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How to make a hip-hop beat. The third snare Step 6: Lastly, we decide to add a third, tuned snare part, again taken from the Stylus RMX library. This is severely detuned to match the right pitch and, by itself, sounds a little strange. We bitcrush it to add a lo-fi feel, and mixed with the other parts, it works nicely. You can hear it in isolation first, then the full mixed loop. Click here to listen or download The third snare Step 6: Lastly, we decide to add a third, tuned snare part, again taken from the Stylus RMX library. Click here to listen or download. 30 of the Best Synth Pad Videos on YouTube | Audiotuts+

Pads add atmosphere and texture to a track. Here is a collection of 30 Youtube videos that showcase how to create pad patches, how they sound, and how they can be played. Pads are what first attracted me to synthesizers. This was back in 1982 when synths were mono-timbral and generally had six voices of polyphony. I was shopping for my first keyboard, and when a talented salesman named Tim demoed the Roland Juno 6, and I was sold. He played a rich strings patch which he whipped up on the spot - Juno 6's had no memory, just sliders - and improvised some of the most beautiful music I'd ever heard. Recently I've grown tired of my favorite pad sounds, and have been in search of something different. It's a crazy collection that focuses sometimes on hardware, sometimes on software; some are performances, others product reviews. 1.

A useful Live tutorial. 2. A Toxic pad-creating tutorial. 3. Those old synths had warm and interesting pad sounds. 4. And some Roland Jupiter pads. 5. 6. 7. 8. 9. 10. Understanding Compressors and Compression. Jan 1, 1999 12:00 PM, Barry Rudolph Compression is one of the most common processes in all audio work, yet the compressor is one of the least understood and most misused processors. Compressed audio is an everyday fact of modern life, with the sound of records, telephones, TV, radios and public address systems all undergoing some type of mandatory dynamic range modification.

The use of compressors can make pop recordings or live sound mixes sound musically better by controlling maximum levels and maintaining higher average loudness. It is the intent of this article to explain compressors and the process of compression so that you can use this powerful process in a more creative and deliberate way. Compressors and limiters are specialized amplifiers used to reduce dynamic range-the span between the softest and loudest sounds. THE BASICS There are four basic parameters on all compressors: compression ratio, threshold level, attack time and release time. Acceptable Use Policy MixLine.

Tutorial: How to use compression. Dancefloor essentials | MusicSoftwareTraining.com. Essentials when making tracks for the Dancefloor When it comes to writing electronic music for clubs, Â it’s often a good idea to have a few things in mind before you tackle that track. Who is this track for? What DJ’s would I want playing this track? What should I use as a reference to keep me on track? Although plagarism is most likely going to make you look like a sad imitator, not knowing the proper structure and elements that make a track in a certain style work can also make you look pretty amateur. Templates For me, it’s not about plagarism or theft (unless you consider any type of sampling to be theft), it’s about understanding the template before you randomly bang out a few loops and expect a dancefloor hit to result.

In business they say that if you want to be successful, you should model someone who is already successful in your field. For me, I’d be a bit like a train without a track without some sort of template. *Kick *Drums *percussion *crash *drone *Bass *pads *lead or hook *fx Jason. 3D Mixing Part 3: Equalization | Audiotuts+

One of the most important tools in mixing is the equalizer. It shapes individual sounds, bus groups and mixes into cohesive wholes. If used correctly it can add clarity to muddy sounds or sparkle and definition to already great sounds. In this portion of our ongoing series, we will take an in-depth look at some EQ tips, frequency concepts and a few instrument specific techniques to help you create cleaner sounds and mixes. Why EQ? The purpose of EQing is to create clearer and larger sounds that are well defined and inhabit their own specific space within the frequency spectrum.

Fundamentals Theoretically, humans perceive waves as sound if they inhabit a range from 20 -20k cycles per second (Hz). Sub Bass (0-60 Hz) 0-25 Hz should automatically be filtered as no musical events occur here and too much energy only serves to muddy the sound. 25-60 Hz gives music a sense of power, once again, too much will give your sound an undefined low end. Bass (60-250 Hz) Misery Range (120-350 Hz) Kick Snare Bass. Mix Recipes: Kick Drum EQ and compression. There is no reason to settle for lackluster kick drum sounds on your home recording.

