basses frequences

Flashy Clubber

Request: “smut where you and jooheon go to a party together and get hella drunk and go home together and you both can’t keep your hands off each other ;) - thaaank yoou .!”

Genre: fluff / smut

Originally posted by jooheonbebe


“That night started with a bottle’s finish against my lips and ended with his alcohol-drenched lips.”

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"Mystery Spot" high-pass filter effect
"Mystery Spot" high-pass filter effect

This short song from Dynamite Headdy has to be the most ingenious thing I’ve ever heard done with FM, and I’ve never seen anyone explain why. So I will explain.

A high-pass filter is pretty self-descriptive: it allows higher frequencies to pass through, and filters out lower frequencies. This can give the impression of the music coming out of a tinny speaker. How Treasure’s sound team achieved this is pure trickery, but it required a pretty impressive understanding of audio for them to figure out how.

A number of different techniques are used to fool your ear into thinking that frequencies have been filtered out that were never there in the first place. The siren, shimmery sound, hats and clap are all louder than the lead and bass instruments, much louder than they would be in a normal song, suggesting that the mix would be more balanced if the mid and bass frequencies in the lead and bass instruments had not been filtered out. The lead and bass instruments (and the clap) play a series of mostly very truncated notes, suggesting that the sustain of those sounds would be present, but only the attack is of high enough frequency to have “survived”.

As for the patches themselves, the most amazing thing is that the only patch that is in any way out of the ordinary is the bass. FM synths have a parameter that allows the user to adjust the frequency ratio of the carrier to its modulator, somewhat analogous to coarse tuning of oscillators in subtractive synthesis. At lower ratios, this can produce effects like doubling the note at a higher octave or interval, which can make the patch sound bigger or assist in playing chords using fewer notes. Higher ratios produce thin, unpleasant harmonics of the note being played. Under most circumstances, this is minimally useful in designing sounds. However, Treasure cranked up the frequency ratio on both carrier operators so that there are only the harmonics of the note, the harmonics you would be hearing if you filtered out most of the lower frequencies. In other words, they managed to create a high-passed bass patch by turning two knobs slightly to the right. It’s really very simple, but it’s incredible that they thought to do that. I have recreated the bass pattern above, first with the original patch, and second with the frequency ratios turned down to what they would “normally” be. Under the surface, the patch is just an unremarkable sort of FM brass.

Treasure’s music is not always as flashy as some of the other artists and companies who are frequently cited as being masters of FM, but they clearly knew exactly what they were doing.

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Lost Frequencies - “Less is More” Arena Show Full Liveset

On my big surprise, this amazing set did not cross 100 views yet! I seriously recommend to check out this show. It’s summer, I am pretty sure you’ll find some time for it. Anyways guys, enjoy! 😉

safe haven

Lead: Min Yoongi

Genre: Fluff

Word Count: 831


It is late in the evening and the studio is quiet. Your iced coffee sits untouched on the table; the taste has turned bland but you drink it anyway, not really minding the fact that the melted ice has watered down your drink because this has happened far too many times in the past. The wavelengths on the open session on your digital audio workstation blur together for a moment before your eyes force themselves to focus and refocus again, much like the lens of a camera, and you adjust the weight of your headphones before resuming your work on the mix of this new song you’ve been assigned to do. Being a sound engineer is much like working in the shadows of a huge project because no one really pays attention to how music is made but rather the end product, and you find it amusing that the fact that you are working in a rather secluded area of the studio reinforces that idea. The preliminary mix is going well, and though your client cannot detect the slightest variations of equalizers and frequency adjustments, the producer you are working with has more than enough to say when it comes to evaluating your work.

“Hey, why are you still here? It’s past midnight, go home.”

Ah yes, speak of the devil.

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femamerica13  asked:

I really enjoy your blog, and keep it up. I was wondering if you can write an AU of the end of Star Wars: The Empires Strikes Back, and Hiccup as Priness Leia, Fishlegs be Luke, Han as Camicazi, Alvin as Darth Vader, and Excellinor as the Emperor.

Note: The following response and drabble contain spoilers to “How to Fight a Dragon’s Fury.”

This is a really cool prompt! I’m sorry I haven’t written it sooner. It makes me incredibly excited and makes me want to write a full crossover fanfiction between HTTYD and SW now.

