01 · Dynamics
Slower vs faster compressor attack
The pitch envelope and decay stay similar. The detector timing changes how much of the onset passes before gain reduction reshapes the hit.
Listen for arrival strength, not loudness alone.
Twelve controlled A/B comparisons
Hear the variable move.
Every sound is synthesised in your browser from oscillators, noise, envelopes and standard Web Audio processors. There are no artist samples, downloads or autoplay. The examples isolate principles; they are not genre presets.
Listening method: set a comfortable fixed monitor level, play A, then B, and describe the change before reading the status text. Output gains are calibrated for a useful approximate match, but browser, device and perception prevent laboratory-grade loudness matching.
02 · Envelope
Short vs long low-frequency decay
The longer version carries more energy between hits. Decide whether that continuity is weight or unwanted occupancy in the intended pattern.
Listen to the space after each hit.
03 · Layering
Aligned vs 4 ms delayed low layer
A small offset changes summation differently across the moving spectrum. The delayed version is not simply quieter; its body shape changes over time.
Listen for body stability and a single arrival.
04 · Source choice
Right source vs corrective filtering
One source begins with a compact envelope and readable onset. The other starts too long and dark, then receives broad filtering. Similar category, different fit.
Listen for coherence, not maximum size.
05 · Peak control
Soft clipping vs compression
Clipping contains short peaks and creates harmonics. Compression follows an envelope. Both can reduce crest factor, but they change time and tone differently.
Listen for onset shape, density and recovery.
06 · Contrast
Reduced vs increased transient contrast
The brighter version shifts energy toward the first few milliseconds while reducing body level. “More punch” is a relationship, not only more output.
Listen for the ratio between onset and body.
07 · Low-end system
Kick above bass vs kick below bass
Both arrangements can work. Version A uses a shorter, higher kick over a sustained low bass; version B lets the kick carry lower weight while the bass answers higher and shorter.
Listen for ownership, not a universal winner.
08 · Harmonics
Clean vs saturated body
The saturated version uses output compensation so the additional upper harmonics can be judged without an automatic loudness advantage.
Listen for translation detail and roughness.
09 · Mono compatibility
Centred vs delayed stereo low body
The wide version offsets and pans a duplicate low layer. Headphones reveal spread; mono playback can reveal why low-frequency width needs verification.
Use headphones, then re-check your device in mono.
10 · Synthesis history
808-informed vs 909-informed architecture
These are original teaching syntheses, not machine samples. A longer rounded decay suggests one design family; a shorter, brighter, noisier onset suggests another.
Compare envelope and onset, not brand labels alone.
11 · Playback
Sub-only weight vs upper translation
Version A puts identity mainly in deep energy. Version B reduces deep level and adds a short upper arrival that remains audible through limited-bandwidth playback.
Turn down: which version still marks the rhythm?
12 · Temporal masking
Full overlap vs brief bass handoff
The notes remain close in register. In version B, the bass yields during the kick’s arrival and returns quickly, creating separation in time rather than permanent EQ holes.
Listen for one low contour versus two competing arrivals.
Audio method and limits
- All sounds are generated at playback time with the browser’s Web Audio API.
- Each button schedules four identical hits. No microphone permission, analytics event or audio upload is used by this page.
- Output gains are hand-calibrated to reduce obvious loudness bias; they are not a substitute for standards-based laboratory matching.
- Device speakers, headphones, browser engines and listening level change the result. Repeat important comparisons in your DAW with your own sources.
- The machine comparison is explicitly architecture-informed synthesis, not a claim of hardware emulation or a sample from a copyrighted recording.
Connect hearing to action
Return to the decision guides.
Once you can describe the audible change, use the guide’s controlled checks to decide whether that change solves your mix problem.