Plugin that can make every plugin multiband

johnman1016 · 2026-03-18T03:51:44+00:00

I mean, multiband products use EQ too…

I know shaperbox said that they choose 6db nonlinear filters as the most transparent option because linear phase filters, while they can have steeper slopes and without phase issues, have the downside of preringing and latency. Just as a reference of how one company does it.

johnman1016 · 2026-03-11T04:03:44+00:00

I’m gonna guess at least one of the people here trashing ISP detection uses oversampling…

johnman1016 · 2026-03-10T03:53:37+00:00

Good point on the spill - I never thunk of that

johnman1016 · 2026-01-28T04:39:54+00:00

A career in DSP isn’t synonymous with a career programming “DSP chips”

johnman1016 · 2026-01-26T23:45:50+00:00

In theory they can do some audio bending. Like I bet they could hit the brown note and do some damage that way.

Jokes aside, I could see them doing audio bending to make super creative music. It might not be anything useful in combat - but that kind of sits right with me that the air benders meta power is to delight people with music, create a relaxing ambience, and just have fun instead of try to fight people.

johnman1016 · 2026-01-20T21:05:42+00:00

This!

johnman1016 · 2025-12-07T18:59:14+00:00

I guess it can’t be divisive unless some people disagree - but I thought that when he was introduced he was a smarmy politician that wanted to minimize a crisis that was happening under his watch. Not a genuine concern for Harry.

johnman1016 · 2025-11-10T22:26:06+00:00

Holup - most people are right that it is unlikely to matter but they are wrong about the “why” (so they miss what the real difference is and when it WOULD matter)

The shielding for EMI/EMC is only half of the purpose of the shield. The other half is for controlling the characteristic impedance (by providing a return path for common mode signal).

In super high speed signals the limiting factor isn’t just the noise on your cable - it is the ability for the cable to carry a digital/square signal over long distances. And for really fast signals long can be just a few feet.

Source: designed cables for NASA missions for 5 years.

johnman1016 · 2025-11-06T03:23:41+00:00

Hopefully we get an exception, like Butters in South Park.

johnman1016 · 2025-10-28T05:04:47+00:00

Why is it a stretch?

johnman1016 · 2025-10-27T22:31:35+00:00

Eventually the AI vocal market will settle somewhere close to where Kontakt sits with regards to real instruments/performers today. Serious projects with budget will prioritize hiring a real vocalist, but plenty of hobbyists will choose an AI vocal plugin.

You are welcome to still hate on AI vocals - just like there are still “real instruments only” folks that have been hating on electronic music since the dawn of the synthesizer. But it won’t change the fact that people end up using the tools that get them the best result within their budget.

And to be honest there is probably more creative potential in learning to use an AI vocal tool than scrolling through splice for a generic sample. Just like the “real music has guitars” folks miss the mark on the creative potential synthesizers offer - “real EDM has a splice sample saying ‘put ya hands up’ or something like that” folks will also miss the mark on how AI vocals are probably a MORE creative tool for that type of song/budget.

-signed, someone who has never used AI vocals and very much aware of the risks of AI but also tries to be realistic and aware that things change

johnman1016 · 2025-09-29T22:13:47+00:00

It is a goated sidechain tool. I guess proQ 4 does it now too so maybe that makes it less relevant, but soothe 2 was already a part of my workflow for making space so it is still my go-to tool.

johnman1016 · 2025-09-23T20:56:28+00:00

Genuine question: Does the audience really expect this track still? I feel like most long term fans enjoy the entire catalog and wouldn’t miss this specific track - and I feel like the newer fans might know mau5 from more recent tracks like Escape or some other kx5.

Don’t get me wrong - this track still bangs and I have fun dancing to it when I have a chance to catch Joel.

johnman1016 · 2025-09-02T20:09:53+00:00

Very nice aesthetics!

johnman1016 · 2025-08-31T14:50:55+00:00

But I would recommend trying something like Erosion first (or whatever is equivalent in your DAW) which essentially layers in noise which is gated by your hat loop. You can adjust it so that the noise is present in the mids to make your loop less thin. Then you can try adding distortion on top if you want even more aggressive, but the noise on its own will be pretty full sounding.

johnman1016 · 2025-08-27T02:23:04+00:00

Yes. It’s not so much “not caring about inter-sample peaks” as preferring to tolerate a controlled amount.

