De onthullende Productie-geheimen thread!
- Thread starter Pjotr G
- Start date
Niet altijd vind ik, gooi mijn distortion graag na reverb/delay, of tussen mijn reverb en delay.
Akikaze
Japans voor 'Herfstwind'
Hier wat tips die ik een tijdje op mijn - Engelstalige - webstek had staan, maar er later heb afgehaald, omdat muzikanten niet mijn enige doelgroep zijn. De volgende truc staat er niet bij. Om realistische gitaarakkoorden of repeterende staccato blazers te bewerkstelligen, gebruik je om en om twee klavieren en het geluid op hetzelfde midikanaal. Een voorbeeld kun je horen in het stuk Settlement van mijn derde album Leap in the dark. Het gitaargeluid is een combinatie van gitaarsamples, waardoor een twaalfsnarige gitaar wordt nagebootst. Ik ga niet beweren dat de tips origineel zijn; alles is al een keer gedaan en beter 
Panorama
Drum sounds are panned from a drummer’s position. So the bass drum and mid tom are panned centre, the hi hat, high tom and ride cymbal left, the snare drum left to centre and the crash cymbal and low tom right.
Bass sounds are panned centre, but I have used panning from a pianist’s position in the past. The latter is one of my favourite panning applications. I always use it for piano sounds and sometimes for guitar and pad sounds.
Effect sounds benefit from panorama modulation by an low frequency oscillator or an envelope generator. Even though surround recording is here to stay, I believe stereo won’t disappear, because listening to music with headphones requires a stereo recording.
Effects
Bass and hi hat sounds are recorded dry. Bass sequences, as other sequences, are recorded with a stereo or cross delay effect. Sequence tempo is between 135 and 143 beats per minute. A 295 msec delay on the left to a 310 on the right or the reverse work well with these tempo rates. Delay feedback is around 40%.
A sound doubled and panned extremely left and right with a short delay on one side gives an impression of space, as does a delay instead of reverb. Nowadays I record pad sounds dry or with a short delay. This lack of effect doesn’t sound unrealistic, if other simultaneous sounds are loud enough.
According to some authors a high end reverb is a must-have in the studio. I agree it is for natural sounds, but not for electronic sounds. A midrange unit might work equally well and add to the alienating effect. For example, the internal effects of the Korg M-1 have a particular character not obtainable with more modern counterparts.
Acoustic music benefits from a natural sounding reverb. It is therefore advisable to use one unit. Some engineers advise to use one for all sounds, except for the snare drum; internal effect processors of synths and samplers should not be used because of their alleged inferior quality. I have never followed this advice. I always use my instruments’ internal effects. Two or three different reverb types in the same piece are quite common in my music. As said, they work well with electronic sounds and their sonic qualities have improved over the years.
Reverb should be used with care though, especially with low frequency sounds. It is wise to record a track without it first and add portions of it later.
Equalisation should be used with even more care. It is my last resort to clean up a sound. Since I have changed to digital, I have used it more than before, though, especially when recording acoustic percussion, but more often, I drop the sound instead and select or design a new one. I use EQ for removing frequencies, not for amplifying them. It helps preventing distortion. Many modern electronic musical instruments have EQ built in. Try and turn it of and shape the sound to your own taste.
How to avoid boring sequences while still using them
This trick I learnt from German synth pioneer Klaus Schulze. He used 15 step sequences along with 16 step patterns, so that the first moved one step with every measure. The ear “thinks” that every measure has a different pattern because it follows the beat. The trick can be applied to note, filter or any other settings. In variation you can use the same identical patterns simultaneously, one of them detuned harmonically and delayed one or more beats.
Tempo changes
Changing the tempo with even one beat per minute every now and then adds to the feel of a track, even when completely quantised. The secret is that the brain notices the change too slowly. Tempo changes work well when changing themes, e.g. when going from verse to chorus, or when adding parts.
Modulation
I choose my instruments both for their sound and for their modulation capabilities. My goal is to avoid boredom. That’s why I use modulation. I prefer controlled to fixed modulation. Aftertouch controlled vibrato is more dynamic than envelope controlled vibrato.
I love Ensoniq’s feature of modulating the oscillator’s starting point by key struck.
Modulating waves in a wavetable (Waldorf) or transwave (Ensoniq) can change the timbre of a sound radically, without the need to filter.
