Ok, this guy really cracks me up - but he obviously knows his stuff.
Thought it was worth posting:
Saturday, 16 October 2010
Friday, 14 May 2010
Magic EQ Chart
Found this on the net, thought it may be of some use to some! :)
Of course, as with everything in music production, these aren't rules that are set in stone. Each track is different and it is important to learn how to edit dynamics by your own ears. But this chart is a good starting point for reference.
Of course, as with everything in music production, these aren't rules that are set in stone. Each track is different and it is important to learn how to edit dynamics by your own ears. But this chart is a good starting point for reference.
Wednesday, 3 February 2010
Fun with audio merging/splitting
Foreword:
This mini-tutorial (which has turned out to be anything but mini! :D) is based around Reasons ‘Spider Audio Merger/Splitter’ but I am assuming that most other DAW’s have a similar function and as a lot of the principles are universal (reason functionality aside) this should be relevant what ever you use to produce your tracks.
This is a basic mini-tutorial aimed at newer producers, so there’s nothing ground-breaking here. It also only covers just a couple of examples of the uses for this device, but at the risk of turning this into an essay, I have stuck with a few common usage examples.
I appreciate there are many other ways to produce the same effects as my examples here using other devices, but if I went through them all, we’d be here all week :D
Audio Merging/Splitting
This is the reverse of the Spider audio device. As you can see, I have split the device into two sections (A & B) A being the merger section and B being the splitter section.
I’ll be using the labels on this image as reference throughout, so check back to this should you need to.
Section A: The Merger
The merger allows you to merge up to 4 audio signals into 1 audio output. For example; if the lead synth in your track is made up of several layered synth devices, but you want to route them through 1 channel on your mixer, then by connecting the outputs of your synths into the ‘inputs’ of the merger, the signals will be merged into one sound which can be routed to your mixer (or effects devices) via the output.
The same principle can also be used to group several audio signals into 1 effects device.
For example:
*click for full size*
In this example, I wanted to route my bass drum and bass line to the same compressor.
As you can see (past all the wires) I have routed the output from the bass synth into the first input on the merger. This merges both signals to the output, which can then be routed to the compressors input, with the output going to the mixer.
Section B: The Splitter
The splitter allows you to split any audio signal routed to the input into 4 identical outputs. This is usefull if you want to duplicate the sound from one of your devices for separate processing without having to set up another instance of that device within your ‘rack’.
This is a popular effect with some rock acts when performing tracks live that may have had several layered guitars playing the lead on the recorded version. Obviously it may not be practical on stage to have 2 or 3 extra guitarists, so a good substitute would be to have an audio splitter on your guitar effects set up, and split the signal into different effect units (maybe different distortion settings or delay etc.) which would give the impression of several guitar sounds coming from the 1 guitarist.
Here are a couple of practical examples:
Frequency splitting
*click for full size*
In this instance, I wanted to add some distortion to my bass synth to spice it up a bit. However, I don’t like the effect the distortion device has on the bottom end of the bass sound.
So I’ve routed the input from my synth device into the input on the splitter and used this to split my synth sound into 2 signals, both of which are routed to their own EQ.
On the first EQ I have cut off most of the higher frequencies (high pass). This is going to be my control for the bass sounds in my synth, which, as mentioned above, I don’t want any distortion effect on. I’ve also added a couple of additional cuts/boosts to certain frequencies, but that will differ depending on the sound you want to achieve.
The second EQ has all the low end frequencies cut out (low pass), this is to avoid phasing/overdriving the bass levels. I’ve then routed the EQ to my distortion device to apply the effect I want to achieve.
Both of these signals have then been routed into a line mixer so I can control the volume levels more efficiently. The line mixer is then routed to a main mixer channel.
I could have routed both the split signals back into the Merger device, but decided on the line mixer as I wanted greater control over the volume levels of each signal.
Splitting for processing
Going back to the effect used by guitarists mentioned further up, that effect can be achieved by using a similar process as the frequency splitting. Instead of controlling individual frequencies, this would involve routing the splitter outputs into different effects devices.
For example: The first output would be routed to your line mixer (once again not the merger for easier volume control) as the raw sound. You could then route the second splitter output to a phaser. This could then be routed to another channel in your line mixer and bring the volume of that channel down. You now have a cool subtle swirling/phasing effect without it over-saturating the original sound.
You could also route 2 outputs from the splitter into 2 line mixer channels and pan them in opposite directions to give your signal a really wide stereo sound – be careful not to over use that though!!!
That’s just a couple of basic examples. Try playing around and see what you can come up with – the possibilities are endless!
Sidechain controllers
*click for full size*
This is a very common technique these days, as seen by the constant threads about it on music forums across the web, whether that be on how to create the effect or moaning about its over-use, but I digress... ;)
In this instance, I wanted to use my bass drum as a controller/trigger for the sidechain on my bass compression.
To achieve this, I have routed the output from my bass drum device into the input on the splitter device. The first output on the splitter is routed to the ‘sidechain in’ connection on the bass compressor. I can then adjust the setting on my compressor accordingly to crate the effect I am looking for.
But, as the output from my bass drum is routed to the sidechain, I won’t playback in my mix. So, I then routed the second output from the splitter to my mixer (or effect device should the sound require further processing) so the bass drum is audible in the mix.
Phew, that was longer than expected!!
If anyone has any questions, additions or corrections regarding this, please let me know!
I hope this has been of help/interest to some.
