I agree with a lot of what you’re saying here. But there are two opposing points: if you doubt that removing aliasing would matter, then you can’t also hold that aliasing on purpose is an overlooked effect idea!
I have been doing tons of anti-aliasing and saturation DSP lately and agree you mostly should be picking a vibe and sticking to it as a DSP sound designer. However the hell that comes together in the math is irrelevant, as long as the minimal set of controls you provide to the musician are fun to tweak and you’re not delivering an airplane cockpit.
There is a lot of marketing blather about analog this legendary that but at the end of the day, a unique sound that is fun for musicians to “play” or intuitively useful for the tradespeople (mixers, mastering engineers, trackers) to use is all that matters!
Comments
I agree with a lot of what you’re saying here. But there are two opposing points: if you doubt that removing aliasing would matter, then you can’t also hold that aliasing on purpose is an overlooked effect idea!
I have been doing tons of anti-aliasing and saturation DSP lately and agree you mostly should be picking a vibe and sticking to it as a DSP sound designer. However the hell that comes together in the math is irrelevant, as long as the minimal set of controls you provide to the musician are fun to tweak and you’re not delivering an airplane cockpit.
There is a lot of marketing blather about analog this legendary that but at the end of the day, a unique sound that is fun for musicians to “play” or intuitively useful for the tradespeople (mixers, mastering engineers, trackers) to use is all that matters!