Waveboy’s voder effect for Ensoniq samplers is in fact a modulatable EQ. Changing vowel sounds with the left side of the keyboard is a remarkable feature. It’s a far easier way to make your sampler sing than the Triton’s talking modulator. Why don’t we see it in other instruments?
It’s fun to experiment with modulating a modulator. The speed of a low frequency oscillator can be modulated by another one.
The possibilities are endless and I will keep some secrets to myself . One common trick, however, is modulating filter frequency cutoff with a slow LFO. Speed must be chosen carefully, otherwise the effect will be too noticeable and therefore boring.
Panorama
Drum sounds are panned from a drummer’s position. So the bass drum and mid tom are panned centre, the hi hat, high tom and ride cymbal left, the snare drum left to centre and the crash cymbal and low tom right.
Bass sounds are panned centre, but I have used panning from a pianist’s position in the past. The latter is one of my favourite panning applications. I always use it for piano sounds and sometimes for guitar and pad sounds.
Effect sounds benefit from panorama modulation by an low frequency oscillator or an envelope generator. Even though surround recording is here to stay, I believe stereo won’t disappear, because listening to music with headphones requires a stereo recording.
Effects
Bass and hi hat sounds are recorded dry. Bass sequences, as other sequences, are recorded with a stereo or cross delay effect. Sequence tempo is between 135 and 143 beats per minute. A 295 msec delay on the left to a 310 on the right or the reverse work well with these tempo rates. Delay feedback is around 40%.
A sound doubled and panned extremely left and right with a short delay on one side gives an impression of space, as does a delay instead of reverb. Nowadays I record pad sounds dry or with a short delay. This lack of effect doesn’t sound unrealistic, if other simultaneous sounds are loud enough.
According to some authors a high end reverb is a must-have in the studio. I agree it is for natural sounds, but not for electronic sounds. A midrange unit might work equally well and add to the alienating effect. For example, the internal effects of the Korg M-1 have a particular character not obtainable with more modern counterparts.
Acoustic music benefits from a natural sounding reverb. It is therefore advisable to use one unit. Some engineers advise to use one for all sounds, except for the snare drum; internal effect processors of synths and samplers should not be used because of their alleged inferior quality. I have never followed this advice. I always use my instruments’ internal effects. Two or three different reverb types in the same piece are quite common in my music. As said, they work well with electronic sounds and their sonic qualities have improved over the years.
Reverb should be used with care though, especially with low frequency sounds. It is wise to record a track without it first and add portions of it later.
Equalisation should be used with even more care. It is my last resort to clean up a sound. Since I have changed to digital, I have used it more than before, though, especially when recording acoustic percussion, but more often, I drop the sound instead and select or design a new one. I use EQ for removing frequencies, not for amplifying them. It helps preventing distortion. Many modern electronic musical instruments have EQ built in. Try and turn it of and shape the sound to your own taste.
How to avoid boring sequences while still using them
This trick I learnt from German synth pioneer Klaus Schulze. He used 15 step sequences along with 16 step patterns, so that the first moved one step with every measure. The ear “thinks” that every measure has a different pattern because it follows the beat. The trick can be applied to note, filter or any other settings. In variation you can use the same identical patterns simultaneously, one of them detuned harmonically and delayed one or more beats.
Tempo changes
Changing the tempo with even one beat per minute every now and then adds to the feel of a track, even when completely quantised. The secret is that the brain notices the change too slowly. Tempo changes work well when changing themes, e.g. when going from verse to chorus, or when adding parts.
Modulation
I choose my instruments both for their sound and for their modulation capabilities. My goal is to avoid boredom. That’s why I use modulation. I prefer controlled to fixed modulation. Aftertouch controlled vibrato is more dynamic than envelope controlled vibrato.
I love Ensoniq’s feature of modulating the oscillator’s starting point by key struck.
Modulating waves in a wavetable (Waldorf) or transwave (Ensoniq) can change the timbre of a sound radically, without the need to filter.
Waveboy’s voder effect for Ensoniq samplers is in fact a modulatable EQ. Changing vowel sounds with the left side of the keyboard is a remarkable feature. It’s a far easier way to make your sampler sing than the Triton’s talking modulator. Why don’t we see it in other instruments?
It’s fun to experiment with modulating a modulator. The speed of a low frequency oscillator can be modulated by another one.
