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Old 10-16-2015, 05:51 AM   #57
Judders
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Join Date: Aug 2014
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Quote:
Originally Posted by clepsydrae View Post
Judders -- do you have any links to examples? My understanding was that such "smearing" was very hard to produce even in "laboratory" conditions, and virtually a non-issue in practice, but I'd be fascinated to be proven wrong on that. Seems like the kind of thing that would be easy to make examples of... and my personal rule is that if there exist no examples on the whole of the internet then it's likely urban legend... :-) I'll play around with it myself a bit, but I've never heard it in previous experiments. Thanks!
Here's a quick n' dirty example I just cooked up myself.

It's a bass drum from Superior Drummer. It's a sum of multi-mic, but for our purposes, that is irrelevant. The bass drum hits were first rendered to audio to avoid any variance in the source from round-robins etc.

In stereo, I noticed differences in the correlation using a demo of Voxengo's PHA-979, but I don't have any software to plot that information.

I've included renders of the bass drum in mono and stereo, unprocessed, through one instance of ReaEQ with 1 oct bandwidth high pass at 50Hz, then through 3 instances of ReaEQ at those same settings. This was to simulate a "must high pass everything" attitude going from channel to bus to master.

What you should notice is, even though the ripple around the corner frequency is raising the gain of the signal as it goes through more filters, the initial peak is reducing in amplitude.

Now, I'm no engineer, so maybe this is down to some different phenomenon. All I know is, this leads to my drums losing punch.

Here are audio examples and screenshots: https://www.dropbox.com/sh/kb4uegv1b...qzlZ62M6a?dl=0

Audio is 48k 24bit .wav.

I look forward to hearing some more geeky types explain this
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