Echo Chamber is a stereo reverb and delay plug-in effect, used to create psychoacoustic models to simulate sounds reflecting from surfaces in a room or space. Optionally a delay can be added to yield a spacious and open sound of a repeating, decaying echo to complete a sense of space and depth to a 'dry' input signal.
A highly tweakable, versatile, and inspiring solution for ambience effects, that produces a natural sounding room reverberation and delay effect giving a true room perception, from small rooms to large caverns as well as generates a doubling echo, slapback echo, ping-pong delay and analog tape delay. Offers multiple controls for modifying one or both channels to produce a rich array of time-based effects.
Available as plugin in VST and VST3 64 bit versions for Windows as well as in Audio Unit for macOS. These plug-ins are perfectly suited for any type of audio production when acoustic space simulation is needed from recording to post production in 64 bit platforms. Small rooms have a high percentage of early reflections (the first feedback from the closest objects) that can give more body to tracks. It is also good with acoustic guitars and voices. Larger rooms presets are better with strings, or wind instruments and synthesizer pads.
Features:
• Reverb and delay algorithms that delivers a rich reverberation and echoes by providing a spaciousness and depth to simulate the sound reflections from walls, floors and ceilings in an acoustically reflective environment.
• Flexibility to control Left and Right channels separately in Reverb and Delay units as well as in 'dry' signal output.
• Reverb unit works as a Stereo enhancer and mono-to-stereo creator, to produce a wide stereo image or stereoize a mono sound source. In Delay unit, improves the stereo image by adding a slight delay to one of the channels.
• Delay Time manual or synced to host (Tempo Sync BPM).
• 30 predefined space types, giving a virtually infinite number of possible shapes and sizes.
Preset Effects List:
01 • DEL - Analog Tape Delay
02 • DEL - Bucket Brigade Delay
03 • DEL - Crypt Echoes
04 • DEL - Doubling Echo
05 • DEL - Infinite Delay Machine
06 • DEL - Ping-Pong Delay
07 • DEL - Slapback Echo
08 • DEL - Sync Tube Tape Delay
09 • DEL - Tempo-Sync Delay
10 • DEL - Tube Driven Tape Echo
11 • REV - Amphitheater Reverb
12 • REV - Auditorium Reverb
13 • REV - Cathedral Reverb
14 • REV - Chamber Reverb
15 • REV - Hall Reverb
16 • REV - Opera Reverb
17 • REV - Plate Reverb
18 • REV - Room Reverb
19 • REV - Spring Reverb
20 • REV - Theater Reverb
21 • REV+DEL Ambience Reverb
22 • REV+DEL Arena Reverb
23 • REV+DEL Canyon Acoustics
24 • REV+DEL Catacomb Reverb
25 • REV+DEL Cave Reverb
26 • REV+DEL Church Reverb
27 • REV+DEL Cosmos Echo Panning
28 • REV+DEL Spatial Reverb
29 • REV+DEL Stadium Reverb
30 • REV+DEL Sync Bounced Delay
Echo Chamber is a stereo reverb and delay plug-in effect, used to create psychoacoustic models to simulate sounds reflecting from surfaces in a room or space. Optionally a delay can be added to yield a spacious and open sound of a repeating, decaying echo to complete a sense of space and depth to a 'dry' input signal.
A highly tweakable, versatile, and inspiring solution for ambience effects, that produces a natural sounding room reverberation and delay effect giving a true room perception, from small rooms to large caverns as well as generates a doubling echo, slapback echo, ping-pong delay and analog tape delay. Offers multiple controls for modifying one or both channels to produce a rich array of time-based effects.
Available as plugin in VST and VST3 64 bit versions for Windows as well as in Audio Unit for macOS. These plug-ins are perfectly suited for any type of audio production when acoustic space simulation is needed from recording to post production in 64 bit platforms. Small rooms have a high percentage of early reflections (the first feedback from the closest objects) that can give more body to tracks. It is also good with acoustic guitars and voices. Larger rooms presets are better with strings, or wind instruments and synthesizer pads.
Features:
• Reverb and delay algorithms that delivers a rich reverberation and echoes by providing a spaciousness and depth to simulate the sound reflections from walls, floors and ceilings in an acoustically reflective environment.
• Flexibility to control Left and Right channels separately in Reverb and Delay units as well as in 'dry' signal output.
• Reverb unit works as a Stereo enhancer and mono-to-stereo creator, to produce a wide stereo image or stereoize a mono sound source. In Delay unit, improves the stereo image by adding a slight delay to one of the channels.
