• A video about the philosophy of bass in music production.
“It’s your choice how you think about the psychoacoustic element: either your brain hears those upper harmonics, and calculates that there must be a low fundamental causing that harmonic series to emerge. Or the inherent nonlinearities of your hearing mean those sum and difference partials actually appear inside your head. But either way, it’s a tried and tested phenomenon, and most modern pop and rock mixes rely on it. If you ever wondered why you can listen to a mix on small tinny speakers, yet still hear the bass guitar clearly; and moreover still hear that it’s playing low, deep bass notes, even though you can’t feel the weight of them; this is what’s going on.
“’When I boosted up the saturation too much, she looked small — she became like a toy creature,’ said Jung, the art director. ‘When I brought down the saturation, she became too realistic, like a live-action creature.’ The team wanted something that felt natural and organic but still lively onscreen — something that would be ’embracing two different worlds,’ Jung said. They settled on a slightly desaturated red that leans toward magenta. When the character is far away, that tone is cooled to give the impression of atmosphere between the camera and the character — in the same way that, in real life, mountains in the distance often skew blue or purple.”
• A ventrilo-dialogue video from brettworks.com in 2011 about about the relationship between the musician and technologies of electronic music production.