Jack Wiles is a qualified and experienced sound engineer/producer working in Nottingham, England. As well as working with bands in the studio and producing digital music on a regular basis, he also works as a sessional lecturer, delivering courses on music production for various college institutions around Nottingham.
This pair of quick tips will give you an introduction to FM synthesis. In this second part I am going to be looking at FM synthesis. I will be using the relatively simple Subtractor synth in Reason to give you an introduction to how this kind of synthesis works, and how you can begin to use it in practice.
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This pair of quick tips will give you an introduction to to often baffling world of self-oscillation and FM synthesis – two processes which are fundamentally linked. I am using Reason 4 for this example, but the principles here will translate to most synths/samplers/DAWs.
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This series of quick tips will outline how you can use the ever powerful NI Massive synth to create techy basslines used by artists such as Skrillex. In this example I have used Cubase but the same principles will translate to pretty much any other DAW. Here is an example of the kind of sound you can expect to end up with at the end of this series:
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This series of quick tips will outline how you can use the ever powerful NI Massive synth to create techy basslines used by artists such as Skrillex. In this example I have used Cubase but the same principles will translate to pretty much any other DAW. Here is an example of the kind of sound you can expect to end up with at the end of this series:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
(Continue)
This series of quick tips will outline how you can use the ever powerful NI Massive synth to create techy basslines used by artists such as Skrillex. In this example I have used Cubase but the same principles will translate to pretty much any other DAW. Here is an example of the kind of sound you can expect to end up with at the end of this series:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
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This short series of quick tips is designed to give you a good overview of the audio processing techniques involved in creating a professional sounding drum beat for use in house, electro and breaks in Cubase. In this final part we will look at a few ways to add even more life to your drums.
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This short series of quick tips is designed to give you a good overview of the audio processing techniques involved in creating a professional sounding drum beat for use in house, electro and breaks in Cubase. In this part we will look at adding hi hats and percussion to our kick and snare drums.
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This short series of quick tips is designed to give you a good overview of the audio processing techniques involved in creating a professional sounding drum beat for use in house, electro and breaks in Cubase. In Part 2 we will look at the snare drum/clap sound.
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This short series of quick tips is designed to give you a good overview of the audio processing techniques involved in creating a professional sounding drum beat for use in house, electro and breaks in Cubase. In this part we will look at the kick drum.
Here is a sample of the type of beat you could expect to end up with at the end of this series of tips:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
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Compression can be a tricky one to get your head around, and even if you’ve got your head around the threshold and ratio settings without the attack and release times being set correctly it will always be difficult to get the desired effect. This quick tip will outline a really handy trick I learned from a friend a few years ago which allows you to get your attack and release times just right. It’s primarily designed to work on drums but the same principles will apply to any percussive sound.
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