• Delay Time manual or synced to host (Tempo Sync BPM).
• 30 predefined space types, giving a virtually infinite number of possible shapes and sizes.
Preset Effects List:
01 • DEL - Analog Tape Delay
02 • DEL - Bucket Brigade Delay
03 • DEL - Crypt Echoes
04 • DEL - Doubling Echo
05 • DEL - Infinite Delay Machine
06 • DEL - Ping-Pong Delay
07 • DEL - Slapback Echo
08 • DEL - Sync Tube Tape Delay
09 • DEL - Tempo-Sync Delay
10 • DEL - Tube Driven Tape Echo
11 • REV - Amphitheater Reverb
12 • REV - Auditorium Reverb
13 • REV - Cathedral Reverb
14 • REV - Chamber Reverb
15 • REV - Hall Reverb
16 • REV - Opera Reverb
17 • REV - Plate Reverb
18 • REV - Room Reverb
19 • REV - Spring Reverb
20 • REV - Theater Reverb
21 • REV+DEL Ambience Reverb
22 • REV+DEL Arena Reverb
23 • REV+DEL Canyon Acoustics
24 • REV+DEL Catacomb Reverb
25 • REV+DEL Cave Reverb
26 • REV+DEL Church Reverb
27 • REV+DEL Cosmos Echo Panning
28 • REV+DEL Spatial Reverb
29 • REV+DEL Stadium Reverb
30 • REV+DEL Sync Bounced Delay
This book is an open invitation to think and a book for thinkers...
It's my first serious piece of non fiction. The book is a compilation of 2 years worth of essays on a variety of subjects from physics to futurism to sociology. Like most of my other writings it doesn't take itself too seriously but earnestly tries to fill your head with 'aha' moments all the same.
I self published this work because life's too short to wait for a publisher's opinion at this point. And I know how that story ends...
So, if you are the kind of person who reads for a love of learning and looking at the same things in a new way, I wrote this book just for you.
I hope you enjoy it.
Jack oughton get more better ideas v1.0Jack Oughton
A free checklist/cheatsheet/cribsheet guide for people interested in problem solving and having creative ideas / 'ideation'. Written from the perspective of a writer/composer/sound designer/photographer etc. (i.e someone who's trying to be creative all the time).
Aimed at: everybody - especially those who don't see themselves as 'creatives'. Can also help 'creatives' looking for extra ideas.
Things it covers includes:
Ideas, tools, inspiration and substances for improving creative thought
Tips for breaking ruts
Help for thinking and providing under pressure, such as time constraints and deadlines.
Ideas in how to find inspiration anywhere and everywhere
Help in identifying and overcoming barriers to creative execution
Thoughts around goal setting and priorities for creative people.
Guidance in cultivating a ‘creative mindset’
Quotable, wise and inspiring words from a variety of very creative people
Signposts towards further reading in the creative thinking / ideation field
Enjoy the work of Mihaly Csikszentmihalyi, Edward de Bono, Tony Buzan etc. or just looking for ways to increase your own creativity? This might be for you.
Remember, you are one very good idea away from achieving almost anything you want. Hope you enjoy!
Jack oughton ‘virtuous writing checklist' v1.0Jack Oughton
A concise but powerful cheatsheet/checklist for improving the quality of your writing and doing better in the business of writing. Also handles dealing with the new media environment, self promotion, technological tools, 'deadline games', work processes and structuring work. And much more (including additional resources worth finding). Basically self improvement for writers, written by an experienced freelance writer. No fluff, good stuff ^_^
Flyer koukouvaya fine art photography - walesJack Oughton
One of the many photography diaries I have created from my various travels and experiences in different parts of the world. I try to capture the spirit of the place in a way that emphasizes the beauty of the environment. The images are processed differently, and some are quite old. (some are better than others!). See the world as I saw it, a picture paints a thousand words as they say...
Flyer koukouvaya fine art photography - liverpoolJack Oughton
One of the many photography diaries I have created from my various travels and experiences in different parts of the world. I try to capture the spirit of the place in a way that emphasizes the beauty of the environment. The images are processed differently, and some are quite old. (some are better than others!). See the world as I saw it, a picture paints a thousand words as they say...
Flyer koukouvaya fine art photography - isle of mannJack Oughton
One of the many photography diaries I have created from my various travels and experiences in different parts of the world. I try to capture the spirit of the place in a way that emphasizes the beauty of the environment. The images are processed differently, and some are quite old. (some are better than others!). See the world as I saw it, a picture paints a thousand words as they say...