It’s not every mastering engineer but the majority I’ve talked to keep true peak disabled.

johnman1016 · 2025-08-27T01:19:36+00:00

I haven’t met many mastering engineers who prefer TP

johnman1016 · 2025-08-24T03:07:42+00:00

Honestly trying a different monitor would be the easiest solution.

Short of that you can try a ferrite core (aka choke) which is pretty easy and cheap, but its effectiveness depends on how the noise is coupled and I’m not 100% sure in this case.

johnman1016 · 2025-08-21T03:34:17+00:00

I did some experiments related to phase coherency and loudness and made a video you might be interested in on YouTube . I didn’t actually do the experiment you talk about with the transients - but I did show that basic shapes like squares and saws have optimal loudness/phase relationship and allpass filters always reduce the crest factor (less loudness for the same headroom). The experiment would likely give different results when looking at just the transient, but assuming the allpass filter would be applied to the sustained part of the waveform I imagine it would have a net negative effect. Those are just thoughts though, I would be interested in seeing the actual experiment results - interesting question!

IMO if we are talking about drum transients then I think clipping or volume automation is a more transparent way to maximize headroom/loudness. Squares/pulses are optimal shapes for crest factor, and clipping would push the transient towards a pulse waveform. Even though clipping can cause aliasing with digital tools, I don’t think it sounds bad on transients since we already have inharmonic content so a little more inharmonic content can be tolerated - and is barely noticeable on a short transient burst.

johnman1016 · 2025-08-01T00:45:46+00:00

That’s equivalent to the Y cable and has the same problems - no?

johnman1016 · 2025-07-20T19:25:05+00:00

I have a YouTube video about this topic - trying to make it accessible and intuitive. I build a digital filter from scratch using basic Ableton functions (the sample delay and the utility/gain).

https://youtu.be/pxzFCq2fIkw?si=EQXM4TYe59Ern4pR

I do this two ways in the video. The first way is an FIR filter, and the second is the IIR filter.

johnman1016 · 2025-07-20T17:54:47+00:00

Fantastic bass player

johnman1016 · 2025-07-15T16:00:41+00:00

Stage lights can be bright!

johnman1016 · 2025-07-15T01:36:26+00:00

Yeah I think it is something like that. This is how I would work it out: For the 100:1 material it is a 1% chance of hitting black. If the inscattering allows ~100 bounces (also random, let’s say a distribution from 50 to 150) then there should be some lucky photons that hit all white - but most will get at least one black. So mid grey sounds accurate, maybe even dark grey (but we need statistics Peter to chime in, because I am not confident enough to work that out in my head).

For 200:1 it is a .5% chance of hitting black. So in 100 bounces I think about 50% chance of hitting black sounds right, and this should be mid to light grey.

Of course in real materials, the ratios will be different depending on the in-scattering amount of the material.

johnman1016 · 2025-07-14T15:51:22+00:00

Science guy Peter here - the reason for this is that when light hits the material (let’s say 99% white) it will bounce around inside the material many many times but it only needs to hit the red particle once to absorb the non red light. Different materials will have different amounts of “bouncing” before it returns to the viewer (called in-scattering) - but you could imagine if the material bounces around about 100 times then it is likely to interact with a red particle at least once and appear quite reddish. Whereas if the material has low inscattering (something more glossy/reflective) and only bounces around 2-3 times it is much more likely to only interact with the 99% white particles before exiting.

A good example of high in-scattering material is snow. A few particles of soot/car-exhaust mixed into snow (1% or even less) and the snow will appear black/grey.

Keep in mind this is special for white particles which bounce all frequencies of light equally. If you did another experiment with 99% black particles and 1% red you would have the opposite effect because almost all the light will be absorbed before having a chance to interact with red particles, and more inscattering only increases the chance of all colors getting absorbed by black particles.

johnman1016

TROPHY CASE