Your character matching is gold. The relations are spot on. Alvin the Treacherous is someone who’s lost half of his body in his pursuit for power, just like Darth Vader. Excellinor the Witch rules over him and is the one with the true power and authority. Hiccup is like Leia, proud royalty who is rebelling against the Empire, and Camicazi has the bluntness, audacity, and disgust for proper authority we seen in Han Solo. As far as Fishlegs being Luke Skywalker… people who have read How to Fight a Dragon’s Fury know precisely why it’s perfect to pair Fishlegs with the young Skywalker. We have everyone related to each other just as we want it to be - Fishlegs, Hiccup, and Alvin are all part of the same family, just like Luke, Leia, and Anakin are in Star Wars.

I’m going to do one specific change in the Star Wars storyline in the following drabble simply because I wanted to bring out an interesting parallel between The Empire Strikes Back and How to Seize a Dragon’s Jewel. But even with that, as well as some other minor liberties taken (I didn’t want to write out the FULL fight scene between “Luke” and “Vader”), I hope you enjoy! Thanks so much again for this incredibly enjoyable prompt.


His eyes were wide as he sneaked through Bespin, hand clutched tightly to his lightsaber. From one white hallway to another he skirted, always with a trajectory in mind, a goal. He could feel them with the Force. His friends… in trouble. In pain.

No. No no no no. I came here to SAVE them. To stop them from feeling this. I can’t be too late. I can’t I can’t I can’t.

He peeked around a corner. Windows rose up on either side, wide glass panels opening up to reveal the sunset outside. Indoors, Imperial Storm Troopers marched, boots loudly clomping on the pristine floors. It was white against white. So much white. But the black blasters in their arms stood out clearly, and made Fishlegs inhale subconsciously, nervously.

Anxiety rattled his heart. He could feel it thudding so hard he wondered if the Stormtroopers could hear its poundings half a hallway away. This was dangerous. This was beyond dangerous.

It wasn’t normally like Fishlegs to be brave, to charge out to save the day. Camicazi and Hiccup usually had to pester him to even get him out the door to confront a simple Gronckle or Womp Rat, let alone face the Empire-crowded quarters of the Cloud City. However, currently he could make no choice except to be here. Visions from the Force had plagued his mind while he trained with Yoda at Dagobah. While Yoda had been cryptic regarding the nature of the visions, he had told his pupil they were images of the future. Fishlegs could not allow his friends to be tormented like this.

He had come to save them.

I better not be too late.

At that moment Fishlegs noticed a bounty hunter dressed in Mandalorian armor stride forward. Hurriedly Fishlegs crouched down, hoping he remained completely out of sight. He watched as the bounty hunter led a small party down the hall, including two guards who flanked a floating encasement. It was a human-sized brick… no, carbonate… with a face protruding out of it like a half-carved sculpture. Fishlegs could not see the details at this distance, but he could sense who was encased inside. 

His best friend, Hiccup.

Images flashed in his mind. The vision he had seen on Dagobah was coming true.

No. 

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More Than You Ever Wanted to Know About Electrical Engineering: Amplifiers, Gain, and Frequency

We’ve met amplifiers before in the form of op-amps. We’re going to see a lot more of them. In general terms, an amplifier makes a small signal bigger. But there’s some subtlety to this: not all signals are created equal. We’ve been looking at the effects of frequency on impedance, so we know that a signal of the same frequency will behave differently going through a capacitor than it will going through an inductor or a resistor. With what we know now, we have the power to create amplifiers that selectively boost some frequencies and attenuate others.

Let’s think a little bit about what this kind of amplification looks like. The kind of amp we’re all familiar with is an audio amp. If you’re amplifying an audio signal, you want all the stuff within human audible range (about 50 Hz - 15000 Hz) to be amplified equally. So the frequency response for your amplifier might look something like this:

A couple of things to notice about this graph. Gain is a unitless number describing the ratio of the output to the input. So a gain of 100 means the strength of the output is 100 times the strength of the input. The equation below shows a voltage gain, but you can also talk about other kinds of gain.

Note also that the frequency axis on the graph above is one a log scale. At the range of frequencies we’ll commonly be dealing with, this is a necessity just due to space constraints, but we’ll see later on that logarithmic graphs can give us some interesting insight into amplifier behavior.

