Editing for Beginners - Introduction. Sound Editing in the "real world" Sound editors clean up dialogue tracks, cut layers of special effects, place sounds at certain times, create ambiance tracks by cutting out unwanted stuff and mixing in interesting or necessary sounds. Music production engineers may cut pieces of vocals away or shift them to a another spot in a song. Editing is about cutting, placing, fading, cross-fading, shifting, duplicating and adjusting the volume (also referred to as level) of audio material. Mixing is a form of editing too of course. Here is an example of what is done in sound editing during the production of a television show or film. In the next part we will run you through a few of those techniques in Audacity. The Path of Sound in Film and TV Postproduction Film and TV crews have at least two people present that take care of recording sound during principal photography of a show.
Sound in Principal Photography The first person is the boom pole operator. This is the raw sound material of a show. Beat Dissected. Passing Notes. Audio and MIDI: Editing techniques. Nearly all DAWs offer the chance to work with two types of data, region or block, as nearly all provide both MIDI and audio capabilities these days. Whether you're looking to fire up an instrument and doodle away with your controller keyboard until creativity strikes, or recording, chopping up and editing "real" sounds onto audio tracks, these two data types can happily exist side-by-side within one arrangement.
However, through this article, we're going to look at ways to extend the relationship between these data types further, exploring techniques which cross from MIDI to audio and vice versa. The ways in which we can interact with audio differ from those in which we can with MIDI. This suggests that the editing processes for each will also be different. Converting to audio Let's start by looking at some examples of when converting MIDI parts you've programmed for synths, drums or other plug-in instruments might benefit from being bounced down as audio files. Reach Out... Sampling. Bram.Smartelectronix.Com. A guide to drum programming.
In this feature we'll be looking at some tips to help you build and enhance the drum patterns you're programming for your tracks. It goes without saying that beats are at the heart of any dance music track. In fact, the patterns you program and the sounds you use tell a listener as much about the musical style they're hearing as any other sound. In this feature we'll be looking at some tips to help you build and enhance the drum patterns you're programming for your tracks.
We won't be focusing on tricks common to one genre, but will instead explore a range of things to try by building a basic pattern and slowly introducing more involved techniques. Most should prove useful, regardless of your musical preferences. Let's start with a simple pattern at 120 BPM. As you're probably already aware, most DAWs allow you to work within a grid, whereby each beat can be broken down into a number of sub-divisions.
Developing pattern: So far, so straightforward. Understanding panning. Picture a single channel strip on a typical mixing desk, and you quickly get a sense of what producers and mix engineers can't live without. The fader at the bottom provides volume control, EQ shapes tone in almost infinitely variable ways and send controls let engineers dial in reverb and delay to taste. This leaves one additional dial on a mixer's channel strip, usually to be found right above the volume slider: the pan control. Interestingly, as plug-ins, including synthesizers and samplers, have grown in sophistication, pan dials in most DAWs are frequently overlooked. The competitive nature of modern synthesizers is that their presets ensnare you with broad, panoramic sounds. Their position in the stereo field is, for some reason, not for us to meddle with.
Through this article, I'm going to encourage you to get back in touch with your pan dial, to challenge any notion that pan isn't every bit as essential as volume, EQ or effects processing when it comes to creative mixing. Subtractive synths explained. Pioneered and refined by Bob Moog through the '60s and '70s, subtractive synthesis remains the approach taken by the vast majority of hard and software synthesisers available today. While modern synths are awash with preset patches, any producer worth his salt knows that building new, original sounds is half the battle when it comes to forging a unique sonic personality.
So, through this piece, we're going to look beyond the presets to understand the basics of subtractive synthesis, in the hope that it will encourage you to start designing your own sounds from the ground up. Sonic Basics All musical instruments are capable of altering three separate elements of the sounds they produce: pitch, tone and volume. At the same time, every instrument you can imagine is governed by its physical properties. The concept behind subtractive synthesis is that synths can be almost endlessly flexible, as the way they build sounds isn't tied to physical construction. Man-Made Sound: The Oscillator stage. Understanding the low mid-range. If you're a music producer, feedback from clients, friends or other trusted ears is a hugely useful barometer of how close a mix is to being finished. But when analyzing their (hopefully) constructive criticism, it's interesting to note how you put their words into action.
If you're a graphic designer and you show a client some work, it's not hard for them to say "that blue could be darker," or "that font could be larger. " For producers, similar suggestions—"the mix could have more air," or "it could be crunchier"—are less tangible. Producers get better with experience at assigning meaning to these, but some are easier to tackle in a mix than others. Here, we'll dig into a frequency range that translates to what clients might call "weight," "power" or "energy"—the low mid-range. This slice of the frequency spectrum, sitting above the fundamental frequency of a kick drum but also below the main weight of snares, leads and sequence lines, can be problematic in a number of ways.
Understanding Reverb. Reverb (short for reverberation), firmly resides within the A-list of effects, as it's a go-to treatment for almost all track types within any mix. Whether you're looking to enhance dry vocals with a specific spatial type, bring drama to searing lead lines, or simply glue your mix together with a treatment which can be shared by a number of sounds within a mix, we all know that tracks mixed without reverb can sound dull and lifeless. But how much do you know about reverb and the parameters which tend to crop up within most reverb plug-ins? And to what extent can reverb be enhanced by other plug-ins—EQ, filtering, gating, phasing—to help you create treatments which are completely suited to your tracks, rather than relying on a preset, in the hope you'll get what you need?
Broadly speaking, two types of reverb plug-in are available—convolution reverbs and artificial ones. Convolution reverbs use "samples" of real spaces to apply reverb to a sound. This is also true for reverb. 1. Guide to Mixing by Nick Thomas (GuideToMixing.pdf) FutureGarageForum.com • Index page. Techniques for Making UK Garage Music. By Jeremy Sylvester Garage has been around since the 1990s, but it continues to influence other EDM genres as well as retain its own following. Whether you’re interested in creating “pure” Garage music using UK Garage loops or want to incorporate some its elements in other forms of music, the following tips should help get you off to a good start. Drums are the backbone of any Garage production, and a solid drum groove is the most essential element in any UK Garage track. Before getting into choosing your sounds, remember that timing is everything.
Shuffling, swung beats give UK Garage its unique stamp—so when building your drum pattern, it’s important to set your quantize/swing groove to between 50-56\% (Fig. 1). This will set the tone for the rest of the elements added later on. Fig. 1: Setting a little swing for MIDI grooves or quantized audio grooves gives more of a Garage “feel.” Creating good drum patterns requires a good drum kit, so let’s start with the kick drum. The 27 best free VST plug-ins in the world today | Green Oak Crystal. Understanding Ableton Live 8′s New Groove Engine. Ableton has introduced a huge list of new features into the latest version of Live. Amongst some of the highlights are new instruments, new warp algorithms and even several new effects plug-ins. All these features are impressive (and some of them definitely deserve their own tutorials), but one of the most important updates for many users is the introduction of a brand new groove engine, so let’s get stuck in and see how it works.
Step 1 - What is a groove and why use them? Before we dive into the ins and outs of Live’s new groove engine, let’s take a quick look at what a ‘groove’ actually is. When a musician performs a piece of music a natural groove is created. A lot of people’s initial way of dealing with any sort of sloppy playing or overly swung parts is to quantize them to a rigid 16th grid so everything falls into place. The answer is to apply grooves to your performance, this way things will feel a little more human and match other parts in your project. The groove pool parameters. Find A Remix Contest | Remix Comps. Music Generators. VJ Software and Mapping 3D Tutorial. Audiotool. Seaquence. Fireworks.