[The Other Guys 2010 Extended 720p Dual Audio
Abdul Soumphonphakdy
Head 1 Time sets the delay time of head #1 when the Motor Speed is 1.0. This is analogous to the distance between the record head and the playback head in a tape deck. As you increase the time you move the heads apart and vice-versa. Whatever the time is set to is the delay time when the Motor Speed is 1.0.
The LFOs modulate the motor speed. Modulating the motor speed (which changes the tape speed) is a very different effect than modulating the delay time. You can hear the difference between by varying the Motor Speed manually and the Head 1 Time manually.
In a typical tape deck the tape speed is not constant. In the days of tape recorders much effort was expended on trying to keep the tape speed as constant as possible. This included periodic maintenance. However, when applied as a delay effect, the variation in tape speed could create a desirable modulation. Tape Echos, in particular, were built to cost points and suffered from considerable tape speed fluctuation.
The two primary components of speed variation were termed "wow" and "flutter". Wow arises due to low-frequency variations in the tape speed. This is typically due to variation in the speed of the motor itself and/or eccentricity of the pulleys. Flutter is a high-frequency modulation and arises due to eccentricity of the capstan and pinch roller.
This is because in an actual tape deck the tape speed is what is typically subject to variation. Wow occurs due to variation in motor speed (or belt/pulley, etc.) and flutter is due to capstan and pinch roller. Wow varies the tape speed slowly, flutter is a high-frequency variation in speed. The actual delay time is very stable since the heads are stationary and the tape is taught between the heads. Delay modulation due to tape stretching is negligible.
[9]The tools are already there for wow and flutter. Wow is modulation below 6 Hz. Flutter is above 6 Hz.
Wow is low frequency modulation. It occurs with records when the hole in the middle isn't perfectly centered or when the record has a warp or due to motor issues. It occurs with tape decks due to the tape being stretched or the motor not being regulated well. Flutter occurs in tape decks primarily due to the capstan being eccentric.
The 2290/mod delay type has the Phase Reverse parameter set to Right. This will make the delays disappear entirely if the signal is summed to mono after the Delay block (for example when placed before the Amp, or when using a mono cab), due to phase cancellation.
Just like in analog rigs, there's a difference between the delay effect positioned before the amp and after the amp, especially when using distorted amp tones. It's up to you. Most people place a delay after the Amp block, but delay-before-amp certainly has its own charm.
[15]If there isn't distortion or modulation in the delay/reverb then the order is irrelevant since they are then Linear Time Invariant (or shift invariant in digital parlance). If there is a small amount of distortion or modulation then the order is probably still irrelevant. If there is a lot of distortion or modulation then the order may make a difference. However, typically the biggest difference, as noted above, is series vs. parallel since h1(t)*h2(t) is not the same as h1(t)+h2(t). If LTI h1*h2 = h2*h1. It may seem counter-intuitive that the order doesn't matter but try it and you'll be surprised.
[16]We had to make a management decision. Under certain circumstances (using an Amp block and two Delay blocks with Diffusion on) the second DSP could get overloaded. The easiest solution at this time was to remove the Diffusion parameter. If we are able to improve the code efficiency we will reinstate the parameter. You have to realize the FM3 has only about 1/5 the DSP power of an Axe-Fx III. Trying to fit all those goodies in there while not sacrificing audio quality is a balancing act. I ALWAYS insist on quality over quantity. That's what differentiates our products. It takes a LOT of horsepower to do it right.
[18]IMO, what people like about analog delays are the narrow bandwidth. The noise, aliasing and crud is debatable. The early analog delays typically used fixed anti-aliasing and reconstruction filters. These filters were designed for the worst-case scenario: maximum delay time. Typically at maximum delay time the clock frequency was only 4-5 kHz IIRC which means the filters need to be < 2 kHz. One popular pedal had the filter at 1.75 kHz. They filters also have a very steep cut-off, typically at least 4th-order but usually 6th order. The slope is given by order x 6 so for 6th-order you would set the slope to 36 dB/oct. For those who are interested there's a paper on DAFX about it.
[19]Some blocks have clipping simulation, the delay blocks among others. This simulates the input of the delay line being overdriven (like a real analog delay). It also prevents runaway if the feedback is >= 100%.