So the amplifier in the graph above boosts signals within a range of about 50 Hz to 15 kHz more or less equally. It’s not perfect - you lose a little at the extreme high and low ranges, but there’s a solid midband letting most of the frequencies of interest come through. Suppose you wanted to boost the bass of your audio. Bass frequencies run about 40 Hz - 400 Hz. Your amplifier frequency response in this case might look like this:

You might do this by chaining two amplifiers one after the other - one for the bass, one for the rest of the signal range. We’ll look more closely at the specifics of how to make and analyze these in the coming weeks.

9

31 Favorite Horror Movies

#3.  Psycho (1960)

Directed by Alfred Hitchcock

Quotes

  • It’s not like my mother is a maniac or a raving thing. She just goes a little mad sometimes. We all go a little mad sometimes. Haven’t you? - Norman Bates
  • Oh, I don’t know. I guess I’m looking for a private island someplace where I can be alone and no one can find me. - Marion Crane
  • Well, if the woman up there is Mrs. Bates… who’s that woman buried out in Greenlawn Cemetery? - Sheriff Al Chambers
  • We’re always quickest to doubt people who have a reputation for being honest. - Milton Arbogast
  • Like I said… the mother… Now to understand it the way I understood it, hearing it from the mother… that is, from the mother half of Norman’s mind… you have to go back ten years, to the time when Norman murdered his mother and her lover. Now he was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman, and for years the two of them lived as if there was no one else in the world. Then she met a man… and it seemed to Norman that she ‘threw him over’ for this man. Now that pushed him over the line and he killed 'em both. Matricide is probably the most unbearable crime of all… most unbearable to the son who commits it. So he had to erase the crime, at least in his own mind. He stole her corpse. A weighted coffin was buried. He hid the body in the fruit cellar. Even treated it to keep it as well as it would keep. And that still wasn’t enough. She was there! But she was a corpse. So he began to think and speak for her, give her half his time, so to speak. At times he could be both personalities, carry on conversations. At other times, the mother half took over completely. Now he was never all Norman, but he was often only mother. And because he was so pathologically jealous of her, he assumed that she was jealous of him. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild.  When he met your sister, he was touched by her… aroused by her. He wanted her. That set off the 'jealous mother’ and 'mother killed the girl’! Now after the murder, Norman returned as if from a deep sleep. And like a dutiful son, covered up all traces of the crime he was convinced his mother had committed! - Dr. Fred Richmond
  • It’s sad, when a mother has to speak the words that condemn her own son. But I couldn’t allow them to believe that I would commit murder. They’ll put him away now, as I should have years ago. He was always bad, and in the end he intended to tell them I killed those girls and that man… as if I could do anything but just sit and stare, like one of his stuffed birds. They know I can’t move a finger, and I won’t. I’ll just sit here and be quiet, just in case they do… suspect me. They’re probably watching me. Well, let them. Let them see what kind of a person I am. I’m not even going to swat that fly. I hope they are watching… they’ll see. They’ll see and they’ll know, and they’ll say, “Why, she wouldn’t even harm a fly. - Norma Bates

Trivia

  • First American film ever to show a toilet flushing on screen.
  • Walt Disney refused to allow Alfred Hitchcock to film at Disneyland in the early 1960s because Hitchcock had made "that disgusting movie, 'Psycho’.”
  • Every theater that showed the film had a cardboard cut-out installed in the lobby of Alfred Hitchcock pointing to his wristwatch with a note from the director saying “The manager of this theatre has been instructed at the risk of his life, not to admit to the theatre any persons after the picture starts. Any spurious attempts to enter by side doors, fire escapes or ventilating shafts will be met by force. The entire objective of this extraordinary policy, of course, is to help you enjoy PSYCHO more. Alfred Hitchcock”
  • Alfred Hitchcock bought the rights to the novel anonymously from Robert Bloch for only US$9,000. He then bought up as many copies of the novel as he could to keep the ending a secret.
  • When the cast and crew began work on the first day they had to raise their right hands and promise not to divulge one word of the story. Alfred Hitchcock also withheld the ending part of the script from his cast until he needed to shoot it.
  • When Norman discovers the body of Marion Crane, he shouts “Mother! Oh God! God! Blood! Blood!”. Alfred Hitchcock had the bass frequencies removed from Anthony Perkins’ voice to make him sound more like a frightened teenager.
  • The reason Hitchcock cameos so early in the film was because he knew people would be looking out for him, and he didn’t want to divert their attention away from the plot.
  • The highest grossing film of Hitchcock’s career.
  • According to Janet Leigh, wardrobe worn by her character Marion Crane was not custom made for her, but rather purchased “off the rack” from ordinary clothing stores. Alfred Hitchcock wanted women viewers to identify with the character by having her wear clothes that an ordinary secretary could afford, and thus add to the mystique of realism.
  • After the film’s release Alfred Hitchcock received an angry letter from the father of a girl who refused to have a bath after seeing Diabolique (1955) and now refused to shower after seeing this film. Hitchcock sent a note back simply saying, “Send her to the dry cleaners.”
  • The novel upon which the film is based was inspired by the true story of Ed Gein, a serial killer who was also the inspiration for Deranged: Confessions of a Necrophile (1974), The Texas Chain Saw Massacre (1974), and The Silence of the Lambs (1991).
Bass Divided

