On Sat, September 25, 2010 10:48 am, email@example.com wrote:
I have to admit I didn't follow this part of the development process
closely enough but I will have a look to confirm.
> If works by taking the FFT of the input, multiplying in the
Hence jamin is already designed to minimise the negative effects on the
signal flow that are caused by the toolchain.
> The proper way to implement a filter of this type (with a FR
So what you are saying is that the whole design is sub optimal? Can you
clarify this in terms of every genre of professionally oriented music or
is it more of an audiophile type of concern? Like preferring Bugatti to
I think the whole jamin team would agree with you that we started out with
the idea we were not the best people to make the software but that instead
we were attempting to resolve a missing component of the LAD toolset. In
that case we did the best with the knowledge and skills that we had.
Jamin was defined from the start as one way of handling the mastering
process. Not necessarily the best or suited to every type of recording. It
integrates the tools for that method into a single interface.
Gold/Platinum radio friendly rock/metal albums have been produced using
that method by the main "professional" contributors.
For those interested in using jamin as a part of their toolset it should
be kept that it has these artifacts Fons describes above. Considering that
you are compressing the audio as much as possible in order to get a radio
sound anyway these trade offs may not be much of a cause for concern.
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