This is the first of a series of articles in which the question of amplitude distortion arising in the iron core of a transformer will be dealt with on a quantitative basis. Information on this subject is scarce and the design data given is the outcome of original research by the author.
The upcoming preFIX audio plug-in was originally designed to meet the recording engineers needs and is all about audio alignment tasks: fix all that stuff that can’t be fixed outside the box (anymore) and do that fast and with highest quality right before the mixing starts itself.
preFIX is a pre-mixing and audio alignment tool which typically takes place upfront the mixing process. It provides a clever tool set to clean-up, fix and align audio tracks (typically taken from recordings) concerning overall frequency correction, phase alignment, spatial stereo field corrections and routing. It contains a complete gate/expander solution with a dedicated and comprehensive sidechain filtering path as well.
Though, preFIX is not only tailored to the recording engineers environment but delivers a truly great performance when shaping and lifting poor sample sources, sculpt electronic softsynth instruments or just by dialing in that super tight drum bus sensation as well. [Read more…]
“Audio-frequency transformers are used mainly for matching impedances and transmitting audio frequencies. They also provide isolation from direct currents and present balanced impedances to lines or circuits.” (cited from Reference Data for Engineers: Radio, Electronics, Computers and Communications from Wendy Middleton, Mac E. Van Valkenburg)
In other words, they are most commonly used for two purposes: One is the isolation between two sections of an electric system which have different ground levels and another one is to change voltage levels (as is typical for tube circuits for example). [Read more…]
Internally, NastyDLA consists of quite a bunch of DSP processing building blocks which as a whole are summing up to an authentic signal path simulation of it’s analog models. The blocks and the according signal flow are shown in the diagram above. Basic signal flow goes from left to right except the feedback path which goes in the opposite direction.
With NastyDLA, signal path coloration already starts in the input stage which provides a complete model of both, frequency and phase response as well as dynamic saturation. It’s located in the dry path but all nonlinear processing and coloring can be disabled on demand so it remains as a simple input volume control then. But while switched in, the input stage can greatly contribute on getting the processed signal to fit right into a mix. [Read more…]
Similar to the EQ’s and filters in BootEQ mkII, NastyVCS stays on the musical (and not the surgical) side of the audio source. It is more kind of coloring toolbox (especially in the combination with the PHASE option) rather than allowing to shape audio disfigured beyond recognition. Some classic technical principles have been carefully selected and replicated and the overall combination and attention to detail makes NastyVCS stand out in the crowd of equalizers today. [Read more…]
In the recent article about audio signal coloration I’ve already talked about the importance of the signals phase response in respect to the perceived tonal spectrum and today I’m going straight ahead towards phase alignment and how a signal delay relates to the phase response. But first let’s have a look at some nice youtube stuff showing Jonathan Little on demonstrating his Little Labs IBP phase alignment tool.