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Kayne’s (1984) binary branching hypothesis naturally led to the postulation of multiple VP layers for multi-argument verbs, e.g. #Altiverb vs lexicon series#Under the impact of Pollock’s (1989) influential analysis of verb movement, IP dissolved into a series of functional projections, each corresponding to system (Agr, T, Asp,…). In the mid eighties, each layer was identified with a single X-bar projection (VP, IP, CP), but this assumption quickly turned out to be too simplistic. #Altiverb vs lexicon free#The complementizer layer, typically headed by a free functional morpheme, and hosting topics and various operator-like elements such as interrogative and relative pronouns, focalized elements, etc. The inflectional layer, headed by functional heads corresponding to concrete or abstract morphological specifications on the verb, and responsible for the licensing of argumental features such as case and agreement. The lexical layer, headed by the verb, the structural layer in which theta assignment takes place. You don’t need to spend big bucks for most work but for hi expense, quick tunaround work it pays dividends.Abstract: Under current assumptions, the structural representation of a clause consists of three kinds of structural layers, each layer an instantiation of the X-bar schema: It copes with all transients and can quickly create an acoustic which beds in any mix. I use it on classical, jazz and world music recordings. Its selling point is that it is transparent, versatile and can be used live on every kind of music. In the Studio though may go to reverb is the Lexicon 960L which has 4 separate processors with a Larc remote which allows very quick adjustment on the fly The Altiverb and Space allow some real precision in designing an acoustic, which I rely on a lot. #Altiverb vs lexicon software#I use Altiverb, Lexicon, Avid Space and 2c software reverbs and they are all great in context. Try placing some of these reverbs on a raw live recording of and orchestra and see how they cope. #Altiverb vs lexicon full#Although this allows a good a/b comparison it is not really testing how a reverb unit copes wit a full range of dynamics and timbres. These have been smoothed out, levelled, and have already a neutral special acoustic. In these tests source material are carefully recorded Spitfire audio samples. ![]()
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