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If you ever played a game like Half-Life without sound you will acknowledge this: the scare factor comes, at least in large part, from the sound effects. Monsters don’t really seem dangerous if they don’t make a scary sound.
Close the curtains and inform the neighbors, because in this tutorial we will transform your own voice into a monster you never thought you had inside you!
Saturation is an often misunderstood process, sometimes written off as basic distortion effect, too subtle for most uses. While this isn’t entirely inaccurate, saturation has a lot to offer and can impart a true analog flavor on our mixes if used correctly. Most saturation plug-ins are pretty simple devices, but the real key to using the effect is understanding how it works. Let’s take a look at the process in detail and then we can go through a few examples of a few saturation plug-ins in action.
This article is a general overview of the electric guitar. We cover the woods, acoustic sound, construction, necks and fretboards, pickups and hardware and show you how to purchase and maintain an electric guitar that you’ll love for years to come.
It’s always been fun to play around with devices in Reason. When it comes to creating a unique device, synth or effect, you have limitless possibilities. You could call it playing Lego with audio devices. In this tutorial I will continue building blocks and explain three different ways to set up DLL-1 devices within Combinator.
You may not realize it, but the software or hardware sampler you own is likely to contain a powerful synthesis engine under the hood. If you haven’t explored it fully you may be missing out on a valuable resource in your studio.
Pads are an extremely useful device for all styles of music, allowing for warm, calming, uplifting, sad, ominous, or even threatening effects. This tutorial shows you one simple way to create your own unique pads.
Creating your own pads is yet another way to help build a custom library and develop a personal voice. And by having more control over the various elements that make up your pad, you have more freedom to add subtle layers of complexity and imperfection for an organic sound.
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.
As producing completely ‘in the box’ fast becomes the norm, it’s essential we maximize the potential of our computer set up. Of course, improving our computer hardware and investing in new sample libraries is one way to do this—but another is to seamlessly wire together our applications using Rewire.
Rewire is often underestimated and in many cases goes unused. Using Rewire correctly can actually expand your sound palette, avoid unnecessary rendering and even add extra processing tools to your DAW. Let’s take a look at how Rewire works, some of its history and a few situations we can use it in.
When tracking for your record, you may have to go through loads of takes to get that perfect track. In the old days this meant cutting up a lot of tape and pasting the right takes together — a time consuming and difficult effort. Now, in the world of wonderful digital technology, you can just cut, copy and paste to your heart’s desire, without having to worry about super-expensive tape that you could ruin with your next knife-cut. Who wants to become a surgeon when all you have to do is copy and paste?
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This tutorial is the fourth and final installment in a series of tutorials on composition - specifically composition that might be appropriate for film, television, etc. The intention with this series of tutorials is to walk you through the process of one of my compositions. It is intended to offer some new ideas and perspectives and hopefully give a bit of creative inspiration, but by no means should it be considered definitive - even for my own personal compositional process.
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