For most comparision tasks its already sufficient to consciously distinguish between the low, low-mid, high-mid and high frequency ranges and only drilling down further if necessary, e.g. Transients tend to mask other audio events for a very short period of time and when a transient decays and the signal sustains, it unveils its pitch information to our hearing.ī) For the sustaining signal phases it is more relevant to focus on frequency ranges since our hearing is organized in bands of the entire spectrum and is not able to distinguish different affairs within the very same band. So lets say if something “lacks definition” it might be just caused by not having enough transient information available and not necessarily about flaws in equalizing. They basically impact how we can separate between different sources and how they are positioned in the stereo field. Lets have a look into both aspects in more detail.Ī) The transient information is crucial for our hearing because it is used not only to identify intruments but also to perform stereo localization. Having such content in place allows to focus the hearing and to hear along a) the instrument transients – instrument by instrument – and b) the changes and impact within particular frequency ranges. On my very own, I do prefer raw mixes which are not yet processed that much to minimize the influence of flaws already burned into the audio content but more on that later. A rough but decent mix should do the job. guitars, percussion and so on – but which has sustaining elements and room information as well.ĭrums are also a good starting point but they do not offer enough variety to cover both aspects we are talking about and to spot modulation artifacts (IMD) easily, just as an example. Both dimensions can be tested best by utilizing transient rich program material like mixes containing several acoustic instruments – e.g. No matter what specific audio assessment task one is up to, its always about judging the dynamic response of the audio (dynamics) vs its distribution across the frequency spectrum in particular (tonality). They are not only useful for checking mix qualities or judging device capabilities in general but also give some essential hints about developing our hearing. I’ve spend quite some time with such listening tests over the years and some of the insights and principles are distilled in this brief article. Then there is no way around (extensive) listening tests which must be structured and follow some systematic approach to avoid ending up in fluffy “wine tasting” categories.
While this appears to be an easy task as long as its all about measurable criteria, it gets way more tricky beyond that. Her music has been showcased in many international scenes including New York, Berlin, Paris, Prague, Calcutta, Stockholm, Madrid, Huddersfield and Helsinki.Developing audio effect plugins involves quite a lot of testing.
As well as guitar as her main instrument, she uses different combinations of objects, materials and sound sources, incorporating electroacoustics and minimal approaches. Her works display an extreme precision and intuitive openness that involves a dedicated attention to sound on its details and its most pure forms. She develops an approach to sound that highlights simplicity, non-intervention and active listening as means of music making. Can walking and talking be considered a musical act? In this episode, composer and sound artist Clara de Asís will perform a live improvisation and talk about the affinities between Walser’s work and her own approach to sound and music.Ĭlara de Asís is a composer and performer of contemporary experimental music. To ramble means to walk for pleasure and to talk or write in an inconsequential way.
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