More work on my audio compression algorithm today. It appears I'm using a unique algorithm, as I'm using volume tracers and the inversion of those rather than a basic logarithmic boost; I simply trace the volume and boost the signal by the inverse of this trace. A more conventional compressor (indeed, the old version I used to have) simply uses this volume trace to enable or disable the gate, and boosts the signal by a fixed inverse proportion based on what power you want to give it.
This version gives a more analogue sort of feeling, a bit more unpredictable and can be wildly sensitive to the various slope settings for the attack, decay, bite. I might create both anyway, to add more options. The value of being able to code your own audio algorithms is immense!
I worked out that the blips that were plaguing yesterday's version were the harsh digital gate, easy to smooth out.
I've spent most of today tweaking thus. I rarely use compression, but now I'm thinking that it might be useful for bass sounds, for a more consistent mix. I'm growing happier with Burn of God, but the music still isn't balanced how I would like.
God bless my Samson Resolv monitors! These are as good as my Sony MDR-5706 headphones at monitoring. I've had them for years (they don't make them now) so I know how music should sound on them. I've bought a few new (1970s!) albums to listen to today: Genesis' Nursery Cryme, the last of the nice 'prog' era ones for me, and The Story of I by Patrick Moraz, which I've not heard more than two minutes of and look forward to. It seems eccentric. Yes were an amazingly bad band considering the wealth of talent of every one of its many hundreds of members. I can barely think of a good song by them, even their only hit of consequence Only of a Lonely Heart was an awful tuneless song made to sound good by brilliant production. Perhaps this is a harsh judgement given that I've only heard four of their countless albums.
