This video taught me about phase change in EQ. It freaked me out a bit because I’ve used plenty of EQ in parallel processing during mixing on reverb and drum compression sends.
I did some testing in Reaper that reassured me that I haven’t made egregious mistakes in my mixes. The phase change around an EQ’s cutoff frequency is worth keeping in mind, but doesn’t drastically affect the summed output of signals in parallel.
What you see above is my test Reaper session. Fuzz’s song “Rat Race” is on two tracks playing in parallel; one has a high pass filter at 500 Hz (the top plugin window) and it’s phase change is also displayed as the orange line. You can see that the EQ’d signal is somewhat out of phase with the unprocessed signal well above 500 Hz, potentially resulting in phase cancellation above 500 Hz when the signals are summed.
The spectrum analyzer (lower plugin window) shows the summed signals (the green background spectrum) and the unprocessed signal by itself (the pink foreground spectrum, which mostly looks lighter green where it’s overlaid on the summed signal).
What I notice is that the difference between the original (green) and parallel-processed-and-EQ’d (pink) signals diverges right at about 500 Hz and the difference is pretty consistent above that point. For me, this is great news; the parallel processing behaves almost exactly as I naively expected it would, before I knew about the phase change described in the video.
A bad result would have been if the difference between the green and pink spectra began diverging around 500 Hz but grew slowly, up to 5K or 10K. That would have meant that in my mixes, I was losing information between (in this example) 500 Hz and 10K without realizing it or compensating for the loss.
tl;dr – Sighs of relief and feelings of bullets dodged in the Studio/Laundry Room of Fury.
This afternoon I’ll be building the first Giambattista Tremolo in a one-off custom enclosure courtesy of Seth M Jones. I did the LED and bypass wiring yesterday to give myself a head start.
The Giambattista is based on the old Jordan Vico Vibe (and a layout by Nicholas Kula). I’ve added a JFET boost and volume control on the output, which others have done with this circuit. I’ve also moved the bias (which affects the pulse width) control to the outside of the enclosure, and added a fast/slow rate range toggle, which I haven’t seen done before.
The Vico Vibe is a great, vintage-sounding tremolo, but the knock on it is that the rate range is fairly narrow (and quite fast, with stock components). The Giambattista, with its fast/slow ranges, will go from faux-ring modulation fast to obscenely slow.
Here’s a comparison video showing the MOSFET (Falcon) vs. silicon (Falcon Heavy) clipping and low-mid (Falcon) vs. Russian Muff mid (Falcon Heavy) cuts on guitar.
What I didn’t show, and should have, his the higher gain range on the Falcon Heavy’s silicon setting. In the first comparison the Falcon’s drive is dimed, while the Heavy’s drive (out of the picture) is at maybe 65-70%.
This is to help guitarists who want one to choose between the Falcon and Falcon Heavy. I recommend the Heavy for bassists, *unless* you’re going to leave the pedal on all the time; in that case I could see a bassist going for a Falcon, especially for a more vintage sound.
When I took the Falcon to Drew’s last week it sounded great, but we noticed it was pretty noisy (hum/interference-type noise, not the good kind). So I’ve been on a zag to improve the power filtering. I’ve added a part to #0001, and will add it and change the value of another part for future builds.
Here’s a test running several pedals direct into Reaper with their controls dimed:
Fulltone GT500 (OD side, then distortion side)
Moog MF Drive
BYOC Large Beaver (EHX Triangle Muff specs, with a larger input cap)
This test did not control for different levels of gain available from each pedal; while it looks like the Large Beaver is the noisiest pedal, it’s also the fuzz in the group and probably has the most gain available.
While today’s change didn’t reduce the Falcon’s noise in dB it did change the frequency of the noise some, reducing bass frequencies. I judge this to be an improvement.
An ear test with the Falcon maxed out vs. the MF Drive set for a similar gain and sound resulted in similar noise levels between the two pedals. This lets me feel like the Falcon’s noise is acceptable, if not necessarily optimal. The tradeoffs for better power filtering internally are a greater part count and/or a small loss of voltage available to the circuit.
I’ve learned a way to further reduce the switch pop you see at the beginning and end of each test (the large spikes when turning the pedal on and off). It’s impractical to go back and implement on model #0001, but I’ll incorporate it into future builds. #0001’s pops are already comparable to many high-quality pedals – usually passing unnoticed, especially playing into a dirty amp – so hopefully this change will reduce future Falcons’ pops below average.
The “D2” label will be moved down for future units, of course. I wasn’t thinking about over-sized knobs when I stamped this first enclosure.
“M” will become “M2” (since the mids switch is only available when the D2 channel is engaged) and the unlabeled switch probably needs a “C” for clipping.
Sounds righteous, nonetheless! Psyched to get it integrated into my Mars Lights rig.
I figure the main channel will replace my VFE Triumvirate for always-on boost & slight clipping duties, and channel 2 will replace the EHX Bass Big Muff Pi for heavy parts. I still love those pedals, this will just free them up for other uses, probably recording for the Triumvirate (where its flexibility really shines) and maybe suuuuuuuuuper-heavy parts for the Muff.
It’s a wonderful left turn of a record, released when fans and critics would have welcomed a Metamodern Sounds pt. II. Self-produced, it sounds clear, warm, and open, the Dap-Kings’ soulful horns swirling chocolate-and-peanut-butter-like with Simpson’s brand of slacker psychadelic outlaw country.
Sturgill’s been open about A Sailor’s Guide… being a song cycle written for his family, especially his first child who was born just as his career took off. What he hasn’t said – and there’s a tantalizing hint in the Maron interview about this – is just how deep the concept goes. I think the album is sequenced chronologically beginning with a father singing a song to his newborn son and continuing as the son grows up, maybe having a child of his own.
“Welcome to Earth (Pollywog)” is sung to a newborn
“Breakers Roar” comforts a young child
“Keep it Between the Lines” offers advice to a teen
“Sea Stories” finds a father and his young adult child developing a more mature relationship
“In Bloom” (Nirvana cover)
“Brace for Impact (Live a Little”) reminds a thirty-something child that life can be short, and it should be fun
“All Around You” illustrates a deep connection, only able to be seen through long experience, with a child who is now old enough to have felt real pain
“Oh Sarah” shifts the spotlight to the steady partner whose presence has been felt, but not addressed directly, throughout the record
“Call To Arms” – The old man’s got nothing to lose and speaks his mind (not that he hasn’t always), turning from his family outward toward the world
“In Bloom” is the outlier here, thematically and musically. As it sits in the center of the sequence it strikes me as meaningful, though I’m not entirely sure what to make of it. It’s, for me, the weak point on the record musically as Simpson drops half of the chord sequence from the verse, rendering the tension of the original toothless.
Maybe changing Nirvana’s rager into a lullaby illustrates a father nostalgic for his younger child while simultaneously recognizing the adult he’s become. Or maybe I’m reaching. But the rest of the album makes so much sense – six songs of a child growing up, followed by two turning progressively outward to others – I need a way to understand the intent here.
Simpson can obviously write incisive, vivid lyrics when he wants to. That this record also features some fairly worn cliches struck me as odd at first, though they’re wearing alright with time. Sometimes the language of love and family is what’s comfortable and familiar, said a thousand times and no less true for it.
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