This section covers basic sampling and assumes a basic understanding of your hardware/software sampler, if there is anything you dont understand I suggest reading the following intro first:
http://creative-sound-production.blogspot.com/2011/12/technology-sampler.html.
Being that we have already established what a sampler is and how we can use one to capture a sound then use it to create a new more complex sound using the samplers internal shaping abilities its time to start using it a little more creatively.
There are two ways to get creative with a sampler; the first is to play around with the way the sounds are shaped when sounds are triggered and the second is to capture some interesting sounds... in this section I will be focusing on the later.
Required items: Sampler+Mixer+Imagination.
Ideas:
Multi-Sampling - Multi-Sampling has become something of a lost art these days, but its one of the simplest and quickest way of building up more realisting sounds. Unlike a re-pitched one-shot sample that the multi-sample patch will sound more realistic as each key will effectivly have its own unique characteristic, difference becomes obvious when listening to acoustic sampled patches. You dont actually need to sample every single note but the more notes you sample the more realistic it the patch will sound.
Abstract Kits - The temptation to relly on pre-made kits is great but there is nothing stopping you from compiling your own kits, making use of your own machines... try sampling the kits on your keyboards or drum machines, or if you really want to get creative try recording the sounds you get when hiting things like boxes (wooden/cardboard/plastic) or home-made shakers.
Strange Sounds - rustling paper, tin cans, springs, breaking glass, ambient sound... all very interesting sounds even more so if you play around with the pitch and ADSR. Your only limitation is your imagination.
Tones and Blips - A good solid sine/saw/square/tri wave is worth its weight in gold, even more so if your creating your own synthesized bass or pads.
Tuesday, 17 January 2012
Mixing (an introduction to)
In this section I aim to outline in the most basic concepts of sound production (mixing) using terminology that will be understandable to a complete newcomer.
Within the realms of sound production the term mixing is the process of balancing sounds.
When mixing all were basically doing is deciding how loud something is and where 'in the mix' the sound is to be positioned.
When mixing we control the volume, panning and EQ of each channel. A channel may be an individual sound or it may be a number of sounds grouped together.
In addition to these basic controls you may also be able to apply fx via the send/return channels. The effects send works by diverting the audio through whatever device you insert in to the send/return signal path, this is then mixed back in to the recording.
Actual design of mixers may vary but what they do remains the same and the same fundamental idea remains, basically you want to record as loud as possible (without risking distortion), as clean as possible (minimum noise), as faithful as possible (record as it was heard, no unintentional clicks/distortions etc) and hopefully create a sense of space within the mix.
there are basically 3 types of mixing with regards to spacialisation.
Mono - all sounds are placed dead center, effectivly no left/right.
Stereo - 2 channel output. Left and Right spacing.
Surround-sound - more than 2 channels (eg. left/right/center, left-front/left-rear/right-front/right-rear etc).
Within the realms of sound production the term mixing is the process of balancing sounds.
When mixing all were basically doing is deciding how loud something is and where 'in the mix' the sound is to be positioned.
When mixing we control the volume, panning and EQ of each channel. A channel may be an individual sound or it may be a number of sounds grouped together.
In addition to these basic controls you may also be able to apply fx via the send/return channels. The effects send works by diverting the audio through whatever device you insert in to the send/return signal path, this is then mixed back in to the recording.
Actual design of mixers may vary but what they do remains the same and the same fundamental idea remains, basically you want to record as loud as possible (without risking distortion), as clean as possible (minimum noise), as faithful as possible (record as it was heard, no unintentional clicks/distortions etc) and hopefully create a sense of space within the mix.
there are basically 3 types of mixing with regards to spacialisation.
Mono - all sounds are placed dead center, effectivly no left/right.
Stereo - 2 channel output. Left and Right spacing.
Surround-sound - more than 2 channels (eg. left/right/center, left-front/left-rear/right-front/right-rear etc).
Thursday, 12 January 2012
Monitors - And how to get the best out of them.
The following only applies to professional studio quality monitors, it is aimed at noobs and audiophiles alike:
Standing waves are like voids of dead air that cause strage things to happen, giving you the impression stff if there when it is not or that there is too much bass when the bass is perfectly fine. - this results in use incorrectly mixing or mastering our tracks.
- First thing you must ensure you do is correctly set up your monitors
- The speakers have been tested in thousands of ways and the manufacturer has provided you with the optimum set up for that particular monitor, if you align them correctly to start with many problems will never develope to start with.
