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Hall und die Psychoakustik der Tiefe
Tiefe in einem Mix ist ein Wahrnehmungseffekt, keine Fader-Einstellung. Was psychoakustische Studien zu Nachhall darüber aussagen, wie Hörer Distanz und Raum beurteilen.
Elektronische Musikproduktion, erklärt durch das tatsächliche Hörverständnis
Die meisten Produktionsratschläge sind übernommene Techniken mit einer plausibel klingenden Erklärung. Die tatsächlichen Erklärungen sind nützlicher und verallgemeinerbar.
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Four mechanisms worth understanding properly
Psychoacoustics
Masking is why your mix is muddy
Auditory masking is a measured property of the cochlea. Once you can name it, EQ decisions stop being guesswork.
Rhythm
Syncopation, microtiming and pleasure
The relationship between rhythmic complexity and the urge to move has been measured. It is an inverted U.
Loudness
Loudness normalisation ended the loudness war
Streaming platforms normalise playback, which means crushing your master now costs you dynamics for nothing.
Synthesis
What synthesis actually does
Subtractive, FM and physical modelling as three answers to the same signal-processing question.
Rhythm
Low frequency and the urge to move
Low-frequency amplitude independently increases the desire to dance, which is measurable.
Practice
Why reference tracks work
They correct for the two things ears do badly: absolute level judgement and adaptation.
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Music reviews with production notes — and the science of why records feel the way they do.
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Controllers, mixers and monitoring reviewed — including the hearing-damage maths nobody prints.
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