I already written about side-chain compression, so here’s a tip how to use it in a more subtle – yet effective – way: separate the bass in low, mid and high frequencies and then have the kick drum trigger the compression only on the low end of the bass.

  1. Make three copies of the bass (or create parallel channels).
  2. Isolate the bass in three frequency ranges; low 20-160 Hz, mid 105-950 Hz and high 550 Hz-7 kHz. It’s okay overlap some.
  3. It’s possible to pan the high and the mid slightly wider, but keep the low end in mono.
  4. Now side-chain only the channel with the low frequencies by -6 dB or so.

By doing this, the low end of the kick will be audible whilst the overtones of the bass will be kept intact.

1974 (June) Rickenbacker 4001 :: reglued loose binding, replaced broken “wavy” Grover tuners with Hipshot HB5’s, installed Schaller strap locks, dressed the worn saddle slots, new Bakelite nut, new string damper pad and a push-pull pot for the bridge pickup.

The 4001 has a 0.0047 µƒ capacitor (not your standard 0.047 µƒ value found connected to the tone pot) in the bridge circuit that cuts bass frequencies and the overall output.  The push-pull pot gives the option of removing the cap from the circuit for increased volume and fuller tone.  I highly recommend this mod as it gives you a lot of tonal options.

Note:  Those looking to do this bridge cap bypass mod - Rickenbacker sells a shorter 330kΩ push-pull pot that they use on the 4003.  Other push-pull pots (Alpha, etc)  are often too tall to fit in the control cavity without modifications.  Always think twice before permanently altering your vintage instruments!

2

Darrell rants about the Proco Rat and the ruetz mod.

It’s no secret that the rat is my favourite pedal to ever exist. It’s only drawback is the fact that it can cut a bit too much bottom end for use with low tuned instruments such as baritone guitars, heavily detuned guitars, or bass. The most common mod to remedy this is the ruetz mod. It was the first pedal mod I ever did and the thing that got me hooked on messing around inside pedals. I’ve played around with this mod and the whole rat circuit a ton and am obsessive about getting as much usable low end as possible out of every pedal.
The ruetz mod basically consists of messing around with the 47ohm resistor (R6) that is part of one of two rc (resistor/capacitor) filter networks from the opamps feedback loop to ground. Sometimes this resistor is literally just snipped leaving only the 560ohm/4u7 rc pair to set the gain and low end roll off. Other times that 47 ohm resistor is replaced with a pot. Usually around 1k.
My problem with both versions is that bass is never actually increased. Instead the gain of treble frequencies is actually being decreased by varying degrees. This does give the perception of more low end but in my opinion the decrease of gain in the high end actually robs the rat of its true character. The are tons of “boutique” rat derivatives and rat inspired pedals out there that incorporate some version of the ruetz mod and it boggles my mind.
So what’s the solution?
Well if you know anything about rc filters and especially rc filters in opamp based dirt circuits, you know that the capacitor in that rc pair has an equal impact on the frequencies amplified by the opamp which are then clipped by the diodes. Typically the resistor sets the gain and that resistors relation to the capacitor sets the frequency roll off.
If we look into the rc filters in a rat we’ll see that the 47ohm/2u2 rc pair sets one high pass filter roll off at around 1500hz while the 560ohm/4u7 pair sets a second roll off point around 60hz although with much lower gain.
There are tons of popular mods for equally classic pedals (tubescreamer, distortion plus etc) that involve tweaking the value of the cap in the opamps rc filter to get more bass out of the circuit while leaving gain levels alone.
So why does that seem uncommon in a rat circuit? Why do we ignore the capacitors?
Because I don’t think anyone has written it on the internet yet and a large part of the boutique/DIY pedal community can’t do anything until someone else does it first and tells them how it’s done. The idea of understanding concepts applicable across the board is just beyond some.
So back to these rc pairs…
My favourite version of the ruetz mod was always just replacing the 47ohm resistor with something around 400 ohms which gives a roll off about 180hz while sacrificing a fair bit of gain but If you increase the value of the 2u2 cap instead you can get your low end back without sacrificing ANY gain. 22uf will give you a roll off of around 150hz which is low enough to let most bass frequencies through. This definitely adds quite a bit of gain and compression. The new FatRat by Proco uses a 6.8uf cap in parallel with the 2.2uf cap for a total of 9uf. That value is absolutely a perfect usable value without getting too mushy in the low end.
If you want a tweakable version you could wire up a capacitor blend pot (usually used at the input or output of a circuit) to blend between the stock 2u2 and a much larger cap or any 2 values you want. I’ve used this in several of my own builds and it is massively usable.
Leaving the amount of gain in the circuit alone also makes diode changes much more obvious. Put a big cap (or cap blend pot) in there and a 3 way diode toggle (or even a diode blend pot) and you’ve got a super flexible rat that still has all the amazing qualities of the best rats.

