Got a tattooed tit- say NUMBER 0013
Here's what I was up to (screwed up in that I did NOT keep notes, curse it- hey, at least I did extensive reviews FWIW)
I thought things were pretty good, just sort of 'demo-ey' so my version was characterized by two things: a wacky HF limiting routine that turned out to be too murky, and a 14" stick.
The HF/slew limiter was a lot more sophisticated than some previous ones- it basically put a continuously increasing saturation on just the slew factor, slowing things down without there being a sharp break in the curve. Unfortunately the disadvantages outweighed any benefits- the next actual paying gig I got, client was all like 'WTF' and I quickly got rid of THAT experiment. However, it did do a pretty decent job of setting things back in the soundstage, and I'm putting it back in as an option for things like doing convolution impulses.
The other factor was funnier to watch- I found that my white ass could get some clue of 'groove' and rhythm by swinging an orchestra baton. If I did that, smoothly, it became possible to 'feel' what was rushing or lagging, and I looked at the frequency balance in that light. I found that bass boosts were very responsive to this sort of thing, you could shift the cutoff frequency up to make things 'faster' or lower it to slow down. With the highs, I found it was more about bright stuff coming forwards and rushing, and letting stuff sink back into the texture of the song to slow it down.
I don't know if it's really important to do a revisions round- I mean, sure, I could do a lot with that, but won't there be another WUMP instead?