Those of you that use it know that LA Scoring Strings is an incredible tool for creating realistic string mockups and recordings. But it can be a little daunting at first, especially with the A.R.C. and all of the complexity (and power) that brings. When I first started using LASS, I didn’t know how to set up keyswitches and quickly retreated to putting different articulations of a string section in different Kontakt instruments just so I could get my piece finished.
I’ve recently been mixing a piece for a fellow composer and saw that he had used exactly the same workaround that I originally had—placing each articulation on a different track in his mix. I realized there may be a lot of you out there who haven’t yet found the excellent video tutorials on the Audiobro site, so I thought I’d share those. As you can see from the video, setting up keyswitching isn’t all that complex once you understand how it’s done, but if you don’t know how to do it you’d be hard pressed to work it out on your own. The best part is, you only have to set it up once and then save your template in Kontakt. Continue reading →
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!
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.
I assume many of you out there use either Finale or Sibelius for your notation needs. If you’re not aware of fellow Seattleite Robert Puff’s blog, Of Note, you should be. It’s a treasure trove of tips and tutorials for both programs.
Recent posts include quickly deleting unison notes in Finale, two methods for creating Grand Pauses in Sibelius, and techniques for creating both boxed and free-floating aleatoric notation in Finale. If you’re like me, mastering your notation program can be a difficult path. Robert is a tremendous resource for anyone needing more out of their software!