Flyer koukouvaya fine art photography - spainJack Oughton
One of the many photography diaries I have created from my various travels and experiences in different parts of the world. I try to capture the spirit of the place in a way that emphasizes the beauty of the environment. The images are processed differently, and some are quite old. (some are better than others!). See the world as I saw it, a picture paints a thousand words as they say...
Flyer koukouvaya fine art photography - southern usa + mexicoJack Oughton
One of the many photography diaries I have created from my various travels and experiences in different parts of the world. I try to capture the spirit of the place in a way that emphasizes the beauty of the environment. The images are processed differently, and some are quite old. (some are better than others!). See the world as I saw it, a picture paints a thousand words as they say...
Flyer koukouvaya fine art photography - models folio [colour]Jack Oughton
A demonstration portfolio/brochure of my photography work with modelling clients in 2010. Mainly glamourous females shot with natural light, on location.
GridMate - End to end testing is a critical piece to ensure quality and avoid...ThomasParaiso2
End to end testing is a critical piece to ensure quality and avoid regressions. In this session, we share our journey building an E2E testing pipeline for GridMate components (LWC and Aura) using Cypress, JSForce, FakerJS…
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
In his public lecture, Christian Timmerer provides insights into the fascinating history of video streaming, starting from its humble beginnings before YouTube to the groundbreaking technologies that now dominate platforms like Netflix and ORF ON. Timmerer also presents provocative contributions of his own that have significantly influenced the industry. He concludes by looking at future challenges and invites the audience to join in a discussion.
Essentials of Automations: The Art of Triggers and Actions in FMESafe Software
In this second installment of our Essentials of Automations webinar series, we’ll explore the landscape of triggers and actions, guiding you through the nuances of authoring and adapting workspaces for seamless automations. Gain an understanding of the full spectrum of triggers and actions available in FME, empowering you to enhance your workspaces for efficient automation.
We’ll kick things off by showcasing the most commonly used event-based triggers, introducing you to various automation workflows like manual triggers, schedules, directory watchers, and more. Plus, see how these elements play out in real scenarios.
Whether you’re tweaking your current setup or building from the ground up, this session will arm you with the tools and insights needed to transform your FME usage into a powerhouse of productivity. Join us to discover effective strategies that simplify complex processes, enhancing your productivity and transforming your data management practices with FME. Let’s turn complexity into clarity and make your workspaces work wonders!
DevOps and Testing slides at DASA ConnectKari Kakkonen
My and Rik Marselis slides at 30.5.2024 DASA Connect conference. We discuss about what is testing, then what is agile testing and finally what is Testing in DevOps. Finally we had lovely workshop with the participants trying to find out different ways to think about quality and testing in different parts of the DevOps infinity loop.
Encryption in Microsoft 365 - ExpertsLive Netherlands 2024Albert Hoitingh
In this session I delve into the encryption technology used in Microsoft 365 and Microsoft Purview. Including the concepts of Customer Key and Double Key Encryption.
Climate Impact of Software Testing at Nordic Testing DaysKari Kakkonen
My slides at Nordic Testing Days 6.6.2024
Climate impact / sustainability of software testing discussed on the talk. ICT and testing must carry their part of global responsibility to help with the climat warming. We can minimize the carbon footprint but we can also have a carbon handprint, a positive impact on the climate. Quality characteristics can be added with sustainability, and then measured continuously. Test environments can be used less, and in smaller scale and on demand. Test techniques can be used in optimizing or minimizing number of tests. Test automation can be used to speed up testing.
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
UiPath Test Automation using UiPath Test Suite series, part 6DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 6. In this session, we will cover Test Automation with generative AI and Open AI.
UiPath Test Automation with generative AI and Open AI webinar offers an in-depth exploration of leveraging cutting-edge technologies for test automation within the UiPath platform. Attendees will delve into the integration of generative AI, a test automation solution, with Open AI advanced natural language processing capabilities.
Throughout the session, participants will discover how this synergy empowers testers to automate repetitive tasks, enhance testing accuracy, and expedite the software testing life cycle. Topics covered include the seamless integration process, practical use cases, and the benefits of harnessing AI-driven automation for UiPath testing initiatives. By attending this webinar, testers, and automation professionals can gain valuable insights into harnessing the power of AI to optimize their test automation workflows within the UiPath ecosystem, ultimately driving efficiency and quality in software development processes.
