Get with the pro­gram­mers

This new de­vel­oper is tak­ing on the prac­tice of de-es­s­ing a sig­nal in a very dif­fer­ent way

Computer Music - - News - Olli Ke­sk­i­nen

What’s your back­ground in mu­sic and in pro­gram­ming? How did oek­sound get started, and how would you de­scribe the com­pany’s phi­los­o­phy?

“Com­pared to your typ­i­cal de­vel­oper, I’m quite a young guy, with a back­ground and univer­sity-level ed­u­ca­tion in both mu­sic tech­nol­ogy and pro­gram­ming. Work rang­ing from cre­ative cod­ing and DSP al­go­rithm con­sul­tancy to FOH en­gi­neer­ing, to­gether with ex­ces­sive amount of time spent with Matlab, give me an in­ter­est­ing edge in DSP. oek­sound is about us­ing that edge: solv­ing well-de­fined and la­bo­ri­ous prob­lems, while hid­ing the ugly stuff un­der the hood.” Soothe, your first plugin, is a “dy­namic res­o­nance sup­pres­sor”. Is this the same as a dy­namic EQ or de-esser? “In terms of use, Soothe is a close rel­a­tive to a dy­namic EQ or a de-esser, but un­der the hood, it’s a spec­tral pro­ces­sor that re­acts to res­o­nant sig­nal com­po­nents. So ba­si­cally it’s an au­to­matic notch­ing EQ that will fix the whistling and harsh fre­quen­cies based on their in­ten­sity, and with min­i­mal user in­put.”

What in­spired you to cre­ate a tool like Soothe, see­ing as there are al­ready lots of de-es­sers on the mar­ket?

“User in­ter­ac­tion with Soothe was de­signed to feel fa­mil­iar to any­one who’s used de-es­sers – you just set the thresh­old and fre­quency range. But when an en­er­getic mid- or high-fre­quency spike crosses the thresh­old, Soothe sup­presses that fre­quency alone, and won’t af­fect the ad­ja­cent fre­quen­cies. This way you don’t lose the clar­ity or the top end of the ma­te­rial. So even when used as a de-esser, I think the ver­sa­til­ity and pos­si­bil­ity to con­trol even the mids with min­i­mum has­sle is quite unique.” What kinds of source sounds does Soothe work best on? “Soothe is great at tam­ing the harsh­ness and build-up of fre­quen­cies that’s of­ten present when close-mik­ing au­dio sources – be it vo­cals, acous­tic or elec­tric gui­tar, wood­winds or vi­o­lins. Due to the chaotic ra­di­a­tion pat­terns of the in­stru­ments, and mul­ti­plied by the pickup pat­terns of the mi­cro­phones, nas­ti­ness is likely to be present when stick­ing a mi­cro­phone few inches from a sound source. Soothe is at its best when used as the first line of de­fence to treat these prob­lem­atic sound sources, sav­ing the mix­ing en­gi­neer a lot of time and frus­tra­tion try­ing to get the stuff to sit in the mix, es­pe­cially with the lead parts.” What else can we ex­pect from oek­sound in the next year or so? “The first ver­sion of Soothe is just the be­gin­ning, and there’s a lot of room for im­prove­ment. We’re now im­prov­ing Soothe’s al­go­rithm to make it more ver­sa­tile, ex­tend­ing the work­able fre­quency range lower and re­duc­ing the CPU-hit – es­pe­cially on the higher-res­o­lu­tion set­tings. So a lot of maths ahead. Also, the R&D for Soothe’s spec­tral frame­work has opened an in­ter­est­ing set of ap­pli­ca­tions and pro­cesses that we’ll be check­ing out.”

“We’re now im­prov­ing Soothe’s al­go­rithm to make it more ver­sa­tile”

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.