James Perrett wrote:
Frogy wrote:Focusrite Liquid Mix employed Sintefex's Dynamic Convolution technique, whereas Acustica use a proprietary Vectorial Volterra Kernels technique. They are similar in a few respects, but VVK allows the capture of harmonic distortion, which makes significant differences when sampling a hardware unit - eq, compressor etc.
Hmmm - in the abstract athttp://www.aes-uk.org/forthcoming-meeti ... -software/
they specifically mention the use of VVK as a way of getting around existing patents. If I get time I'll watch that presentation and see if there's anything interesting there.
Allow me to reply to your comment.
I think that a much more recent video that shows off the tech behind what we do is this one:https://youtu.be/GI2RjH9mmgE
[and frankly, our CEO/CTO's English wasn't as good at the time of the first video - so this watches better
The reason why Sintefex's Dynamic Convolution was mentioned in this abstract you point to is that, we are not trying to hide the origins of our ideas and we like to give credit where it is due. It is the same reason why Giancarlo (CEO/CTO of AA) quotes Angelo Farina in all of his talks/papers. Indeed Angelo himself also quotes GC as an example of how far those ideas can be pushed.
However, it is very important to stress that the tech we base our products on is not merely a mod of dynamic convolution to avoid patent issues! The reasons for the existing differences are far deeper and such that affect the levels of unwanted distortions of the final products and ultimately their sound!
I also want to point out that we have been constantly improving this tech since 2003, more so since 2013-2014, when Acustica became from a 'one-man hobby' a real company. Just a few weeks ago we released Core12 of our engine. Yes, you are right, in its very core this tech is the same as what came out as Nebula (1) in 2005. But in the past years we have not had a work day (specifically last 4+ years) in which someone from the team has not done any coding changes, additions or optimisations to the engine.
For example today we can create hard distortion based on proprietary new tech that has no equivalent in the way it is done (at least to my knowledge) and our compressors have impressively low aliasing figures and no artifacts, as they did some years ago. Today we are also able to sample clippers. And our approach to convolution partitioning (especially useful for reverbs) presents optimisations that push the limits of previous patented methods.
So I would dare to say that where we are today is light years ahead of what the market has seen previously from any approach based on dynamic sampling.
I can continue with this, but really, the proof is in the pudding. So I would like to invite you to try some of our latest Core 12 products. They speak for themselves! Pink2, Azure and Ruby are indeed a great way to hear what we do.