We’ve seen that samples can represent a signal with greater peak amplitude than the peak sample values. If those sample values were higher, the output would exceed “1.0”, or 0 dB full-scale—I’ll refer to these as “overs”. This brings two … Continue reading →
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I’m far from early to the party, but I wanted to drop a note on using AI to develop code, and in particular managing the dirty work of audio plugins. Hint: Game changer. A couple of nights ago, I paid … Continue reading →
Here’s Amplitude Modulation Deep and Fast, a not too lengthy video that gets to the roots of what amplitude modulation does mathematically. I’ve referred to AM’s role in sampling theory in past articles, and its relatively simple math makes understanding … Continue reading →
This video demonstrates important uses of AM—and serves as a demonstration of using the AM widget.
I’ve been involved in several discussions on timing resolution in digital audio, recently—honestly, I never knew it was a concern before. For example, in a video on MQA, the host explained that standard audio sample rates (44.1 and 48 kHz) … Continue reading →
The latest version of the biquad calculator. It also takes on the functionality of the frequency response grapher:
Let’s say we want to test the output of a DAC while it passes a pure sine wave. The “pure sine wave” requirement is a bit more difficult than it might seem. In the general case, it’s not possible to … Continue reading →
Digital and analog. We often think of them, mistakenly, as equivalent things in different domains. But that’s a misunderstanding, and we often use the terms incorrectly. For instance, run a mic through a preamp and get a signal, we know … Continue reading →
Click to play in your browser, or right-click-download to play as you wish (24-bit .wav file): multi-level sweeps.wav I call this a listening test, because it involves your ears, equipment, and even environment. Any of these can influence your limits … Continue reading →
A listening test in video form. On the plus side, it’s helpful to see the spectrum as it’s playing, and a peak meter to see how the sweeps compare to each other, and to the announcing voice. On the minus … Continue reading →
With its multi-stage envelopes, deep modulation system and capacity for long-form sound design, Absynth by Native Instruments has always offered far more than evolving pads and cinematic textures. Using a single gong sample, we explore how the newly revived instrument can generate a complete, performance-ready techno riff . Absynth is best known for complex atmospheres, unconventional timbres and sounds that evolve over extended periods. The instrument's architecture makes it such a powerful instrument for scoring and experimental sound design, but naturally lends itself remarkably well to tec
Release: battledrones v14: Compass Rose, a four player map I added four player online mode to Battledrones - previous maps were limited to two. Here's the initial prompt I used: Add a new map for a four player battle - four way rotational symmetry, up to four AI players, works with the WebSocket non-audio based multiplayer mode so up to four human players can join (any spare slots use AI) Claude Opus 5.5 added a new map called "Compass Rose" and modified the WebSockets multiplayer network code to support up to four players for that map, joining via share links or QR codes. The new teams use ro