Making a Convincing Melody with Sampled Orchestral Strings. When it comes to MIDI orchestration, the string section is probably the most difficult to emulate. That is because it, even though the strings are probably one of the most homogenous sections of the orchestra, it has some characteristics that are extremely hard to produce via samples. First of all, the strings are bowed instruments. This means that the musicians use a bow to produce the tones.
The bow can be moved either up or down and this creates different aspect of the sound. Secondly the players are always slightly out of tune, mostly in the beginning of the note – especially when they change positions very quickly and therefore produce a slurred tone. As you have probably guessed, most of the work on MIDI orchestration goes for string melodies. So before we continue to the actual tutorial, I'd like to offer you some things that you should consider, observe and watch. Go to classical concerts. Step One: Creating the Melody This is the melody we will be using. I hope this helps you.
Mastering. Effects. RECCOMENDED EQUALIZATION FREQUENCIES. Mix Mistakes. We explore some of the most common causes of mix failure we've tackled in our monthly Mix Rescue column. Banish these demons and you're most of the way to a devilishly good mix! Mike Senior Over the years, I've listened to piles and piles of amateur mixes from home studios, including thousands of productions submitted by SOS readers to Mix Rescue, Studio SOS, Demo Doctor (the predecessor of the current Playback column), and the My Sound Files section of the SOS forum.
On top of that lot, I've heard almost as many mixes again from students and teachers working in small college studios. What really crystalised this opinion for me recently was listening to over 100 mixes of the same raw multitrack files in order to adjudicate a recent 'mix‑off' contest. The purpose of this article, then, is to reveal the most common of these recurring mix nightmares — and thereby help you to avoid them in your own projects. 1: Dodgy Timing/Tuning Here's the waveform from a live drummer's kick‑drum mic. Sessions | Audiotuts+ Producing Rhythm: How to Add Amazing Feel to Your Tracks. Producing Vocals: From Mic Placement to Mixing. Playing With Time. In this quick tip, we are going to look at a few ways of playing with the timing of drum patterns to give the illusion that a standard drum ostinato is speeding up or slowing down in time. Rushing the Snare The first and easiest way of creating this illusion is to slightly rush or delay a certain drum element.
Here, I have set up a basic ostinoto with a standard four to the floor rock/dance pattern. Now, if I nudge the second snare hit forward by a 192 division, it gives the portion of the bar between the first and second snare hits a subtly faster and more energetic feel. It may be difficult to hear, especially against a full band, yet it is an effective trick that many drummers use when they want to intensify certain areas of a song.
This also helps to give a more humanistic feel to your programming, while giving the snare a more swung and accented feel. Here, I have added a bass to help emphasize the snare's timing against the rest of the loop. Hi-Hat Displacement The Fabric of Time. SONY ACID PRO: Route tracks to buses to create submixes. Use buses to expand your mixing options OBJECTIVE: Route tracks to buses to create submixes. BACKGROUND: Buses are often used to route the audio from various channels to send effects, but they can also serve as submix buses so the bus’s level control could, for example, raise or lower the level of multiple tracks simultaneously.
A default Acid Pro project routes all tracks to the master bus, so to create submixes, you need to assign track outputs to buses instead. Here’s how to do this. 1 In the toolbar at the top of the Mixing Console, click on the Insert Bus button. 2 In the Mixer View Pane, click on Audio Busses (outlined in red) to display buses in the console. 3 For tracks that you want to assign to a submix bus instead of directly to the master bus, ctrl-click on the track number in each track’s header. 4 Click on the Bus icon for any of the selected tracks, then choose the desired bus destination (in this example, Bus A).
Tips • To add automation to a bus, go Views > Show Bus Tracks. Acid Pro. Native Instruments Massive. Creative Volume Automation of Pads. In the first example, we'll use volume automation to make a flexible sidechain effect, and in the second example, I'll show you how to use creative volume automation to give a track room to breathe. I'm using FL Studio, and these tips are useful for all DAWs. Step 1: Setup First, let's have a listen to what we have right now.
If you'd like to learn how to make a sound like this, check out the Reverse Glass Tutorial. But for this tutorial, we'll begin by adding a volume plugin to the mixer track. I'll be using FL Studio's Fruity Balance. Next, create an automation clip controlling the volume level. Step 2: Design Now we have a volume envelope. Let's slice this bar and paint it across the playlist to save us the trouble of drawing this shape a lot of times. Now I'm going to adjust the curve of our fake sidechain. Step 3: Getting Creative One of the advantages of drawing a volume envelope rather than using sidechain compression or an LFO is that you have more freedom in adjusting the sound. Starting a Song by Beatboxing or Singing an Idea.