This article explores some great mix recipes for equalizing and compressing your kick drum tracks. While every kick drum has an individual sound there are some general guidelines you can follow to get a great start in shaping your drum’s sound. Start by trying a few of these eq and compressor settings and tweak them in to suit your specific starting drum sound and desired results. All you need in your home studio is a four band eq to start shaping the kick drum sound of your dreams! The kick drum big three: boom, smack, click These are three key elements that can be used to describe the sound of a kick drum. Boom is where the low end thud of the kick drum comes from. Smack is the primary attack of the kick drum. Click is exactly what you think it is. Mud is not one of the big three because it is a bad thing! Kick drum big three eq quick chart Kick drum eq recipes Kick drum compression recipes. Mr. Bill - Tutorial 2 : Making complex drumbeats using arpeggiat.

Tutorial: How to use reverb. Now that we’ve tackled the essentials of compression and delay, we’ll dig a bit deeper into another indispensable producer’s tool: reverberation. Reverberation – or “reverb”, for short – is an effect that emulates the actual acoustic properties of a given space, either real or imagined. I’d even venture a guess that many – if not all – of your favorite tracks would sound quite different if the reverb was removed from their mixes. So with that in mind, we’re going to take a closer look at the specifics. History of reverb According to legend, the first intentional use of reverb as a sound production tool occurred hundreds of years ago, when various world religions discovered that large, majestic cathedrals made human choirs sound massive and um, godlike. Some even argue that the exact place of this discovery was in the cathedral at Piazza San Marco in Venice, Italy.

So when recording technology arose in the 20th century, the sound of reverb soon became an integral part of its vocabulary. Damping. Piano Chords and Scales made easy. 6 Things to Do Before Your Mix Goes to Mastering | Au. I like thinking about mastering as a type of black magic. Filled with taboos and unapproachableness. Everybody and their grandmother has an opinion about how things should be recorded and mixed, but when asked about mastering most people hush up and shrug. Mastering is a trickier subject to tackle than mixing I feel, and the delicate touch and subtleties a mastering engineer gives to a final mix sometimes sadly goes unappreciated. However, there are certain things you mixing engineers can do to make the voodoo doctor's work easier. 1. Like any good product or service there is difference in price and quality. 2. You need to be absolutely certain that you like the mix the way it is right now. 3.

A mastering engineer can't do anything to a mix that has already maxed out the stereo buss. 4. Ask your mastering engineer how he likes working. Making the setting up and loading up time quicker means more time and money is spent on actually working with your music. 5. 6. 3D Mixing Part 4: Compression | Audiotuts+ Although compressors are probably the most important element in the mixing toolbox (after equalizers), a lot of ambiguity and confusion surround them as their parameters and how they effect incoming audio are more subtle. In this segment of our ongoing series, we will try to clear up some of the mysteries surrounding compression by looking at different types of compressors, a few compression techniques, and how to implement those techniques in our project. What is Compression? Compression is basically the lowering of high amplitude signals of an incoming audio source to 'compress' the range between the high and low amplitudes of the signal.

This is often done in mixing to catch attack transients on instruments such as drums and bass to even out the level of the entire instrument to ensure that it can be heard in its entirety at a fairly consistent level. To illustrate this, imagine a single acoustic bass note which has a high amplitude attack phase and a low amplitude release phase. Kick. Pan Your Reverb | Audiotuts+ Adding some extra ambience to guitars is always a good idea to enhance already awesome guitar tracks. The number of guitar mixing tricks out there is in overabundance and I learn a new trick every song I fool around with. I'm writing this on my break time from writing the next Premium tut, namely about guitar mixing, and I thought I would give you a quick tip to whet your appetite. Whether it's adding extra delay to solos, shimmering chorus to chords or creating automatic double tracking for a more expansive sound, there are quite a few tricks to enhance your guitar sound.

One of my more favorite ones is using both panning and reverb to create a wider and more soulful soundscape for your guitar. It's easy. First we have our guitar part, and since we don't want it to compete with our imaginary vocal track that's supposed to be in the center (work with me here...), I'm panning it a little off center to give it some room to breathe. Add Some Reverb Pan Your Reverb A quick tip indeed.