Cheers,
Bren
This mini-tutorial (which has turned out to be anything but mini! :D) is based around Reasons ‘Spider Audio Merger/Splitter’ but I am assuming that most other DAW’s have a similar function and as a lot of the principles are universal (reason functionality aside) this should be relevant what ever you use to produce your tracks.
This is a basic mini-tutorial aimed at newer producers, so there’s nothing ground-breaking here. It also only covers just a couple of examples of the uses for this device, but at the risk of turning this into an essay, I have stuck with a few common usage examples.
I appreciate there are many other ways to produce the same effects as my examples here using other devices, but if I went through them all, we’d be here all week :D
Audio Merging/Splitting
This is the reverse of the Spider audio device. As you can see, I have split the device into two sections (A & B) A being the merger section and B being the splitter section.
I’ll be using the labels on this image as reference throughout, so check back to this should you need to.
Section A: The Merger
The merger allows you to merge up to 4 audio signals into 1 audio output. For example; if the lead synth in your track is made up of several layered synth devices, but you want to route them through 1 channel on your mixer, then by connecting the outputs of your synths into the ‘inputs’ of the merger, the signals will be merged into one sound which can be routed to your mixer (or effects devices) via the output.
The same principle can also be used to group several audio signals into 1 effects device.
For example:
In this example, I wanted to route my bass drum and bass line to the same compressor.
As you can see (past all the wires) I have routed the output from the bass synth into the first input on the merger. This merges both signals to the output, which can then be routed to the compressors input, with the output going to the mixer.
Section B: The Splitter
The splitter allows you to split any audio signal routed to the input into 4 identical outputs. This is usefull if you want to duplicate the sound from one of your devices for separate processing without having to set up another instance of that device within your ‘rack’.
This is a popular effect with some rock acts when performing tracks live that may have had several layered guitars playing the lead on the recorded version. Obviously it may not be practical on stage to have 2 or 3 extra guitarists, so a good substitute would be to have an audio splitter on your guitar effects set up, and split the signal into different effect units (maybe different distortion settings or delay etc.) which would give the impression of several guitar sounds coming from the 1 guitarist.
Here are a couple of practical examples:
Frequency splitting
In this instance, I wanted to add some distortion to my bass synth to spice it up a bit. However, I don’t like the effect the distortion device has on the bottom end of the bass sound.
So I’ve routed the input from my synth device into the input on the splitter and used this to split my synth sound into 2 signals, both of which are routed to their own EQ.
On the first EQ I have cut off most of the higher frequencies (high pass). This is going to be my control for the bass sounds in my synth, which, as mentioned above, I don’t want any distortion effect on. I’ve also added a couple of additional cuts/boosts to certain frequencies, but that will differ depending on the sound you want to achieve.
The second EQ has all the low end frequencies cut out (low pass), this is to avoid phasing/overdriving the bass levels. I’ve then routed the EQ to my distortion device to apply the effect I want to achieve.
Both of these signals have then been routed into a line mixer so I can control the volume levels more efficiently. The line mixer is then routed to a main mixer channel.
I could have routed both the split signals back into the Merger device, but decided on the line mixer as I wanted greater control over the volume levels of each signal.
Splitting for processing
Going back to the effect used by guitarists mentioned further up, that effect can be achieved by using a similar process as the frequency splitting. Instead of controlling individual frequencies, this would involve routing the splitter outputs into different effects devices.
For example: The first output would be routed to your line mixer (once again not the merger for easier volume control) as the raw sound. You could then route the second splitter output to a phaser. This could then be routed to another channel in your line mixer and bring the volume of that channel down. You now have a cool subtle swirling/phasing effect without it over-saturating the original sound.
You could also route 2 outputs from the splitter into 2 line mixer channels and pan them in opposite directions to give your signal a really wide stereo sound – be careful not to over use that though!!!
That’s just a couple of basic examples. Try playing around and see what you can come up with – the possibilities are endless!
Sidechain controllers
This is a very common technique these days, as seen by the constant threads about it on music forums across the web, whether that be on how to create the effect or moaning about its over-use, but I digress... ;)
In this instance, I wanted to use my bass drum as a controller/trigger for the sidechain on my bass compression.
To achieve this, I have routed the output from my bass drum device into the input on the splitter device. The first output on the splitter is routed to the ‘sidechain in’ connection on the bass compressor. I can then adjust the setting on my compressor accordingly to crate the effect I am looking for.
But, as the output from my bass drum is routed to the sidechain, I won’t playback in my mix. So, I then routed the second output from the splitter to my mixer (or effect device should the sound require further processing) so the bass drum is audible in the mix.
Phew, that was longer than expected!!
If anyone has any questions, additions or corrections regarding this, please let me know!
I hope this has been of help/interest to some.
Cheers,
Bren
Welcome to the 'Audio Confusion?' Blog!
Heya everyone,
Welcome to my new Blog!
I've been toying around with the idea of writing up a few tutorials and recording a few video tutorials based around music/audio production for a while now. As I've been producing myself for nearly 10 years now, I thought it's about time I share some of my knowledge with the world :)
Keep checking back for new content & if anyone has any requests, feel free to drop me a line!
Bren
Welcome to my new Blog!
I've been toying around with the idea of writing up a few tutorials and recording a few video tutorials based around music/audio production for a while now. As I've been producing myself for nearly 10 years now, I thought it's about time I share some of my knowledge with the world :)
Keep checking back for new content & if anyone has any requests, feel free to drop me a line!
Bren
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