- Another thing that gets over looked if the optimum or suggested operating level (volume in dB) some speakers are designed to work at specific volumes, if you drop bellow this level the sound will be coloured or masked by natural accoustic effects,
- you want to stay away from corners, corners+bass=problems.
- Correct amp power. If your monitors are unpowered (no amp built in) ensure that the amp output (power *watts) matches the monitors power ...in other words if your amp goes to 150watts your combined pair of monitors should be 150watts (or 75watts each). If your amp exceeds your monitors capacity and you push them past their operating capacity you are going to overdrive them and this will damage the speakers ability to reproduce sound accuratly ...and thats a problem.
If are in the position where the amp exceeds the monitors capacity you should place a limited between your monitors and amp, this will protect your speakers.
If however your monitors are 50watt each (100watt combined) and your amp is 75watt there is no problem, your monitors will just be limited to 75watt maximum volume (37 watt to the left, 37watt to the right.
- Second thing on the list is absorsion.
- its a good idea placing soft items around the walls and roof to diffuse or minimise standing waves (or black spots) appearing.
- absorbtion blocks are mistakenly placed in (for lack of a better word) mirror image positions from each other, but sporadic positioning is best as it helps the diffusion of the standing waves,
- you may need to place foam behind & directly in front of your monitors (on the wall behind your head), if your on a budget pillows towels and duvets will do. You may want to invest in a pad for the monitor to sit on.
- things to bear in mind = the denser the material the more bass it will absort, but if its too dense its gonna reflect (so wood, metal and glass are out of the question), some people carpet their roof or one of their walls. Denser(as in foam duvet) materials also work better when dealing with bass traps (the nastyness that happens when bass hits the corners I mentioned earlier).
- Third thing is find the sweet spot:
- The sweetspot is the perfect position to sit stand in in the room, it is located directly infront of and between the monitors. If your unsure of where it is check your manual, but its generally about an arms lengh(arm and a bit) distance from the monitor in a small space however as the room increases in size you will find it moves towards the center of the room, with a little amplification thrown in (to compensate for the room size ^_^)
- And last Signal flow:
- at the start of a session/mix zero your desk/mixer and ensure that the levels are correct (with regards to bus channels and monitor/output levels). It wont in anyway affect what you hear unless your right in the red to start with, but if your mulittrack(mix out) channel is lower than your monitor level (depending on what hardware you use) you can end up recording quieter than you hear/think ..and this can result in noise being introduced into the next stage of the mix when the lower (mix out) recording is amplified to compensate.- If you are going to use EQ (inserted between mixer and monitor) make sure you remember that you may not be hearing what is being recorded. and if possible take notes of the EQ configuration/settings.
If your wondering what standing waves are:
Standing waves are like voids of dead air that cause strage things to happen, giving you the impression stff if there when it is not or that there is too much bass when the bass is perfectly fine. - this results in use incorrectly mixing or mastering our tracks.
Equalisation/Tone-control
Tone control can be as simple or complex as you want it to be, but as with most elements of sound creation there are no stict rules,
At different stages of a mix or sound creation certain frequency ranges will reqiure a little tweekery, you will notice quite soon that different pieces of hardware or software will have more control over the sound than others.
One application may give you 2 bands to play with where as another may offer 32 bands to cut or boost as required, to the uneducated observer it may seem only logical that a 4 band EQ module may offer twice the control of its 2 band counter part and therfor a 32 band EQ if '16times better' than the 2 band module howver this is not the case...
Its all about where the bands are split and how sever a kill each band will perform, not to mention the characteristics of the hardware (or software).
To get the most out of your EQ its best to take alook at the manuals/specification sheet to see exacly where for example low/mid/high frequencies are divided, this will allow you to identify what meathod of equalisation is best situated for your current recording situation.
Its quite common for engineers or producers to use specific pieces of equipment to take advantage of good tone control. ...infact a whole mastering industry has grown out of it.
At different stages of a mix or sound creation certain frequency ranges will reqiure a little tweekery, you will notice quite soon that different pieces of hardware or software will have more control over the sound than others.
One application may give you 2 bands to play with where as another may offer 32 bands to cut or boost as required, to the uneducated observer it may seem only logical that a 4 band EQ module may offer twice the control of its 2 band counter part and therfor a 32 band EQ if '16times better' than the 2 band module howver this is not the case...
