In this screencast we explore the endless possibilities of controlling MIDI parameters using the Mac OS X program OSCulator. OSCulator takes input from other devices—we take a look at the Wii remote—and turns it into MIDI control messages.
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Let’s say you’ve warped a good amount of tracks that are scattered around in your hard drive. You’ve meticulously added your warp markers for each song and .asd files at the same directory where each track is located. It would be desirable for you to have access to those files from one place and not start looking for them around your hard drive. One way to achieve that could be to copy all warped files to a certain location along with the corresponding .asd extensions but that would require extra disk space. Let’s see what we can do about it!
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Ever found yourself wanting to add more presence and definition to the attack phase of your kicks and feeling you’ve run out of options when EQ and dynamic effects just won’t do? In this brief write up, we’ll look at a little known technique of using a generally unwanted artifact produced by noise gates to get your kick’s attack sounding punchy and clear.
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Using reverbs and delays as return effects is more a less a essential part of mixing. The only problem with these effects set ups is that longer reverbs and delays can sometimes confuse a clear mix. Luckily there are a few things we can do to keep things tight and make sure you mix remains intelligible and punchy.
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Today I will show you how to build an ultimate band pass filter. It can be used various situations for example during DJ sets or before breaks during your progressions. I think it is a really cool effect I’ve used lots of times in my productions.
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In the last tutorial on sci-fi vehicle sound design, we programmed the Combinator to control three main elements on both synths: Volume, Filter and LFO. By modulating these parameters over time, we can create realistic sound effects, which stimulate both the perspective of the sound source and the perceived speed of the vehicle. In the next part of this series, I’ll be creating an additional modulation effect that will enhance the overall character of the sound.
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With the plethora of free and paid plugins currently available on the market, chances are that you already have access to a few of them. It might get intimidating trying to organize these plugins in a logical and understandable structure in your hard drive. Ableton Live has some nice organizational features that can make your life easier.
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While Mid/Side (M/S) processing is not often used by mastering engineers, it has its advantages over normal stereo processing. One of them is that you can create some unusual effects because the sound is processed differently. This Reason tutorial explains how to process your sounds using channels for both Mid and Side, instead of Left and Right.
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Do you feel like you are required to hit your MIDI controller too hard to get loud notes? Or maybe you have a different situation. In this Quick Tip, I’ll show you how to customize how FL Studio handles velocity.
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This quick tip will show you how you can create an interesting percussive effect using a filter and a delay unit after any percussive sound. I have created my effect using Reason, but the process will work just as well using just about any filter/delay unit in any DAW.
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