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How to Design a Background Drone Sound

on Nov 17th 2008 with 9 comments

The drone is used throughout music and sound design as sonic bed or background upon which other sounds are laid. In the world of sound design, drones are often used to ‘fill out’ a scene, or to provide a sense of location. For example, if the scene occurs in a swamp you may have a background ambience that includes frogs, wind through the trees, splashes, etc. In this instance, the ‘drone’ would likely be the wind, with the rest of the layers as incidental sounds.

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This entry is part 3 of 35 in the Top Sound Design Tuts Session

Create a Multisample ‘Bottle’ Instrument in Logic Pro 8

on Oct 6th 2008 with 9 comments

In the last EXS tutorial, we looked at the basic steps needed to build a unique sampled instrument using Logic’s EXS Sampler. This tutorial will take it to the next level as we learn how to build a more complex instrument using multiple samples.

Several months back my friend and colleague Michael Teoli and I were sitting around the kitchen when we started to tap on empty glass bottles. As I’m sure all of you have done at some point, we started to “play” the bottles and see what tunes we could come up with.

“Wouldn’t it be great if we could sample these bottles and make them into an instrument?” we wondered, and on went the lightbulb above our heads. Enter EXS.

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How to Create Crisp, Controlled Effects with Dynamic Effect Busses

on Sep 23rd 2008 with 6 comments

There are times during the production process when you may want to use really intense delay and reverb effects with extra long tails. Using these sorts of effects on vocals, synths and even drums can create real atmosphere and depth but you may find that your signal can become swamped, resulting in a loss of clarity.

Luckily, there is a technique you can use that will help you retain the definition in your mix whilst using these special effects.

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How to Create Rich Depth with Doubling Techniques

on Sep 20th 2008 with 8 comments

Depth by doubling. You can hear it in almost any song. Big, booming guitars and wide chorus vocals are just some of the most popular times that double tracking and fake doubling are pulled out of the trick bag and dropped into a mix.

If your mixes sound hollow, empty, lifeless and small, you may need a bit more depth. Try one of these techniques and see if they work for you.

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How to ReWire Individual Reason Instruments into Logic Pro

on Sep 11th 2008 with 16 comments

Reason doesn’t offer users the greatest control over sound processing. The built-in reverb, compressor and so on will do the trick when you want to start composing a new song, but what about when the composition is done and it’s time to mix?

In this tutorial, we’ll go through the steps required to get your entire Reason rack routing into individual channels in Logic, a simple, handy process, but one that’s a dark and mysterious art to many newcomers.

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How to Create Futuristic Laser Beam Effects

on Sep 9th 2008 with 12 comments

The raygun or laser beam has been a defining sound for many a science fiction movie. How many of us can still hear the sound of the Rebel forces as they fend off the Stormtroopers? In this tutorial, we’ll look at creating a simple ‘raygun’ effect, using some fun plugins and samples with Logic 8.

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How to Process Vocals for an Amazing Professional Sound

on Sep 8th 2008 with 81 comments

Persuading a problematic vocal recording to play nicely with the rest of your mix can seem like a futile task. Well-recorded vocals and poorly-recorded vocals both need to be correctly prepared, and the processes we’re going through today will help you turn your untreated vocal take into a polished and commercial sound.

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This entry is part 4 of 17 in the Recording Vocals Session

How to Choose the Right Distortion for Your Song

on Sep 2nd 2008 with 9 comments

With so many ways of creating distortion effects at our disposal, it’s useful to know the jargon and keep up to date with the plug-ins that are available. Mo Volans helps you get your head round some of the various types of distortion and the best plug-ins for the job.

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How to Automate Audio Tracks in Logic Pro 8

on Aug 29th 2008 with 11 comments

Automation is a very convenient feature of most modern digital audio workstations. When the record industry ran on miles of tape, there was no such thing as automation; it was all about manual knob-turning. We have it pretty easy in contrast.

Automation allows you to draw in a set of events that will automatically occur when you play back the track. For instance, you can draw a set of volume changes along your guitar track to hear it creep in and out of the mix. You can also achieve that dynamic stereo panning effect, causing instruments to swoosh from speaker to speaker.

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This entry is part 13 of 25 in the Creative Session: All About Mixing Session

Create a Mysterious ‘The Matrix’ Style Scene-transition FX

on Aug 19th 2008 with 8 comments

In the world of sound design and music for media, there are two basic classifications of sound: diegetic and non-diegetic. Diegitic sound or music occurs within the story, i.e. a piano being played on screen, a boom-box playing a hip-hop beat. Non-diegetic sound occurs outside of the world of the story, and is perceived only by the audience, rather than the story’s characters.

With this in mind, this tutorial will look at creating a transition sound-effect in Logic Audio. These sounds can assist in helping the audience change focus from one scene to another, from one virtual space to another, etc. These techniques can also be used in music, where one might want interesting transition between musical sections.

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