[23]We had to make a management decision. Under certain circumstances (using an Amp block and two Delay blocks with Diffusion on) the second DSP could get overloaded. The easiest solution at this time was to remove the Diffusion parameter. If we are able to improve the code efficiency we will reinstate the parameter. You have to realize the FM3 has only about 1/5 the DSP power of an Axe-Fx III. Trying to fit all those goodies in there while not sacrificing audio quality is a balancing act. I ALWAYS insist on quality over quantity. That's what differentiates our products. It takes a LOT of horsepower to do it right.
[24] Dug my PCM70 out of the closet and compared the diffusion to the Axe-Fx III. The Axe-Fx III is vastly superior. The PCM70 sounds metallic and comb-filtered. The Axe-Fx III sounds like a little reverb is added to each delay.
[25]I designed the Axe-Fx diffusers to sound like little reverbs. I like a little, 10-20%, which makes the echoes slowly turn into a wash. To me the PCM70 goes "brzzzzpppp" on the attack which I don't find pleasant at all. I've experimented with diffusers for years. I hate all the examples in the literature (i.e. Schroeder allpass sections). I've implemented quite a few out of the papers and they all sound like crap IMO. I tried the allpass cascade in the JCRev algorithm again today and, yup, still sounds as bad as I remember.
Current Axe-Fx III, FM9 and FM3 firmware provides virtual companders in the Delay blocks. A compander compresses the signal at the input and decompresses it again (expands) at the output. This results in better SNR ratios.
[26]A Compander is a compressor followed by an expander. If the time constant of the compressor and expander are the same (and the "channel" is perfect, i.e. linear and lossless) then a Compander is transparent. If you change the time constant of one vs. the other the transients will become distorted.
Once that was working I used that algorithm in the Delay block. The Compander allows you to set the Ratio, Time, Transients and Level. Turn Transients down and the attack is reduced, turn it up and the attack is enhanced. You can use it with kick drum to enhance the punch, put it on vocals to reduce plosives, etc.
[30]That's unavoidable without losing spillover. When the compander is active the data is compressed before being written to the delay line and decompressed when being read. So if you switch from not using the compander to using the compander uncompressed data is expanded which makes it louder.
[31] The Config parameter selects the base algorithm. The Type parameter selects the default parameters. If you selected the Deluxe Memman type and then changed the Config to dual you got the dual delay algorithm with the Memman default values.
If you want pitch shift the use the Mono Tape type. There are other ways as well but I'm not at my desk now so I forget the details. I believe if you attach a modifier to the Time parameter in the other types it will pitch shift when you change the time. I seem to remember I made it so you could do the pitch shift thing with a modifier but not when tapping in a tempo or setting the time by hand. I.e., you can do the Eruption dive-bomb by attaching an expression pedal to the Time parameter.
By attaching an external controller (connected to a pedal or switch) to the Input Gain parameter, you're controlling the delay level at the input stage. This will make delay trails fade out nicely when muting the delay.
Firmware 20 for the Axe-Fx III (and corresponding FM3 and FM9 firmware) added the ability to use Pre-Delay in the Reverb block as a simple echo. Pre-Delay provides Tempo, Feedback and Mix parameters. The pre-delay time has also been increased to 1s. Several Reverb types demonstrate the capabilities: Echo Plate, Echo Hall, Echo Room.
One of the major benefits of a smaller sensor is the ability to read out faster. I wanted the Four Thirds sensor advantage to shine with an extremely fast readout speed that would allow high frame rates and minimal rolling shutter artifacts.
The 10-bit recording of the GH5 was its main selling point at launch. But, that capability was missing from many record modes. 4K/60p and any high-frame rate 1080P would drop you back into the 8-bit recording of yore. This was especially troublesome when I was recording in VLog-L, which requires a 10-bit color space to get usable results. If I needed to grab a slow-motion clip, it meant switching my color profile to something more less prone to banding with 8-bit codecs.
The GH6 reads its full sensor at 17.8ms, and has modes nearly twice the speed of the GH5. This is particularly impressive because the sensor is not one of the new stacked BSI CMOS sensors we are starting to see, but a conventional single layer CMOS that happens to read out very snappily. This allows continuous 4K/120p recording, as well as 1080/240p slow motion in 10-bit 4:2:2 and 1080/300p in 10-bit 4:2:0. Oh, and it can shoot full resolution Raw photos at 75fps!
Checkmark! VFR high speed recording can finally be captured in 10-bit, something even the full frame and much more expensive S1H cannot match. All of the more demanding recording modes now offer at least 10-bit 4:2:0 recording, meaning you can comfortably leave the camera in VLog recording when switching to higher frame rates or 5.7K recording.
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