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 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:
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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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With the recent revival of Jungle, Future Jungle and Jungle breaks I thought it would be nice to put together a tutorial on how to manipulate that most seminal of drum loops – the Amen break. This tutorial will outline many of the techniques you can use to transform a simple one-bar drum loop into a frenzy of percussive production wizardry.
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The ability to extract melodies from audio is bound to be welcomed by any producer. There are of course third party applications and plug-ins that are up to the task and the best are probably produced by Celemony. Luckily though, if you are a Cubase 6 user you can do this right within your project.
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Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+. This tutorial was first published in July 2008.
When it comes to special effects, reverse reverbs are amongst the most useable processes there are. Although the method for creating these effects is often looked upon as complex, the right technique can lead to a transparent workflow and impressive end results. In this tutorial we’ll apply a reverse reverb effect to a vocal–a technique you might have heard used at the beginning of Justice’s ‘DVNO’.
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An arranger often needs to create a guitar solo track. When there is no guitar (or guitarist) available, he needs to apply various VST instruments, samplers, and so on. His hardest task is imitating live guitar playing techniques with controllers. Especially the most unique and “tasty” guitar sounds – those made with string bending and glissando (sliding up and down the neck).
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A friend brings you a multi-tracked session recorded with another DAW.
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Recently I have been putting together quite a few downtempo, trip hop style beats for various projects and I thought it might be useful for me to share the basic process I use to get things started.
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If you followed the first part of this series then you’ll know that we are looking at a group of synth patches that represent the building blocks of subtractive synthesis.
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If you've been thinking about recording music or dabbling in audio engineering, then kick-start the process by grabbing a copy of Björgvin's book and start learning how you can record great music with whatever equipment you've got!
Just getting started? Start with our basix tutorials on the fundamentals. View All Basix Tutorials
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