This article is about a quick and effective technique for capturing inspiration in a practical way that quickly translates into an actual song. This is one way to start a track with a vision you will want to finish. Step 1 First, set the tempo, and record yourself singing your idea into the closest microphone you can find. It doesn't have to be high-quality or anything spectacular, as we won't be using the audio in the final song. The goal is just to capture an idea that can be worked with.
Step 2 Next, adjust the file so that it is synced with the track, slice the audio file and arrange it if you'd like. Step 3 Leaving the audio untouched, create a drum pattern that supports your sung idea. Step 4 Now it's time to start replacing that idea file. Power Tip Right now you may be wondering how strict you should adhere to your sung idea file. Step 6 Lastly, consider adding a couple more instruments to your track. Making a Convincing Melody with Sampled Orchestral Strings. How To Make Epic Electronic Beats. On the most part electronic beats are pretty straight forward.
Most of the work lies in processing and programming variations. A lot of my students often ask how to make their beats sound more epic, so I thought I’d share a few useful mixing and editing tips with you. In this tutorial we’ll take a look at how to use routing and layering to add accent and impact to some Dubstep style snare hits. The aim of the game is to give each hit a unique sound and make the whole beat larger than life. I’m using Logic here and pre-programmed loops and samples to demonstrate the technique but you really can use any DAW or similar plug-ins here.
Of course it should also go without saying that this technique can be used in conjunction with any style of electronic music. Step 1 - Identifying The Hits To Process The first job is to identify the parts of your beat you want to enhance. The initial dry loop… unedited The untreated loop playing back The snares are trimmed Now make a few new audio channels. How to Autotune Your Vocals Like T-Pain, Cher or Daft Punk. Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+.
This tutorial was first published in July 2008. Ever heard a song by T-Pain on the radio and wondered how the robotic vocal effect is achieved? By the end of this tutorial, you will own the autotuning sound that is used on so many pop records right now. Note: this article contains embedded audio that will not display in a feed reader. Click back to the site to read the tutorial with audio, or download the audio files at the bottom of the post. Listen to some examples of this effect in action: T-Pain – Buy U A Drank Cher – Believe (First Pop Instance of Autotuning) Daft Punk – One More Time You may assume that it takes a masterful engineer and a lot of money in hard effects to get that autotuned sound, but that's not the case: using only a few steps and a simple plugin you will be well on your way.
This tutorial assumes basic knowledge of VST effects and FL Studio. Tutorial Setup: Step 1 Step 2. 50 Pro Tips For Breathing Life Into Your Electronic Music | getthatprosound.com. You know the feeling when you listen to a well-produced electronic track: Everything about it seems to burst with energy, each of the elements twist and wrap organically around each another, giving the impression that the whole track is one big living and evolving ‘thing’. But when you’re getting into producing electronic – that is, loop or grid-based music – it can be really difficult figuring out how to inject your own tracks with this sort of excitement and life-like energy. It seems on the surface like it’s just a matter of flicking from one repeated/looped section to another: but when you try lining up the blocks of programmed drums and synths in your DAW, the result just doesn’t have the kind of energy and sense of drama that you hoped for. 1.
Non-Sync Delay & Reverb Try turning off tempo-sync on your delay effects, and experimenting with longer reverb pre-delay times. 2. Drop In Groovy Percussion Loops To Loosen Up The Main Beat A classic trick, but it works. 3. 4. 5. 6. 7. 8. 9. 17 Music Books That Could Change Your Life | getthatprosound.com. 7 Pro Techniques to Improve Music Production Mix | getthatprosound.com. I was thinking today about how there are some pretty basic production tips that I wish I’d taken on board earlier with my music.
If you’re anything like me, sometimes you have to hear the same tips and advice repeated a few times before you start thinking, “Hang on, if I actually did this, changed my approach a bit, rather than just keep writing tracks the way I’m used to, I might actually get better.” So make the effort to try something new or different with how you approach your productions every now and again – it may make things more difficult at first, but it’s the best way to improve. Here are 7 such things to try – pretty simple, but often remarkably challenging to remember when you’re caught up in that moment of creative inspiration: My favourite tool for the job, Waves Renaissance Compressor. 1. Parallel compression Moreover, getting punchy drums is really key in any genre these days, be it rock, techno, dubstep or drum & bass.
Noisia feel “What’s Going On” from Marvin Gaye 2. 3.