Search

Holy Bot

Bedroom music production, gaming and random shit

Tag

making music

Vocal Delay Ducking

The normal thing to treat a dry vocal is to put reverb and delay on it. But that could make the vocal a bit muddy.

To keep it in-your-face and conserve the clarity of the vocal, while still having an effect to make it sound bigger, try ducking the volume of the delays whenever the dry vocal is active. To do so, side-chain the delay bus to the lead vocal track.

For example, use a delay device on a return bus and put a quarter note delay with low feedback, and send it to the vocal track with a little less volume. On the same bus, put a compressor and select the vocal track as the side-chain source. Set it up as you like, perhaps bring down the wet-parameter some.

You can also try the same thing with a reverb.

Advertisements

Create a Shimmer Reverb

Shimmer is a feedback-reverb-pitch-shift-effect made popular by Brian Eno and Daniel Lanois. The idea is to feed a reverb to a pitch shifter and back again. Each delay repetition gets shifted one octave up. In this case I’m using Ableton Live with stock effects, the Reverb and Grain Delay where the signal gets delayed and pitch shifted. You can use these guidelines in different environments (hardware/software) but here’s how I do it:

  1. Insert two Return Tracks and put a Reverb on A.
  2. Turn off Input Processing Hi Cut, set Global Quality to High, turn off Diffusion Network High, a fairly long Decay Time and turn the Dry/Wet to 100 %.
  3. Enable Send B on the Return Track A and set it to max.
  4. Use the Grain Delay on Return Track B.
  5. Set Frequency to 1.00 Hz and Pitch to 12.0.
  6. Enable Send A on the Return Track B and set it to max.
  7. Dial Send A of the Track with the signal source that you what to shimmer.

Also try to bring in Send B on the signal. And play with the Size and Diffuse controls of the Reverb.

Translate Sub onto Smaller Speakers

There’s a few things you can do to make your bass sound on smaller speakers like laptops, tablets and cellphones. First you need fundamental and harmonic content on your bass. The fundamental frequency is the base foundation note that represents the pitch that is played and the harmonics are the following frequencies that support the fundamental. In short, it’s the higher frequency harmonics that allow for the sub to cut through the mix.

One idea is to create higher frequency harmonics. The harmonics should be in unison with the fundamental frequency, but don’t contain it. (The harmonics trick your brain into hearing lower frequencies that aren’t really there.) Add a touch of harmonic saturation, drive a little warmth, a little fuzz to help that sub cut through. The harmonic distortion, adds high-frequency information to reveal presence on systems with poor bass response.

Also try to copy the bass to a parallell channel, bitcrush the higher harmonics and cut all lows and mix with the original bass.

If you’re beefing up your main bass by layering a separate, low-passed sine wave at the octave below, perhaps try square (or triangle) to add some subtle higher frequencies that allow the sub bass to translate better than a pure sine wave.

You can also try to EQ the bass. Try to boost the harmonic multiples of the fundamental frequency to hear some definition from the bass sound. And boosting above 300 Hz will bring out the bass’s unique timbral character. Actually, try around 1 kHz (but add a low-pass filter at around 2-3 kHz).

Use high-pass filtering (to clear the low-end frequencies and make room for the intended bass sound), and you can also side-chain your sub bass to keep it from fighting with the kick drum.

When it comes to kick drums you can add a small click noise to help it translate onto smaller speakers.

P.S. There are also plugins that use psycho-acoustics to calculate precise harmonics that are related to the fundamental tones of bass.

New keyboard stand, four tiers, compact living. Early December 2016.

Headroom for MP3

I’ve written about the importance of headroom when submitting your track to a professional mastering engineer, but you should also pay attention to headroom when you do this on your own and when you encode MP3s.

Okay so when the track is mastered at 0 dB (the maximum level for digital audio files) many converters and encoders are prone to clip. Lossy compression formats utilize psychoacoustic models to remove audio information, and by doing so introduces an approximation error, a noise which can increase peak levels and cause clipping in the audio signal – even if the uncompressed source audio file appears to peak under 0 dB.

In Practice

For example SoundCloud transcodes uploaded audio to 128 Kbps MP3 for streaming. In this scenario, use a true peak limiter to ensure the right margin depending on the source material. A margin of -1.0 or -1.5 dBFS should work for no distortion (sometimes -0.3, -0.5 or -0.7 would work, but it’s safer to have greater margin).

https://api.soundcloud.com/tracks/292135058/stream?client_id=3cQaPshpEeLqMsNFAUw1Q?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio

“Hope my haters keep a special place in their heart for me”

Envelopes, Basics

In sound design, an ADSR envelope modulates the sound and sculpts its timbre thus changing its sonic character. ADSR is an acronym that stands for its four stages Attack, Decay, Sustain and Release. The contour of the ADSR envelope is specified by three time-parameters and one level-parameter like this:

(A) Attack time is the time it takes for the signal to go from minimum to maximum when the key is pressed.
(D) Decay time is the time for the signal to drop to the designated sustain level (if it is not set to maximum, then decay time has no meaning).
(S) Sustain level is the level of the signal while the key is hold.
® Release time is the time taken for the signal to fade out after the key is released.

Note that the signal will jump to the release stage when the key is released no matter where it is in the envelope. Hence if a short note is played, the signal might not had time to rise to the maximum in the envelope, therefore release will be relative to the level reached in the envelope.

Envelopes can be applied not only to volume, but also to filter frequencies or oscillator pitches.

To correctly tune the pitch envelope modulation range:

  1. First turn the modulation/envelope amount knob down.
  2. Press the key and set the desired minimum with the pitch knob (offset for modulation).
  3. Turn sustain level all the way up, press the key and let the signal reach maximum.
  4. While on sustain, dial the modulation knob to the maximum pitch.

About cutoff modulation, the cutoff knob is the starting point of the modulation, that means that the sound will not be altered if cutoff is set to maximum.

Moreover, it is sometimes possible to inverted the envelope and reverse its behavior.

Envelope, Basics

In sound design, an ADSR envelope modulates the sound and sculpts its timbre thus changing its sonic character. ADSR is an acronym that stands for its four stages Attack, Decay, Sustain and Release. The contour of the ADSR envelope is specified by three time-parameters and one level-parameter like this:

(A) Attack time is the time it takes for the signal to go from minimum to maximum when the key is pressed.
(D) Decay time is the time for the signal to drop to the designated sustain level (if it is not set to maximum, then decay time has no meaning).
(S) Sustain level is the level of the signal while the key is hold.
® Release time is the time taken for the signal to fade out after the key is released.

Note that the signal will jump to the release stage when the key is released no matter where it is in the envelope. Hence if a short note is played, the signal might not had time to rise to the maximum in the envelope, therefore release will be relative to the level reached in the envelope.

Envelopes can be applied not only to volume, but also to filter frequencies or oscillator pitches.

To correctly tune the pitch envelope modulation range:

  1. First turn the modulation/envelope amount knob down.
  2. Press the key and set the desired minimum with the pitch knob (offset for modulation).
  3. Turn sustain level all the way up, press the key and let the signal reach maximum.
  4. While on sustain, dial the modulation knob to the maximum pitch.

About cutoff modulation, the cutoff knob is the starting point of the modulation, that means that the sound will not be altered if cutoff is set to maximum.

Moreover, it is sometimes possible to inverted the envelope and reverse its behavior.

https://api.soundcloud.com/tracks/283985968/stream?client_id=3cQaPshpEeLqMsNFAUw1Q?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio

Recorded in the bedroom studio with my friend, Mysia. We are going to finish this track someday, at least that’s what we said.

Blog at WordPress.com.

Up ↑