Also check out the comparative rat schematic demonstrating why the “vintage” rat circuit isn’t all that special (with the exception of the lm308). It’d take anyone who can solder 20 minutes or less to covert any rat to vintage specs. My rat 2 was already “vintage spec” other than the missing lm308.

Rats rule.
Use your head.
End rant.

mandaland  asked:

Alan, my headphones are average. I want awesome headphones that let me hear LITERALLY EVERYTHING. What do I buy? And if it's less about the headphones and more about the hardware playing the music, I expect a reasonably lengthy explanation of why. ;)

You’ll want the Sennheiser HD 650s I described in this post and wore in this post.

Your playback gear for digital is the least crucial piece in my opinion. Most modern DACs (Digital to Analog Converters) are all about the same and all definitely adequate, so your iPod, computer sound card, (if you’re old) stereo receiver, will all put out an adequate signal, and you’ll have to spend thousands to move up incrementally here.

The speakers (or headphones) are second in importance, so you do want to spend some time and some money here, if you can.The 650s will be everything you will ever need IMO.

The most important aspect in good sound is the mastering of the material. And I know this is something I mention often here. But I realize I might not have ever properly explained music mastering, so let’s do that today!

To try to compare it to something that is easy to visualize, let’s look at music mastering as if it were photography.

First you start with your source material. In music this is either a 1/2” stereo mixdown of the music on analog tape, or a wav file of the digital multitracks mixed down to a stereo track. In photography, this is the RAW photo file:

This is the RAW photo from my recent headphone photoset. There are a number of issues here, the color is under CFL bulbs and way too orange/warm, the tripod wasn’t exactly level, and the contrast/saturation isn’t great.

After making a few adjustments in Lightroom I ended up with this:

I rotated the picture slightly and trimmed the edges (this would be similar in mastering to making sure the album has a cohesive sound and volume and isn’t jarring from one song to the next).

I color corrected (this would be similar in mastering to EQ, you can ‘color’ the sound of your audio by adding or cutting bass frequencies, you can cut or boost very narrow bands of EQ to make your kick drum sound more box-y or more punch-y, you can de-ess vocal sibilance, etc)

And finally I adjusted the saturation and contrast (this would be similar in mastering to compression and limiting. This is the stage at which most modern recordings are suffering from an overuse. The “loudness wars” are born out of brickwall limiting (pumping up the contrast beyond any reasonable levels) and overcompression (pumping up or taking out all saturation).)

So modern music mastering techniques, if being expressed in a photograph, would look something like this:

Which, at first glace, looks cool. The colors are pumped up, the contrast makes an impact. But imagine seeing everything this way. The details, the subtlety, the balance, have all been sacrificed. Imagine how quickly your eyes would hurt if everything you saw was this effected.

That’s what’s happening to mainstream music these days and why people think “digital sucks” or music in general these days is less “fun” to listen to than music from 20 or 30 years ago. There are so many musicians today who are just as talented as the classic rock or 90s rock musicians, but no matter how good your source material, it’s going to get tiring if it’s pumped up to a constant 11 on every setting.

Hope that makes some sense.