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6

It really depends on you. If your DAW (Ableton) does everything you want, then you're good to go. VSTs come in when you want to do more. You may decide the reverb isn't quite what you want, or you'd want a vintage synth, or orchestra, or electric piano sound, or better drums beyond what comes in the package... that's the time to look at VSTs. That's not ...


6

I wouldn't record using FX unless I was very sure about the end result I wanted and how it would sit in the mix, just to leave my options open since you can't go back and remove the FX. On the other hand, if the FX are an integral part of the performance then it might be a good idea to record after the FX. Sometimes the performer might hit a 'sweet spot'that'...


5

I agree with what's been said, although don't forget that part of what gives a sound its off-axis/down-the-hall timbre is how it resonates through the building materials. So yes, highs will drop off but you'll likely need to bump sonewhere between 180 - 400 Hz where there's a nice resonant quality, just be careful of the 300 Hz muddiness. This is where a ...


5

Here's my process for creating loopable sound files: Select a reasonable amount of audio from the tail end of the file ("reasonable" is variable and entirely dependent on the content of what you're working with), cut it off and paste it onto the front of the file. You'll need to make a crossfade from the tail end of the region you just cut onto the head of ...


4

Normally mixing is done with a single voice on each channel because it is impossible to completely separate one audio signal from another after they are combined. Sound is additive and there isn't a way to identify one from the other to pull apart cleanly. That said, what you can do is enhance parts of the sound that will make one voice more clear than the ...


4

I've had great luck using a home made impulse response created by slamming a 2x4 plank on the floor upstairs with a hammer hard, while recording it downstairs. Try taking the top of your sound off with a filter and send it through an IR like that.


4

For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor. U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic. Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one. AT2035 would more in the bargain range. For FX, it can ...


4

Two thoughts... 1) The song is currently in the wrong key for the sound you are aiming for, vocally. The only fix for that would really be to re-record it in a more suitable key. 2) There are plugins available that can adjust the formant** of a sound without changing the pitch. Probably the best tool available for that is Melodyne [imho] which can adjust ...


4

This sounds like a live setup so I'd say the SM58 is an excellent choice of microphone for the purpose. I'm more concerned about the amplifier. A bit of research tells me this is an acoustic guitar amp which can also take a vocal microphone and although I haven't heard this model that setup is hardly ideal. Might be OK for practicing but if you're playing ...


3

I would say Gross Beat falls under the time manipulation category, it just creates stutters by jumbling the audio around a bit, and changes the speed or volume level on certain tracks. I imagine that most of the sound effects created by gross beat could be achieved quite simply by cutting up and automating property's of audio clips. Hope this helps


3

There is a VERY simple way to do this, as I have needed the exact same effect before. Click in an empty plugin window, go to Audio Units > Apple > AUpitch this will allow you many many semitones of pitch shift with the ability to automate smooth changes. Hope this helps


3

could you maybe use Soundflower to route the system audio into a vst compatible program? just an idea.


3

Instead of simply listing practical details about how you're making your sounds (eg. types of mics, foley techniques and so forth), you might consider making more theory-based speculations about why certain sounds, or qualities of sound, are appropriate to convey the particular messages that you're trying to convey; how they create meaning for the listener ...


3

Definitely. "Guitar" effects have almost never been used only for guitar. Keyboard and bass players in particular have long used effect pedals. Effects pedals have also been used live and in studios to process all kinds of sources, including vocals. Many times processing some sources like vocals require adapters and level and impedance matching to make the ...


3

Yes, it is simply a compressor - typically you'd use one with a relatively low threshold and ratio. And some may store metadata for the whole track once it has been compressed/normalised once. I know my car stereo could do that - would zip through new tracks to identify peaks and normalise against them. You don't need predictive normalisation though - ...


3

It's 'simply a compressor'... however it's a very specialised type of compressor. There are probably others in this field, but the go-to name for radio compression is Optimod by Orban Optimod is, to over-simplify, a multi-band compressor specifically made for radio transmission & includes specific timing & frequency compensation for the way radio ...


2

This is a nice one... http://deauditievedienst.tumblr.com/post/42278000168/foley-trick-how-to-record-the-sound-of-screeching It's from Arnoud Traa, a Sound Designer/Recordist from Amsterdam.


2

I think your situation is that you have 2+ people on a recording, and they are speaking at different volumes. I've come across three ways to do this (May 2015): create 2 audio tracks (one for each speaker) and export to MP3, which apparently levels the volume (haven't tried); Select certain snippets and amplify the audio for the quiet speaker (tutorial: ...


2

I'm a little late to the party, but I've used ProTools' 7-band EQ plugin for replicating sounds coming from inside of a building, and it sounds great. There are some other things I would do to adjust for specific needs, but this is a good start. Here is a screenshot of the EQ settings: If you were still looking for it, I hope this helped.


2

Basically what you want to do is: Find the range of frequencies for each person. The main problem is here since frequencies might overlap. You said that one of the speakers is heard through a phone, maybe it will result in more easily separable frequency ranges. Raise the volume of range of frequencies of the person you want to hear Lower the other range ...


2

AFAIK, there's no facility for true side-chain compression in Vegas, but there is a workaround of sorts. It basically involves creating additional buses, and routing the source and target tracks to that bus, then using a compressor with the ability to pick one of the channels off the bus as a source, and another channel as the target. Then panning the bus ...


2

You're in luck then as the CV (Control Voltage) outputs for pitch and volume on your Etherwave will allow you to do exactly that with the addition of some other gear. You'll need to get some other CV capable equipment such as moogerfooger pedals or a modular synthesizer. Doing this will open a wonderful world of weird sounds and possibilities. There is a ...


2

Gorillas walruses & time stretch. Godzilla was largely a leather glove on a detuned bass string, if I remember correctly. Depends on what's roaring though


2

From the top of my head, the book "Sound Design" by David Sonnenschein is a very good start! I'm on my second read-through on it myself right now :-)


2

Although the focus is on sound design for theatre, Ross Brown's Sound: A Reader in Theatre Practice is a brilliant resource with a wide-ranging bibliography. 'Reader'-type books are great for initial research for this very reason: someone else has gathered all the essential reading into one book! As @Arran says, theory-based texts about why we use sound are ...


2

I'll bring them all in and sync them first, then do a broad chop of all of the unusable stuff. This is so that I can cover those tracks with crossfades, which I can't do in RX. Once I have my basic edits completed I'll do an RX pass, then reimport to protools for mixdowns.


2

My advice would be to always import everything into PT, make your choice which 'blend' of mics suit each other over the edits. Then audiosuite/RX anything needed, but keep the original in place, muted, or on an inactive track. My personal experience is to go as easy on the denoiser as possible, and use volume and eq to fix up things. Happy mixing :-) ...


2

Mess around with EQ. Try lowering the treble a bit to muffle the sound. Normally, you would put a low pass filter on to make it sound a bit muffled. As for talking to him\herself, Increase the bass a bit, and do not apply reverb to it. In film, we typically have room tone, reverb and shave off most of the low frequencies to give it the sound of being in a ...


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