Its all about where the bands are split and how sever a kill each band will perform, not to mention the characteristics of the hardware (or software).
To get the most out of your EQ its best to take alook at the manuals/specification sheet to see exacly where for example low/mid/high frequencies are divided, this will allow you to identify what meathod of equalisation is best situated for your current recording situation.
Its quite common for engineers or producers to use specific pieces of equipment to take advantage of good tone control. ...infact a whole mastering industry has grown out of it.
Wednesday, 11 January 2012
Software Synthesizers
This section is basically a quick rundown of the basic merits and drawbacks of todays current software synthesizers in comparisson with their analogue counterparts...
Over the past decade software synthesizers have become more and more powerful and accesable to amatures and professionals alike, but when comparing software to hardware in general I notice the following limitations:
- Another 2 main factors that contribute the a synth's character are the number of oscillators and the way they are combined/subtracted etc (subtracive synthesis vs additive etc etc).
- Another bonus with some software synthesizers is the ability to export sound at multiple formats/bitrate etc, this will ofcourse colour or distort the output (wav) content producing variations of an initial sound that can useful in lots of creative ways when producing music or sound design.
- If live performance is a big factor in how the synthesizer is going to be used it must be said that its always good to have a dedicated rotary or botton/pad to tweek or punch when you need to turn something on/off or alter a parameter.
-
Over the past decade software synthesizers have become more and more powerful and accesable to amatures and professionals alike, but when comparing software to hardware in general I notice the following limitations:
- Character/Warmth. (analogue vs digital)
- assuming you are recording to a high standard (clear of noise) the first thing that becomes clear is the low end that you hear when an analogue synthesizer is used, generally speaking the standard components used in home computers cannot physically recreate the full frequency content and alot is lost in the process of converting this analogue sound into something that can be stored digital (your wav file). However this being that these frequencies occur outside the threshold of human hearing this usually isnt a problem,
- Character/Warmth. (software vs software)
- Another 2 main factors that contribute the a synth's character are the number of oscillators and the way they are combined/subtracted etc (subtracive synthesis vs additive etc etc).
- Output (analogue vs software)
- Another bonus with some software synthesizers is the ability to export sound at multiple formats/bitrate etc, this will ofcourse colour or distort the output (wav) content producing variations of an initial sound that can useful in lots of creative ways when producing music or sound design.
- If live performance is a big factor in how the synthesizer is going to be used it must be said that its always good to have a dedicated rotary or botton/pad to tweek or punch when you need to turn something on/off or alter a parameter.
- Output (software vs software)
-
- Analogue vs Software in general
- Not really a fair comparison when you think of it, on one hand you have something that you can touch that in some cases can be unreliable in the most fun ways and on the other hand you have something that is FAR more reliable, portable and accessable (availablity and price).
- Another good thing software has to offer is its ability to practically store an infinite variation of sounds as presets, which can then be automated at a later point.
- ability to export audio at high resolution is another bonus software has over analogue as you dont need external gear to record a sound.
*unfinished*
Thursday, 5 January 2012
Microphones - Vocals
Frequency Response:
- Frequency response of a microphone is good to bare in mind as this determines what you will record. If your choice of microphones is limited take in to consideration the characteristics of the voice.. is it a high pitched female or a deep booming male? ...some hiphop producers use bass drum mics to capture deep voices.
Type of Microphone:
- As a general rule condensor microphones will give the best quality, however there require a mixer that powers the mic or a bit of jiggery pokery with a DI box or mic preamp.
- In live situations (dependiing on style of music) a dynamic mic may be the better option.
Compression:
- Ideally all vocals should be recorded with a some level of compression, as I general rule I start with 5:1 ratio and tweek till it sounds and looks right but every recording is different so there are no real rules.
EQ:
- I recomend not applying any EQ to vocals while recording (fix it in the mix) unless there are problems with noisy mics or mixer. Its much easier to fix a vocal at a later point than to try and reintroduce bass/mid to a weak recording.
Effects:
- If recording a vocalist with effect, if possible, also record the untreated vocal... processed vocals might sound good now but at some point in the mix you might want to use another effect. (reverb, delay, vocoder etc)
- Frequency response of a microphone is good to bare in mind as this determines what you will record. If your choice of microphones is limited take in to consideration the characteristics of the voice.. is it a high pitched female or a deep booming male? ...some hiphop producers use bass drum mics to capture deep voices.
