![]() ![]() Also, Mnyb talked about the low-pass filtering in SACD players and what "standards" were used. I was reminded recently by Wombat in his post here that we can have a look at the spectral frequency display as well when assessing sonic data in the audio editor. It refers back to the DSD-to-PCM analysis series from April:ĪNALYSIS: DSD-to-PCM Conversion 2015 - Windows & Mac OS XĪNALYSIS: DSD-to-PCM 2015 - foobar SACD Plug-In, AuI ConverteR, noise & impulse response.Ĭonsider this as part 3 of the 'trilogy' for this week as I continue to work on the results of the recently-closed Digital Filters Test. As happens sometimes, a post can get lost in the "draft" bin and later found. Okay guys, I actually wrote the text that follows 2 months ago before the Digital Filters Test. I'm back in the studio on Tuesday, I'll see if I can re-create something similar.A cool example of the "Spectral Frequency" display - from Adobe. You could get similar results with most Verb plugins. These have much lower volume and just add some presence. Then it sounds there's a couple other layers on top of it with a tight verb. Maybe somewhere between the 400Hz and 850Hz mark, but I couldn't tell you exactly. ![]() ![]() The EQ is pushing the highs, with the lows rolled sharply off. The lead VO has that sort of processing on it, sounds something along the lines of Limiter>Compressor>EQ>Limiter. An Average vocal channel may have 2 limiters, a compressor and 2 EQs in different orders depending on the sound I want need. I usually use a combination of EQ's, Limiters and Compressor. ![]() My chain doesn't sound exactly the same, but gets similar punch with a sound that I've tamed for my liking. I'm not at the studio at the moment so am only listening on my average laptop speakers BUTĪ big part of the sound is the Vox processing chain. ![]()
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