And there 're other annoying digital non-linearities to account for like freq delays... Music mixed by musicians, often it kinda suffers , trying to do everything yourself and have no one to learn from, unlike in a pro studio, it's much more difficult than you thought it was! Deleting comments & hacking existing ones , nice channel! Job insecurities.
@@MrPete0282 hurr durr damn the millennials because they mix their own music on a laptop! Get over it, there are people who swear by hardware and consoles and there are people who wins Grammy using only Waves.
@@XiyuYang So one idiot calls me a boomer all of a sudden i need to let millennials do their thing with laptops and whatnot... lmao yeah very boomer much anti-millennial u triggered or waves spam bot? I'm sure i did not mention age. Sure buy waves.. buy 2 plugins get 1 Grammy for free, offer stands only if you 're under 38 years of age (or whatever the definitive threshold of generations the experts seem to disagree), forbidden for boomers who mix only in analog consoles like me. Thanks for the laughs!
Oh, it's Wytse who banned me from his channel because I said he wasn't independent anymore and that he just does adverts for his affiliate links... how's that going?
@@martinbailey707 dude, I'm not his social affiliate manager, so I can't tell, because I haven't used any of his links tho. So why do you cryout at random people about his business?
The section from 18:00 onwards is such a good way to represent the problem of folks "analysing" plugins. I'm going to be linking that section to many people!
Already switched the All-Pass-Filter in and out behind the scenes... Dan is really getting tired of too many people trying to bs themselves XD Love it! Always staying two steps ahead ;D (Careful dumb audio Joke incoming) Sounds Like Dan got his own Lookahead setting dialled to the max XD
"magick audiophile pebbles aligned with ley lines"... the woo-woo audiophile razz in this scroll is next level. thank you always for being a voice of reason, I used to work in the 'High End' consumer audio industry and some of the shit that came out of people's mouths, from both electro-mechanical engineers and lay-person customers alike, was so eye watering-ly stupid it was actually exhilarating.
@@DanWorrall Very interesting. Do you know why the drifting took place? Is it because of the processing internally, perhaps enumerating the channels very fast, but still introducing some latency of a couple of samples? Did you have to align the peaks manually? Thanks for your effort, it was worth the educational bonus.
@@basroos_snafu I think just tiny inaccuracies in frequency, which would never matter except in a case like this. My solution was to generate them using Reaktor's sine bank module (I think that's what it's called) which is specifically designed for additive synthesis. Then set it to produce one partial at a time.
😂🤣😂🤣😂🤣😂🤣😂🤣 Luckiky I’ve got a decent drive home in a bit so I. An live it up. I’ve always wondered how well my car’s auto braking system works anyways.
What makes these videos truly be in a class of their own is that they give me the feeling that Dan has just as much fun talking about these topics as we enjoy listening
This is brilliant and helpful stuff - and even though I try to make really simple testing of plugins available on my website, it is always to encourage people to do their own testing and evaluations. His section about how nonlinear modeling will totally mess with linear analysis is such a worthwhile and easy-to-understand explanation! Tests always have their own limitations to be aware of, but they also allow you to quickly determine which plugins are masquerading as "analog" or where there are flaws. One of the few things on youtube I wish I would have created!! Thank you, Dan!
One minor correction: Using a linear phase filter is *not* a guarantee that you will not increase peak levels either. Try EQing a (gently band limited to round off the corners and avoid true peak excursion) square wave to cut off all but the fundamental with a linear phase EQ. Depending on exactly what filter you use, you can wind up with a +2dB increase in peaks. Peak level just doesn't mean anything once you introduce EQ in any form, even without phase shift. The peaks are, after all, a time domain phenomenon, and there's no telling what will happen to them when you introduce frequency-dependent processing.
Great song title for his one, Dan. And hugely validating video as well. This is all stuff I've picked up slowly over the years, either from you, or from my own tests working on my own DSP. Realizing what is and is not a valid result, and how to do blind tests, as well as the all important "but do I like what I hear in context" tests.