What will you get from this session?
1. Insights into integrating generative AI.
2. Understanding how this integration enhances test automation within the UiPath platform
3. Practical demonstrations
4. Exploration of real-world use cases illustrating the benefits of AI-driven test automation for UiPath
Topics covered:
What is generative AI
Test Automation with generative AI and Open AI.
UiPath integration with generative AI
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
A tale of scale & speed: How the US Navy is enabling software delivery from l...sonjaschweigert1
Rapid and secure feature delivery is a goal across every application team and every branch of the DoD. The Navy’s DevSecOps platform, Party Barge, has achieved:
- Reduction in onboarding time from 5 weeks to 1 day
- Improved developer experience and productivity through actionable findings and reduction of false positives
- Maintenance of superior security standards and inherent policy enforcement with Authorization to Operate (ATO)
Development teams can ship efficiently and ensure applications are cyber ready for Navy Authorizing Officials (AOs). In this webinar, Sigma Defense and Anchore will give attendees a look behind the scenes and demo secure pipeline automation and security artifacts that speed up application ATO and time to production.
We will cover:
- How to remove silos in DevSecOps
- How to build efficient development pipeline roles and component templates
- How to deliver security artifacts that matter for ATO’s (SBOMs, vulnerability reports, and policy evidence)
- How to streamline operations with automated policy checks on container images
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
2. Jack Oughton
Live Recording
MUSPRA215
Location: Scream Studios, Croydon.
Session:
Abive: Digital Audio Workstation, Behringer Eurodesk MX9000 with sound isolated
room in backdrop
For this session we used a DAW [Digital Audio Workstation] running Logic, and a 24
channel Eurodesk mixer. We chose Logic because it is an incredibly stable and flexible
software programme that in my opinion, works equally well in live sound recording,
and sequencing. The mixer used was a 24 channel Eurodesk MX9000. I used this
mixer to set the levels from the sound check and to control the master fader. This
mixer has Pan balance and Hi/Low/Mid boost settings on each channel strip.
However, I chose to use software plug in effects in Logic instead. I did this as it gave
me greater flexibility in the mixdown phase later in Logic. If the channel were to have
effects on it already, these may conflict with changes made in post production, or add
3. additional post production work to compensate for these effects.
I used the Eurodesk to set the levels for each instrumental track in the sound check,
and to control the overall master volume. This was to prevent peaking later on in the
recording, and to do my best to keep the levels at a similar range to make Logic post
production easier. The mixer has hardware equalization settings such as frequency
boosts, reverb and pan on each channel strip, but I did not use these as recording a
mix would give me more flexibility later on in Logic. I found the mixer generally easy
to use, but did discover that musicians seem to play even louder later into the track
than they had in the sound check, possibly as they got into the music more. This
meant I had to keep turning faders down, as the track progressed.
Equipment Used:
Shure SM58
This was used on vocals. Usually, we would be using condenser microphones, such as
4. a Neumann for vocals, as they have a larger polar footprint [they can pick up more
sound in room, and therefore can better capture the subtleness of a vocalist’s
articulation], in this case however, this would have been a problem, as the vocals were
not in a completely isolated booth, and instrumental bleed would have taken up a
large portion of the frequency range. This is why we used the SM58 instead. The
Sm58 is dynamic microphone, not a condenser, with a smaller footprint. This meant
that it picked up more of the sound which would be coming from one direction [ie.
Abdul (the rapper)’s mouth]. The SM58 is also more mobile and allowed Abdul the
freedom to move around, as a rapper he is energetic in his performance.
Neumann TLM with attached pop shield.
Set up in a semi enclosed vocal area with an absorptive surface [you can see part of it
behind the microphone] it is a very sensitive vocal microphone. This mic ended up
unused as Abdul, our vocalist wanted more flexibility in his movement, and he used
the SM58 instead.
5. Behring Ultra Direct Injection [DI] Box
This was used to record guitar. I prefer direct injection where possible because it
eliminates any ambience problems the room may pose, as it takes the signal directly,
and is not recording simultaneous background noise. This means that I have a very
clear guitar track in my mix, I have been able to add effects to it in post production
(making it stand out more). I have also not had to apply any gating or frequency
reductions to compensate for bleed.
