Here’s an amazing piece of music created by composer and sound designer Brendan Hogan, producer of the Fractured sample library reviewed a few months ago. This time, the only instrument Brendan used was a bowl of pistachio nuts, which he then processed in Pro Tools and Kontakt:
Brendan also guest-authored a blog post on Designing Sound in which he reveals how he did all this (thank God). It’s a fascinating look at what you can accomplish with one sample and a lot of creativity. It’s also a great advertisement for the inspirational power of limitations. The accompanying YouTube walkthrough is below: Continue reading →
Following up on their release of the excellent Little Radiator (exactly a year ago), SoundToys once again are pre-releasing a free version of what will soon be a paid plugin. The Little MicroShift promises to add “massive width, enormous depth, and huge thickness” to whatever you put it on. Basically, it makes mono stuff stereo, using three different algorithms emulating two classic pieces of kit.
I have yet to try this baby out, but I’ve gotten my free copy, and you can get yours here until March 29th (that’s this coming Friday). Go get some free stereo!
Here’s a quick tip on setting a compressor properly so you’re not overcompressing the signal. I got it from reading through the excellent posts like this one on Production Advice (mentioned in an earlier post). I’ve been using compressors for years and I can’t believe I never knew this bit of wisdom! Here it is:
In normal use (i.e. not for a special effect), set your compressor’s threshold so the gain reduction goes back to zero a few times each measure.
That’s it! That way you know you’re only compressing the loudest parts of the signal and not crushing the whole thing. It also ensures that the release time isn’t too long and the compressor has a chance to “let go” of the signal before the next loud bit. Continue reading →
Just found this great blog on recording, mixing and mastering: Ian Shepherd’s Production Advice. Shepherd covers all aspects of achieving great-sounding mixes, from getting the best sounds at source, mixing them effectively, and making the end result loud and punchy so it competes with commercial mixes. I stumbled onto the site a mere 24 hours ago and I already feel like I’ve spent a month in engineering school (in a good way).
Being a professional mastering engineer, Shepherd tends to focus on that end of the chain. But I also feel like that’s more misunderstood than recording and mixing anyway, so it’s a welcome addition to my trove of resources. Witness his discussion of dithering, an esoteric and confusing subject if ever there was one. Shepherd maintains that one should dither whenever you bounce, whether it be to 16 or 24 bit. This goes against conventional wisdom, at least the conventional wisdom I’ve read, but it does make sense when he explains it. Continue reading →
“Every month or every two months I’ll take another soft synth, and I’ll read the manuals and I’ll watch the YouTube videos on it, and I’ll go really deep into it. I may create a whole track just using that one synth.”
It occurred to me that we all probably need to do this. I know I do. I read magazines like Sound on Sound and lust after all the pretty new software and gear when I don’t really know how to use half of what I already own. I mean really know it. Sure, I can fire up presets on my virtual Moog Modular or OSCar and tweak them a bit, but I can’t quickly program a patch from the ground up on either one.
Just the other day I was trying to find the perfect drum beat for a project and realized to my dismay how poorly I knew all the beats I had on hand (and I have a lot). What I need is a library of MP3s with all my beats in various categories: Shuffle, Swing, Half-Time, Straight, Funky, etc. Not only will that enable me to audition beats quickly but the process of creating the library will make me much more familiar with what I own. Sure, it will take time, but it will save more when I really need it—when I’m on a deadline.
Consider adopting Alex Da Kid’s policy and dive into one of your underused pieces of gear every month or two. Read the manual. Watch some tutorials. Use it in a few pieces—without touching the presets. Having more than one or two go-to synths, delays or beat generators will be a great help when you’ve got three hours to compose a masterpiece. Remember, if you can really impress your client with your speed and talent you’re pretty much guaranteed to get the next gig.
Until March 29th, plugin makers SoundToys are offering their new Little Radiator plugin for free. The Little Radiator is an emulation of the classic Altec 1566A tube mic preamp. The 1566A and 1567A were a big part of the early Motown sound, and the units are prized today for their colored, warm tone. Indeed, the plugin does add quite a bit of punchy fatness and it sounds especially good on drums. The controls couldn’t be simpler: the Pad attenuates, Heat adds gain and warmth, and Mix adjusts the mix of clean and effected tone.
As a bonus, by downloading a copy, you’ll also be entered into a drawing for a chance to win a Plugged For Life bundle—free downloads of all SoundToys plugins for eternity. Runners-up will win SoundToys plugin bundles and free upgrades to the upcoming Radiator plugin, the Little Radiator’s big brother.
Reverb is an indispensable effect for anyone doing their own mixing (and don’t we all do our own mixing from time to time?). Finding the right reverb for the job can sometimes be tricky though. I can’t imagine ever having just one reverb that fills all my needs, but it’s great to have a few go-to units on hand as first-responders. ValhallaRoom is just such a plugin.
Created by Seattle’s own Sean Costello, ValhallaRoom is an algorithmic reverb with a clean, simple interface. Teakers will appreciate the wealth of controls, and the tweak-averse will find plenty of presets to play with. The Decay slider can be cranked up to an enormous 100 seconds, allowing for some massive-sounding effects. And the unique Depth slider lets you easily crossfade between early and late reflections, effectively moving the imaginary mic closer or further away.