The possibilities are endless and I will keep some secrets to myself . One common trick, however, is modulating filter frequency cutoff with a slow LFO. Speed must be chosen carefully, otherwise the effect will be too noticeable and therefore boring.
flyweight
SinOsc.kr([1, 3]).exprange(100, 2e3)
Hoi Akikaze, ik snap niet echt wat je bedoelt met die 2 klavieren, bedoel je, omdat je vanaf 2 klavieren speelt je telkens iets later bent met de aanslaag waardoor het realtischer klinkt??? omdat echte blazers ook niet altijd tergelijk starten....
Die tempo wisseling van 1 bpm ga ik eens proberen, thnx
Die tempo wisseling van 1 bpm ga ik eens proberen, thnx
Eddy Reddy
Ouwe rot
Ik denk dat Akikaze bedoelt dat je de eerste "strum" (gitaaraanslag, of hoe heet dat in het Nederlands) op keyboard 1 doet. En dan de tweede op keyboard 2 (enz.), zodat je veel sneller kan strummen dan met enkel 1 keyboard. En eventueel met andere akkoordinversies en dergelijke. Goede tip.
Interessant!
flyweight
SinOsc.kr([1, 3]).exprange(100, 2e3)
@Tin Foil Hats
Dat moet je dus niet in dance platen doen, want dat pest je de dj bij het mixen
Je kan wel snellere (flucturerde) tempo wisselingen gebruiken om shuffles en andere grooves te creeeren.
Dus bv 1 bpm wisseling om de halve bar.....
Dat moet je dus niet in dance platen doen, want dat pest je de dj bij het mixen
Je kan wel snellere (flucturerde) tempo wisselingen gebruiken om shuffles en andere grooves te creeeren.
Dus bv 1 bpm wisseling om de halve bar.....
Akikaze
Japans voor 'Herfstwind'
Eddy, jij snapt het helemaal. De klavieren moeten wel aanslaggevoelig zijn, maar dat zijn de meeste tegenwoordig.
Sander02
Gepokt en gemazeld
Dit is een hele goeie tip, wil het nog wat meer in 't "extreme" trekken..
Vind het zelf te gek om een complete track te maken met 1 analoge synth.. de kick, de snare, de hihat, de bas, de lead, de akkoorden, de SFX.. alles met 1 synth, laag voor laag.
Zo leer je veel over synthese, je leert de uithoeken van je synth kennen, je leert creatief om te gaan met weinig middelen, je leert vooruit te plannen en daarbij wordt je niet afgeleid door bossen met VST's en effecten etc etc.
Het resultaat is gegarandeerd samenhangend aangezien het uit 1 synth komt.
Sander02
Gepokt en gemazeld
Nog een.. speel een lead-lijntje in op een midi-kanaal met een fris/hoog geluid, in het hoge register (vanaf C4 bijv.)
Pak dat midispoor en dupliceer het, selecteer het ingespeelde midi-blokje op dit nieuwe spoor en keer het om middels "reverse"
Transponeer dat blokje 1 of 2 octaven lager, en stuur er een ander geluid mee aan, een basje bijv.
Zeer interessante, vaak kloppende en onverwachte patronen zijn het gevolg
Pak dat midispoor en dupliceer het, selecteer het ingespeelde midi-blokje op dit nieuwe spoor en keer het om middels "reverse"
Transponeer dat blokje 1 of 2 octaven lager, en stuur er een ander geluid mee aan, een basje bijv.
Zeer interessante, vaak kloppende en onverwachte patronen zijn het gevolg
dat heet
Ruzie met de DJ..
Laatst gewijzigd:
flyweight
SinOsc.kr([1, 3]).exprange(100, 2e3)
Nightly Build
Go for what you know
gouden tip! geleerd van Arthur Baker.. smeer wat pindakaas onder je faders, dan klinkt je mix vetter!
Sander02
Gepokt en gemazeld
Binnen 1 dag mag je je post nog verwijderen hè?
lullig voor de autist die het op dit moment erop aan 't smeren is..
G
Guest
Guest
*stopt met smeren*
Hoezo dan?
Hoezo dan?
Sander02
Gepokt en gemazeld
Heheh, ben wel benieuwd hielp het een beetje?? Denk als je het in je oren smeert klinkt álles vetter..
flyweight
SinOsc.kr([1, 3]).exprange(100, 2e3)
Erica Terpstra in de zangboot klinkt pas vet
en het resultaat is dat het super cheezy klinkt. je krijgt dan juist eenheidsworst.
zelfs met een nord modular, uit een bak die bijna alle synthese types kan....
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