6. Peavey Bass Amplifier and AKG D112 Microphone
For the bass amp I used an AKG D112, close miced on a Peavey Bass Amplifier. I
used this microphone because it would pick up less of the surrounding noise, and I
knew that instrumental bleed would be less of a problem here, since the bass sits lower
in the overall frequency range and I could trim the top part of the EQ.
8. The Drum Kit
The drum kit we used was a Yamaha Tour Custom with an assortment of different
microphones. The AKG D112 was used on the kick drum because it is designed for
this purpose, it picks up signals with a boosted low end, is the characteristic low
thump of the bass drum. Both the bottom and the top of the snare drums were close
miced with Shure SM57s, again because they are dynamic and more directional, this
was intended to reduce bleed from other components of the drum kit as much as
possible. They are also very versatile microphones and were able to pick up the mid to
high frequencies a snare’s sound sits in. For the same reasons pertaining to frequency,
SM57s have been used on the hi-hats. Toms were miced with Shure PG48s, as the
toms sit mid to low in the frequency range and the Shure microphone works well
9. within this sound band.
Finally, T Bone SC1100s were used as overheads, intended to record the ambience of
the kit. They are condenser microphones and due of their wider polar footprint they
do a good job of picking up every part of the drum kit, from the bass drum to the hi-
hats.
Specified Criterion:
I will now attempt to argue how I have hit the specified criterion for the module.
Create a multi-track live recording of an ensemble of at least four
musicians, which meets the following requirements:
a. The recording should last a minimum of two minutes;
The recording lasts 3:12.
b. There should be at least four tracks;
There are more than 4 tracks.
c. Use of a variety of microphones for different applications (e.g. vocal and instrument);
Each musician playing on this track had at least one microphone close miced to his
instrument. The vocalist also had a microphone.
d. Use of both ambient and close micing techniques;
Ambient and close micing has been used in these recordings. For example, the
drumkit had overhead microphones used above the hihats and snares, and a
microphone embedded in the kick drum
e. Create enclosures to diffuse reflections where appropriate;
The vocals were recorded in a separate improvised area which used wood panels with
carpet, which was within the same studio room as the other musicians.
f. Use of direct injection;
The guitar track is recorded with a DI box as well as the microphone recording the
amp directly.
g. Use of input gain to avoid distortion and excessive noise levels;
In the recording process I did an initial sound check to attempt to determine the
maximum levels for each musician and prevent individual track peaking. In
postproduction I reviewed the waveforms in Logic.
h. Application of EQ , pan and level to mix the track;
10. I have used EQ on certain tracks to top and tail them, to ensure. For example on the
bassdrum I cut the high frequencies and on the hi-hats I cut the low frequencies.
I have used Pan on both tracks of Abdul's vocals, to make the pitch shift more stark.
I have used fader levels throughout, on the desk and later in Logic to compensate for
the natural variation in volume on each track.
i. Use of effects (internal or external) on at least one track;
I have used effects on many tracks, for example, I have used Logic's tremolo on the
guitar track.
j. Creation of a balanced two-track mix with correct gain structure.
The track's output was stereo. In post production I ensured that the levels stayed
below peaking.
STRENGTHS
I believe I have created a rap track with a well-produced, prominent vocal line. I tried
to copy the style of production I have observed on Eminem's tracks. I created 2 vocal
tracks with the same audio recording, pitch shifted one by a semitone and then
panned one to the left and one to the right. This creates a harmonic dissonance on
the vocal track, delivered in stereo, which I think makes the vocals more aggressive
sounding.
I also argue that I have created a strong snare sound by greatly compressing the
bottom snare microphone. This emphasizes the sound of the ball bearings under the
drum skin. I also used EQ to bring out higher frequencies on the top microphone
snare, trying to make it sound as sharp as possible.
I also argue that my use of noise gating in postproduction was of an excellent
standard. For example gating allowed microphones such as the bass drum
microphone to be triggered only by the actual kick, and by setting the trigger
threshold correctly I managed to avoid accidental triggering by ambient sounds from
other parts of the kit,
WEAKNESSES
There is significant bleed on many of the tracks, such as the hi-hat overheads and
especially the vocal recording, if you solo the vocal tracks you can clearly hear other
instruments. I found it hard to engineer it out due to the rapper’s vocal frequencies
occupying a wide frequency range. A solution could have been keeping the rapper
behind the vocal isolation screens. Also, the volume of the vocalist’s voice varies, even
when normalized in Logic, possibly due to his microphone placement changing in
distance from his mouth. This is troublesome to work with because find it hard to
enhance his voice without engineering the bleed too much.