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Does a phaser change "the samples" ?


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Or, when Tom Oberheim draws a phaser block at the end of a Prophet signal path, does that change the dna of the audio it produces?

 

Working with the CP4 like in this thread I use a global phaser (without modulation) and the global multi-compressor to change the sound, and contrary to popular belief that changes the sound considerably.

 

Just taking an acoustic piano, hang up a mic compress and phase it's signal probably wouldn't necessarily sound widely interesting, so in order for a workstation's signal path to sound right though these types of effects (and some more, which I don't mention here) the samples need to be prepared for this. It's like suppose you can undo a reverb tail by preparing it in inverse in a sample, you could then add the reverb later, and it would sound neutral. Hard to do, but in some cases possible.

 

Now why would you want such things in a Rompler for instance? One possibility is the combination of tones, where for instance piano notes influence each other in a non-linear way. A mid frequency averaging effect could be prepared in the sample signal path and make use of over-sampling properties of a quality phaser digital effect and influence the mid frequencies ensemble amplitude in the mid multi compressor.

 

Using my studio processing tools which align thus far with A grade recordings, there are a number more complicated and elaborate signal processing tricks which have congruence with the global idea mentioned here. Very accurate settings of the effects sometimes (setting dozens of variables to a percent accurate) make a much better sound because of signal properties not expected to be particularly interesting.

 

T

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Working with the CP4 ... I use a global phaser (without modulation) and the global multi-compressor to change the sound, and contrary to popular belief that changes the sound considerably.

 

Just taking an acoustic piano, hang up a mic compress and phase it's signal probably wouldn't necessarily sound widely interesting, so in order for a workstation's signal path to sound right though these types of effects (and some more, which I don't mention here) the samples need to be prepared for this.

Okay, I admit, I don't really get most of what you typed. But changing the phase of an audio signal does not really change the sound... the phase shifting effect comes from combining the phase-shifted sound with the original signal. Take out the original signal, there's no effect... we don't really hear phase in absolute terms, but only relative to another sound that is identical except for phase. Samples don't need to be specially prepared for this. Heck, you don't need samples at all. There's no reason you couldn't put a live piano (or guitar, for a more common example) through a phase shifter. But the phase shifter provides a mix of the original and out-of-phase sound, not the latter alone.

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I just can"t stand the short loops in the piano samples on the Roland VR09. They bug me so much that I have to put just the slightest little phaser effect on them so not to cringe when sustaining long notes.

 

However, if we"re talking about duplicate frequencies that need to be out of phase from each other so not to cancel each other out, I"m aware of the method but the actual science and mathematics goes way over my head.

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It's just that you'd think in this case AWM2 with Spectral Component Modeling would let CFX grand samples always sound pretty much the same, but there's more than the velocity cross fade and some polyphony dependent signal changes, also through the CP4's electronics circuit models which sometimes have big effect on the signal, especially when the special setting is near.

 

Also, the reconstruction filtering in de built in DAC must be considered when the digital signal path is adjusted, from technical point if view I think that can only work wgen certain pro provisions have been made in the building blocks.

 

T

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