I love Bertom EQ analyzer (which is free), it is a VST and analyze the FX chains. It do have less feature but it is a good alternative. Also for null testing, I have made a JS effect to detect silence, which is cool to be sure there is absolutely no difference at all. JS: Silence Meter it is called. Thx for the video! All the harmonics analysis in PD seems indeed very cool!!
@@eegoal Ok but it doesnt analyze the chain, it still works with the Load VST button. Bertom EQ analyzer works withthe FX chain in the DAW (it need two instances, one to geenrate sound before FX, and one for analysing the modified sounds post fx)
Perhaps THE best video ever in the entire audio community! I wish everyone just watched this (including the plugin devs)!! I would love a detailed video on hearing as well, as that is something i’ve been wondering about for a long time. How the decoding works, how we should prepare for a mixing session, what biases we have, and mostly just a lot of demonstrations on how easy it is to fool the ears. So that the next time we end up in a debate with an audiophile or ”believer” engineer we can just link the video. :) amazing work Dan! Thank you!!! ❤
Null test on oversampling can always be done, no matter if it is linear-phase or not. Create two tracks, with both an instance with oversampling and an instance without oversampling (4 in total). Apply the effect on oversampled instance in track one, and on non-oversampled instance on track two. Phase shift are compensated. And supernatural clean mastering mode on pro-c2 happens when compressor use some hidden hold function or an equivalent release filter with at least 4-pole lowpass structure. You can see its hold-like behaviour on transient test with long release (and boost volume for easier observation).
The only thing I like about your vids better that the clear logic of the analysis presented, is the the bone dry wit and the dripping wet sarcasm you frost the delivery with so well. I am always in the mood to get the most out of what I have been working on by any and all means when I watch your vids. Thanks.
Proud student of DWU! Dan Worral University. Awesome video. While this was a FF sponsored video, DDMF should’ve pitched in since you taught us how to properly use Plug-In Doctor. Many thanks Dan! Will watch again and again.
I watched a video the other day by a bafflingly popular RU-vidr that had me pulling my hair out when he loaded up Plugin Doctor. Thanks for this video. It’s helping all of us become better informed engineers and hopefully more selective in who we choose to devote our time and attention to.
Whenever a new Dan's video comes up I always learn new things but I have a real question.........WTF do you know all these!!!!!!😅I am truly gobsmacked and jealous of your deep knowledge💙
Upcoming music producer here, this video is simply amazing! This is a life saver for people out there like me who self-teach... I was not aware of many of the issues plugins could have been doing to my mixes before this video. Thanks Dan!
3:10 two files that null perfectly can’t sound different. But two files that don’t null perfectly can sound perfectly identical. Thanks for the video. Great content. Very informative
One thing worth noting is that even though two bits of audio can be identical and null perfectly, there can be an audible difference based on how speakers react positively/negatively. Try this on a kick drum, the difference can be pretty obvious
Thanks for the validation that I never once fell down this rabbit hole, and have forever used the blind bypass switch method. I mainly watched this video because you are entertaining.
This is an incredible video. As someone who, in the distant past, got a master's degree focusing on signal processing and recently has gotten into writing and mixing music it's such good info. Thanks for approaching the material from both the mathematical/scientific side and from the musical side. Amazingly high-quality content.
Thanks Dan. I'll be back to watch this again. I love the blind test. I think I will be asking audio techs to take the test in front of me often, from now on.
Another fine set of considerations. Thank you for all your contributions to the legacy of excellent audio for music. Also, I never tire of dunking on audiophiles. Now that I think about it, Dave Rat rather gracefully didn't shit on them in a recent video and I was actually inspired by his approach. He said something along the lines of, "Not everyone is going for studio accuracy in their speaker or listening space. Sometimes it's cool just to own a piece of art that goes with the room." I'm not saying this to criticize your tact. I was simply reminded by my original comment and really do like that I hadn't heard it stated like that before. In my heart of hearts, I align with your sentiment perfectly. A null test would produce complete cancelation.
