to use it, it'd be very interesting to hear
how much cpu load the different sub-modules generate.
It's a
Steve Harris wrote:
On Thu, Oct 24, 2002 at 01:50:29 +0200, Tim Goetze wrote:
ah, now i dig it. maybe you could make a note about the intended
use in the valve doc?
Yeah, I should probably do that. Documentation (well english in general!)
is not my strong point.
yeah, i guess we'd all be
me wrote:
Steve Harris wrote:
On Thu, Oct 24, 2002 at 02:02:51 +0200, Tim Goetze wrote:
603k! ah well i needed a fresh set anyway,
you changed the plate since .2.8, right?
Yes, though it could still do with some work. I'm not sure what exactly,
I've never played with a real plate. Its a
On Thu, Oct 24, 2002 at 02:27:04 +0200, Tim Goetze wrote:
i like the .2.8 version as it stands (though iirc you said
it didn't do what you intended it to).
I dont think it sounds quite right, but maybe im expecting it to be more
like a synthetic plate reverb, than an actual metal plate.
On Thu, Oct 24, 2002 at 01:19:20 +0200, Tim Goetze wrote:
I'm 90% sure its from the crossover between the two halves of the class B
amp (thats the power amp IIRC).
drat. i wish i was better at understanding electronics.
the amp guy pointed in this direction too.
Did he give the impression
my feeling is that oversampling alone will not do, although
you're probably right in that it will get rid of most of
the aliasing.
Its how most people tackle to problem. I think I can get the valve cheap
enough that it will be practical.
I'm not really familiar with what are the techniques
Steve Harris wrote:
On Thu, Oct 24, 2002 at 01:19:20 +0200, Tim Goetze wrote:
I'm 90% sure its from the crossover between the two halves of the class B
amp (thats the power amp IIRC).
drat. i wish i was better at understanding electronics.
the amp guy pointed in this direction too.
Did he
nikodimka wrote:
You can calculate your tranformation for the input signal S(x_i) once
And the same transformation for S(x_i)+1 again.
I mean two similar input signals differing in one bit of value.
So when you have two output saignals you can calculate
the error due to aliasing: abs( F(S(x_i))
On Thu, Oct 24, 2002 at 06:27:59 -0700, nikodimka wrote:
You can calculate your tranformation for the input signal S(x_i) once
And the same transformation for S(x_i)+1 again.
Won't that just give you the gradient at point x_i, ie. d/dt(S)?
We are talking about frequency domain aliasing here,
On Thu, Oct 24, 2002 at 03:49:12 +0200, Tim Goetze wrote:
I doubt that the electronics ever produces hard square clips.
don't the scope traces suggest they do? i'll try and record
the circuit output from the fender, it has line-out and fx
send.
They dont look very square to me, there is
I'm really late on this one, but I finally looked at the linked
waveforms. Here is what I see.
Ignoring push-pull crossover distortion, there are basically two kinds
of distortion happening. There are two stages to the amplification, a
pre-amp and an output amp. The pre-amp provides soft
On Thu, Oct 24, 2002 at 05:31:04PM +0100, Steve Harris wrote:
On Thu, Oct 24, 2002 at 08:23:32 -0700, Paul Winkler wrote:
On Thu, Oct 24, 2002 at 08:41:36AM +0100, Steve Harris wrote:
Looking at the scope traces from that guys site (which I will read later
today), there is some fairly
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