Well, then it becomes a different phenomena because some aspect of the signal alteration is now dependent upon time and is being actively modulated in some sense over time.
To use another example a purely digital compressor with no color distortion is nothing more than a volume knob automated to change over time, nothing magical was done to the volume knob to turn it into a compressor, rather a set of complex automation parameters were defined so you don’t have to sit there with a fader at a mixing board and manually raise and lower the volume of tracks to an obsessive degree. If I sound like I am bashing digital compressors I am not, this is what makes digital compressors so powerful and ubiquitious.
From a digital production sense, you don’t really alter time ever, the production of the song you are making must all be unified to a single click track/specification of time passing. Altering time like you say would be something like playing a sample faster or slower… but you are always altering a sound’s relationship to your established sense of time, never speeding up or slowing down the clock in your DAW because that would break the whole system at a basic level. The high fidelity digital music production provides is possible precisely because a computer can keep a clock running very consistently, and an entire music production process can be stacked on top of that single clock/perspective on time.
I mean, give me an equalizer and super fast jazz hands and I can emulate any purely subtractive effect upon a signal using just the equalizer and modulating cuts and boosts.
My favorite practical tool for this kind of thing is Toky Dawn Record’s Nova Vst. There is a great free version but the paid version is still a massive bargain for how good the signal processing is. The basic idea of Nova is a visual equalizer that you can turn static cuts and boosts into dynamically responding cuts and boosts… i.e. the equalizer becomes a compressor.
In general, the philosophy of seeing the creation of sound as taking a process of taking a rich signal and removing from it in one way or another is called “Subtractive Synthesis” and there is a very good reason it is one of the most prolific and celebrated kinds of digital synthesis techniques. It is a very powerful way to look at the process of synthesizing sound.
What if the time is also dynamically altering, like during acceleration or deceleration or ritardando or whatever?
Well, then it becomes a different phenomena because some aspect of the signal alteration is now dependent upon time and is being actively modulated in some sense over time.
To use another example a purely digital compressor with no color distortion is nothing more than a volume knob automated to change over time, nothing magical was done to the volume knob to turn it into a compressor, rather a set of complex automation parameters were defined so you don’t have to sit there with a fader at a mixing board and manually raise and lower the volume of tracks to an obsessive degree. If I sound like I am bashing digital compressors I am not, this is what makes digital compressors so powerful and ubiquitious.
From a digital production sense, you don’t really alter time ever, the production of the song you are making must all be unified to a single click track/specification of time passing. Altering time like you say would be something like playing a sample faster or slower… but you are always altering a sound’s relationship to your established sense of time, never speeding up or slowing down the clock in your DAW because that would break the whole system at a basic level. The high fidelity digital music production provides is possible precisely because a computer can keep a clock running very consistently, and an entire music production process can be stacked on top of that single clock/perspective on time.
Right but in an aural sense in terms of how a human would perceive it changing time, not necessarily in a technical objective computer sense
I mean, give me an equalizer and super fast jazz hands and I can emulate any purely subtractive effect upon a signal using just the equalizer and modulating cuts and boosts.
My favorite practical tool for this kind of thing is Toky Dawn Record’s Nova Vst. There is a great free version but the paid version is still a massive bargain for how good the signal processing is. The basic idea of Nova is a visual equalizer that you can turn static cuts and boosts into dynamically responding cuts and boosts… i.e. the equalizer becomes a compressor.
https://www.tokyodawn.net/tdr-nova/
https://m.youtube.com/watch?v=1CHFv4mWQYM
In general, the philosophy of seeing the creation of sound as taking a process of taking a rich signal and removing from it in one way or another is called “Subtractive Synthesis” and there is a very good reason it is one of the most prolific and celebrated kinds of digital synthesis techniques. It is a very powerful way to look at the process of synthesizing sound.