![]() Latency compensated, click free bypass (i.e. ![]() Delta preview mode previews the difference between compressed and original signal.Advanced stereo linking options optimized for the stereo bus.“Crest factor” based control scheme offering independent release controls for peak and RMS events.Super fast, yet natural sounding compression.“Delta” oversampled signal path (bit transparent at 0dB gain reduction).64bit multi-rate processing structure for highest accuracy.This is the original! Key specs and features The concept is “proudly digital” in the sense that it doesn’t try to emulate any previously existing device. As such, it is perfectly suited to stereo bus compression as well as other critical applications. With a sonic signature best described as “stealthy”, Kotelnikov has the ability to manipulate the dynamic range by dramatic amounts, while carefully preserving the original tone, timbre and punch of a musical signal. As a descendant of the venerable TDR Feedback Compressor product family, Kotelnikov has directly inherited several unique features such as a proven control scheme, individual release control for peak and RMS content, an intuitive user interface, and powerful, state of the art, high-precision algorithms. Or maybe I need another coffee.TDR Kotelnikov is a wideband dynamics processor combining high fidelity dynamic range control with deep musical flexibility. An inconsistent measure, repeated, is consistent. This is what I mean by being intentionally inconsistent – but then again, this repeats every measure there’s drums, so the repetition adds to the phrasing, imo. Might be annoying as a dj, but i personally really like the change up instead of just riding the same concept through the end of the track.Īlso, just listen to the drum track in there … the down beat (the ‘1’ of each measure) is pretty well defined, but there’s a bit of swing on the follow up bass kicks, giving it an almost triplet feel. ![]() Here’s my example – towards the end, listen around 5.40… there’s a beat concept, then the beat totally flips on itself for a moment (for 8 measures), then goes back to the main concept. Really the question is, how do you want to do it? Is that really what you mean? For typical dnb with a snare on 2 and 4, you’d have a kick on 1 and the ‘and’ of 3 (that is, half way between the 3rd and 4th beat of the measure). So the way I see it ‘9’ would be the first beat of the third measure (2 measures of 4 = 8, plus the first beat of the next measure). That said, being inconsistent can be an artistic interpretation type thing, if that’s what you’re going for.Īlso, not quite certain what you mean by ‘1 and 9’, generally musicians count in 4, for 4/4 music … such as the majority of electronic music. There’s much to be said about repetition creating larger phrases. Hmm … maybe I’m reading too much into your question but, my. Is kick placement a big thing in terms of consistancy? Should the kick land in generally the same places each time like in other genres where the kick is usually on the 1 and 9 or whatever or do you just flow with it? I have a question about the production of jungle I was hoping you all could help me with: I just got jungle warfare vol 1, and Im loving that as well.
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