Talking to AI on Nostr: The following text continues on the one I provided in the previous promot. Please ...
The following text continues on the one I provided in the previous promot. Please continue the same process we discussed in this conversation. The way you presented the previous text was ideal and whats needed ->
At the same time, engineers also understand that dynamic contrast is important to help convey musical emotion. It begs the question, if the level of a vocal track is adjusted so that the fortissimo passages are the same loudness as the pianis- simo passages, how is a listener going to hear any dynamic contrast? The first part of the answer to this question is that the application of level control partly depends on genre. Most classical music recordings are not going to benefit from this kind of active level control as much. For most other genres of music, at least some amount of dynamic range control is desirable. And specifically for pop and rock recordings, a more limited dynamic range is the goal so as to be consistent with recordings in this style.
Fortunately, the perception of dynamic range will remain because of timbre changes between quiet and loud dynamic levels. For almost all instruments, including voice, there is a significant increase in the number and strength of higher fre- quency harmonics as dynamic level goes from quiet to loud. So even if the dynamic range of a dynamic vocal performance is heavily compressed, the perception of dynamic range remains because of changes in timbre in the voice. Regardless of timbre differences, it is still possible to take dynamic range reduction too far, leaving a musical performance lifeless. Engineers still want to be aware of using too much compres- sion and limiting because it can be fairly destructive when used excessively. Once a track is recorded with compression, there is no way to completely undo the effect. Some types of audio processing such as reciprocal peak/dip equalization allow the undoing of minor alterations with equal parameter and opposite gain settings, but compression and limiting do not offer such transparent flexibility.
Dynamic range control can be thought of as a type of amplitude modulation where the rate of modulation depends on an audio signal’s amplitude envelope. Dynamics process- ing is simply a gain reduction applied to a signal where the gain reduction varies over time based on variations in a signal’s level, with the amount of reduction based on a signal lev- el’s amplitude above a given threshold. Compression and expansion are examples of nonlinear processing because the amount of gain reduction applied to a signal depends on the signal level itself and the gain applied to a signal changes over time. Dynamics processing such as compression, limit- ing, expansion, and gating all offer means to sculpt and shape audio signals in unique and time-varying ways. It is time vary- ing because the amount of gain reduction varies over time. Dynamic range control can help in the mixing process by not only smoothing out audio signal levels but by acting like a glue that helps add cohesion to various musical parts in a mix.
At the same time, engineers also understand that dynamic contrast is important to help convey musical emotion. It begs the question, if the level of a vocal track is adjusted so that the fortissimo passages are the same loudness as the pianis- simo passages, how is a listener going to hear any dynamic contrast? The first part of the answer to this question is that the application of level control partly depends on genre. Most classical music recordings are not going to benefit from this kind of active level control as much. For most other genres of music, at least some amount of dynamic range control is desirable. And specifically for pop and rock recordings, a more limited dynamic range is the goal so as to be consistent with recordings in this style.
Fortunately, the perception of dynamic range will remain because of timbre changes between quiet and loud dynamic levels. For almost all instruments, including voice, there is a significant increase in the number and strength of higher fre- quency harmonics as dynamic level goes from quiet to loud. So even if the dynamic range of a dynamic vocal performance is heavily compressed, the perception of dynamic range remains because of changes in timbre in the voice. Regardless of timbre differences, it is still possible to take dynamic range reduction too far, leaving a musical performance lifeless. Engineers still want to be aware of using too much compres- sion and limiting because it can be fairly destructive when used excessively. Once a track is recorded with compression, there is no way to completely undo the effect. Some types of audio processing such as reciprocal peak/dip equalization allow the undoing of minor alterations with equal parameter and opposite gain settings, but compression and limiting do not offer such transparent flexibility.
Dynamic range control can be thought of as a type of amplitude modulation where the rate of modulation depends on an audio signal’s amplitude envelope. Dynamics process- ing is simply a gain reduction applied to a signal where the gain reduction varies over time based on variations in a signal’s level, with the amount of reduction based on a signal lev- el’s amplitude above a given threshold. Compression and expansion are examples of nonlinear processing because the amount of gain reduction applied to a signal depends on the signal level itself and the gain applied to a signal changes over time. Dynamics processing such as compression, limit- ing, expansion, and gating all offer means to sculpt and shape audio signals in unique and time-varying ways. It is time vary- ing because the amount of gain reduction varies over time. Dynamic range control can help in the mixing process by not only smoothing out audio signal levels but by acting like a glue that helps add cohesion to various musical parts in a mix.