A full hour (plus) of balls-to-the-wall nerding out! I'm all in! I enjoyed the science, the math and the off-the cuff humor (as always). The magic pebbles and ley lines comment was priceless. But most of all, I enjoyed the proper way to compare compressors and the only test that matters.
Amazing work as always Dan! I loved that the video is essentially a one hour long prelude to the classic "if it sounds good, it is good", which in the end is truly the only rule there is
Dan, wonderful work. And also thanks to FabFilter, who did the whole audio industry a service by sponsering this vid. Yes, debunking myths help them of course, but it also helps all the other honest plugin makers. I don't have their plugs, so I'm not speaking as a fan boy, just respect where it's due.
Great vid Dan. I feel like every studio engineer or producer would benefit from doing some FOH or monitors engineering. Unless you're on a console with a display like an M7 or Midas (which most small venues won't) you're never gonna get bogged down by the numbers and even if you are on a console with more plugin style effects and a digital display, you're generally watching the band not the board. Really forces you to be more listening focussed and also fast (sound checks last minutes, not weeks). Anyone can basically sign up to most venues as a Cazzy (Casual Technical) which is basically a zero hour contract and you'll probably get some work after shadowing for a while. I've worked at dozens of venues and done countless tours and there's always noobs on the crew. Because it pays so poorly they're generally desperate for extra hands and if you're on the list you'll definitely end up getting a call once someone inevitably has a sick day. I wouldn't advise it as a career though lol. Not unless you want to be permanently knackered and skint.
Not sure if you have read Angelo Farina's papers about using exponential sine sweeps for measuring distortion characteristics. But basically the reason why he uses exponential sine sweeps is that he can then turn them into the IRs of the individual harmonics -- i.e. in cases where he does indeed want to know how exactly the system is distorting the signal, this method allows him to separate the component IRs from each other, provided the reverberation time is short enough (the IRs of the harmonics are located at exact time positions relative to the actual linear IR).
I always learn something useful and interesting watching your vids. And, when I return, I learn a bit more, probably because the first time I watch, I am out of my technical depth. Slowly, however, more of it sits in place. So I want to thank you for these vids, and this one must have taken some time to make.
Well watched the whole video, watched the part with "why eq cuts get louder" twice... Very nice video again learned a lot but also have to watch sections again at least 3-4 times...i still don't get the part with harmonic anaw and Hammerstein...i use harmonic dist. Frequently And I like what it does but the way it was displayed by doctor confused me...aliasing also have to watch this really again because I think this is the best video in RU-vid for people mixing on there computer...thanks a lot Dan❤️👍
"that sophisticated, complex, powerful tool in our heads" Dan Worrel then proceeds to destroy mine with ultra-brain knowledge and insights. you sunk my battleship. :( owie. great content as always, Dan. Now i have to sit and process all of this for a couple of months.
Any volume change over time generates harmonics. Nothing that changes volume over time is transparent (compressors, limiters, tremolos, etc) at least not in the sense of harmonic analysis. You can easily see that by applying a quick volume envelope on a sine wave and looking at a spectrum analyzer.
The main enemy to me completing a mix lays within what you said about conative bias. I often close my eyes when making changes, so as to not be influenced by my sight, but sometimes struggle to stay awake and start nodding off if I am getting a bit tired at the time! 😴😂
1:07:20 -> "Can't really argue with that, right?" Yes I can :) There are lots of psychological things at play in a blind test. Even if the 3 files in ABX are all the same, some people will say they hear a difference. Placebo pills also work. Apart from that, golden video, thanks.
@@DanWorrall Works both ways. What's the point in objectively detecting if their hearing is "wrong". If it's true in their mind, it's their truth and therefore true. For them knowing they are "wrong" will not make any difference. Only thing we can do is accepting that there always will be a discrepancy between what someone hears objectively and what they hear psychologically.
