Also, its the release that's relatively slow in that example, not the attack, if that matters for your purposes!! Like if you were trying to emulate that sound.
Random science question: If you were to take a sealed container, half filled with air and half with water, then seal it airtight and pump twice the volume of each into the container, the water level would rise, wouldn't it?
Started looking this up and it looks like I'm going to need my morning hat on.
Guys, there would be no room for the air. If something is half full of water, and then you double the water, the something is now FULL of water. What happens if you add air to water when there is no room for air?
Also, its the release that's relatively slow in that example, not the attack, if that matters for your purposes!! Like if you were trying to emulate that sound.
Well, it depends on which attach time we're talking about. But you're right: there are multiple ways to get that sort of effect. It depends on whether you want a pulsing feel or a sort of "piercing percussion" feel.
A slow attack and even slower release keyed to the inputs would give you sharp, piercing drum hits followed by a pulse of "muted" audio.
A fast attack and slow release keyed to the inputs would reduce the impact of the drum hits (they'd "sit lower" in the mix), and make the entire thing apparently louder (assuming some make-up gain).
A slow attack and even slower release keyed to the drums would bring a sort of "echo pulse" into the main mix without affecting the drums themselves.
A fast attack (with lookahead) and slow release keyed to the drums would make a deeper echo pulse in the main mix occur AT each drum hit.
There's the time it takes for the compressor to recognize that the gain has indeed reached a compression threshold, and there's the time it takes for the compression to actually be applied or removed. There's also the manner in which it is applied for transients, and whether level detection is done based on RMS or on peaks.
But really, the best way to understand it is to take some music and play with a software compressor.
Depends on how you break the terms. Say that the terms say "You may not modify or redistribute this software", and you crack it and put it on the pirate bay. That'll have a larger penalty. If it says "Only for home use", and you use it at work, I doubt anyone would care.
The licence agreement is a set of rules, not just one.
If you get caught shop lifting the penalty can vary but if you don't have a preexisting record it shouldn't be that bad. If you break software license can't the company go after you in a law suit?
If you do not legally acquire the software and then distribute it wouldn't the penalty be less because they can't sue over breaking the licensing terms? They can only sue over the distribution?
If I'm looking for government documents pertaining to Bruce Springsteen, which department should I submit the FOIA Request to? Who's going to give me the best results?
Yes, It seems that way. A TON of bitstrip comics suddenly by people. I had a few friends who have been using it for a long time but the last week suddenly everyone is using it. I was playing with it a bit this morning to see if you could actually make a funny comic with it............. Yet to figure out if you can :-p
Gah, my monitor has officially died. Now the choice is between ordering online and waiting a couple days, or paying the Brick and Mortar Tax and get one tomorrow morning.
Comments
Started looking this up and it looks like I'm going to need my morning hat on.
I don't think that water would stay water for very long under those kinds of pressures though.
Would this work?
A slow attack and even slower release keyed to the inputs would give you sharp, piercing drum hits followed by a pulse of "muted" audio.
A fast attack and slow release keyed to the inputs would reduce the impact of the drum hits (they'd "sit lower" in the mix), and make the entire thing apparently louder (assuming some make-up gain).
A slow attack and even slower release keyed to the drums would bring a sort of "echo pulse" into the main mix without affecting the drums themselves.
A fast attack (with lookahead) and slow release keyed to the drums would make a deeper echo pulse in the main mix occur AT each drum hit.
There's the time it takes for the compressor to recognize that the gain has indeed reached a compression threshold, and there's the time it takes for the compression to actually be applied or removed. There's also the manner in which it is applied for transients, and whether level detection is done based on RMS or on peaks.
But really, the best way to understand it is to take some music and play with a software compressor.
The licence agreement is a set of rules, not just one.
How long ago was that a thing? Wasn't it a thing? If so, I wonder what caused its resurrgence.