Type of Microphone:
- As a general rule condensor microphones will give the best quality, however there require a mixer that powers the mic or a bit of jiggery pokery with a DI box or mic preamp.
- In live situations (dependiing on style of music) a dynamic mic may be the better option.
Compression:
- Ideally all vocals should be recorded with a some level of compression, as I general rule I start with 5:1 ratio and tweek till it sounds and looks right but every recording is different so there are no real rules.
EQ:
- I recomend not applying any EQ to vocals while recording (fix it in the mix) unless there are problems with noisy mics or mixer. Its much easier to fix a vocal at a later point than to try and reintroduce bass/mid to a weak recording.
Effects:
- If recording a vocalist with effect, if possible, also record the untreated vocal... processed vocals might sound good now but at some point in the mix you might want to use another effect. (reverb, delay, vocoder etc)
Technology - The Synthesizer (an introduction to)
What is a synthesizer?
Why would I need to know about my synthesizer?
Who uses synthesizers these days?
What types of synths are available to me these says?
What is a synthesizer?
- A synthesizer is an electronic device that produces sound, though design and techniques implemented differ all synthesizers are capable of producing sound at specific frequencies by either combining, dividing or multiplying waveforms/tones produced by their oscillators.
What would I need to know about my synthesizer?
- Its pretty easy to get a sound out of a synthesizer however if your after a specific kind of sound a little tweeking in the right places is all you need ..however this requires a basic idea of what each module is actually doing. So first up its a good idea to identify each section of the synth and see/hear how it effects the sound produced.
it will basically break down into:
SOUND(VCO/oscillators) --> SHAPING(ADSR) --> AMPLIFICATION-(VCA)
- so its a good idea to read up on the basics of Oscillators and ADSR. Once you have a basic grasp of what each module is doing its safe to read up on the LFO ...this module allows you to create wobble effects, gating pads, turn things (effects) on and off and basically automate other parts of the synthesizer.
Who uses synthesizers these days?
- Who doesnt? Right accross the board it seems like every mainstream (rock) band is using synthesizers, not to mention electronic music that is dependent on synthesizers.
But from a creative perspective people I would say really made/make the most of their synthesizers are... (in no particular order):
George Duke, Frank Zappa, Squarepusher, Venetian Snares, Brian Eno, Tangerine Dream, Rhyuchi Sakamoto, Aphex Twin, Herbie Hancock, Vangelis, Kraftwerk...
What types of synths are available to me these says?
- in a nut shell ...software synthesizers or hardware synthesizers.
- *see my synthesizer section for full explanation of what types of synthesizers are out there (FM Synthesis etc).
Why would I need to know about my synthesizer?
Who uses synthesizers these days?
What types of synths are available to me these says?
What is a synthesizer?
- A synthesizer is an electronic device that produces sound, though design and techniques implemented differ all synthesizers are capable of producing sound at specific frequencies by either combining, dividing or multiplying waveforms/tones produced by their oscillators.
What would I need to know about my synthesizer?
- Its pretty easy to get a sound out of a synthesizer however if your after a specific kind of sound a little tweeking in the right places is all you need ..however this requires a basic idea of what each module is actually doing. So first up its a good idea to identify each section of the synth and see/hear how it effects the sound produced.
it will basically break down into:
SOUND(VCO/oscillators) --> SHAPING(ADSR) --> AMPLIFICATION-(VCA)
- so its a good idea to read up on the basics of Oscillators and ADSR. Once you have a basic grasp of what each module is doing its safe to read up on the LFO ...this module allows you to create wobble effects, gating pads, turn things (effects) on and off and basically automate other parts of the synthesizer.
Who uses synthesizers these days?
- Who doesnt? Right accross the board it seems like every mainstream (rock) band is using synthesizers, not to mention electronic music that is dependent on synthesizers.
But from a creative perspective people I would say really made/make the most of their synthesizers are... (in no particular order):
George Duke, Frank Zappa, Squarepusher, Venetian Snares, Brian Eno, Tangerine Dream, Rhyuchi Sakamoto, Aphex Twin, Herbie Hancock, Vangelis, Kraftwerk...
What types of synths are available to me these says?
- in a nut shell ...software synthesizers or hardware synthesizers.
- *see my synthesizer section for full explanation of what types of synthesizers are out there (FM Synthesis etc).
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