I guess you'll be able to reach the desired result by applying these effects:
EQ - Boost around 2KHz and cut everywhere else. (You can play with the frequencies and see which one suits you the best. To do that just boost one frequency and swipe it across the area).
Distortion - After setting the EQ, you could add just a bit of distortion to the signal.
Unfortunately the plugin settings are non-automatable, so I found a workaround: I created a summing track stack with the necessary registrations as subtracks, and I mute them when the corresponding registration is not selected (using automation). This way, I can even mix various registrations like organ stops (e.g. Principal + Flute) or use another ...
I haven't personally worked with Logic or Mainstage much, but the basic steps I'm outlining here seem to be fairly DAW-agnostic, and I have applied them in both Reaper and Ableton Live so I presume they work similarly. I'll talk about Logic here since that seems to be the more common choice.
There are a couple of basic ideas you're going to use ...
Filtering a signal to remove certain parts of the spectrum on the face of it (and intuitively) should reduce the perceived sound level. This is what common-sense would tell us. However, when it comes to the reshaping of sound with filtering, lowering the sound level doesn't always equate to lowering the peak level. Yes, the perceived sound level may reduce ...
It's because it's a summed audio track. There are peaks and valleys now that have completely changed. think of three separate waveforms with totally different wavelengths. Now, you imagine the peaks and valleys getting summed together. Suppose that you remove the longest ( lowest ) wave. Now you will have parts that are quieter and parts that are louder ...
I believe you can use the Flex Tool you mentioned in your comment to do what you want. Here is a tutorial explaining how:
Hitting Command + T when you have the matching number of measures selected in the cycle region, the audio clip in the track you have ...
Hey RobDel now I understood your answer!
So here is it how my Sound engineer teacher told it to me:
The most important thing when creating a full album with a cohesive sound is to record the songs in the same room with the same instruments played by the same players trough the same microphones into the same mixing desc into the same converters...
The mix ...
The best way I can think of removing the vocals is splitting the stereo track into its respective left and right mono channels. After that, invert the phase of one of the mono channels and you will get the vocals cancelled out. The downside to this is that there is a high possibility that it might change how the stereo track originally sounded like. Another ...
If your aim is to simply be able to see the buss/aux tracks in the "Tracks area"...
...then you can make the "busses"/"auxes" visible in the "Tracks area". This can be done by going in the "Mixer" window and Ctrl clicking anywhere in the channel strip you want to have shown in the "Tracks area". Then ...
To move the whole automation, you have to select the entire area of the automation first, then move it.
This is a common problem, that pretty much everyone solves the same way.
Do not under any circumstances automate the final volume of a track...EVER.
In Ableton you drop a utility effect on the track and use it to do volume automation. This way ...
We call 'wet', the return from an FX processor. 'Dry' is the input signal to the effect. So if you turn 'wet' down and 'dry' up, the signal will pass through the effects unit unchanged.
The reason many effects units have a dry/wet setting is so you can either use them as insert effects, or send effects. An insert effect is one where all of a channel's ...
I feel your choice of plugins might get you near the sound you want to hear in your song (heck, they might even get you somewhere better!) but as for recreating the distinct sound of AM radio (specifically AM TALK radio)... well, I'll just say that your way seems like WAY more work than it needs to be and start with the explanation.
Before we start ...
Phase inversion may help.
Take a clean (no post-processing) mono vocal track and a clean mono instrument track. Invert the phase of one of them, and start playback. Listen closely while adjusting the relative playback positions of the tracks (offsetting a few samples at a time), to bring them closer to phase alignment. You may notice a slight improvement ...
If you have a hardware midi controller with dials or faders you could assign the midi CC of one of them to the parameters you wish to change on each instance and set all tracks to armed. This would change them all instead of just one in the same way that you can play multiple instruments at once.
In Live, the spacebar plays from the start marker position. However, fn + left arrow (OSX) or Home (Win) should move the playhead to the beginning.
If you're using a MIDI controller for transport control, you can double-tap the "Stop" button which will return the marker to the beginning as well.
You can either trim the end of the region by dragging it from the right bottom corner of the region.
Or you can use the scissors tool (Esc, then 5), split the region 8 bars in and delete the half that is silent (then double click Esc to go back to the pointer tool).
Alternatively, in the piano roll, you can set the end marker for the region - it is shown ...
First off, I think it's cool they didn't just ask you to make it sound like Transformers! But I think it's a difficult task because the sound in the clip is very stylised and not actually in very tight sync to the action.
It feels like you hear more swooping/flying around and atmos than actual synchronised movement sounds, so perhaps part of the challenge ...
The tape delay (as well as other delays) has an LFO that modulates the delay time, in turn this will result in a modulation of pitch. Just keep the output on 100% wet, but use the delay as an insert (not a send).
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
Best way I could find.
Make all your audio "follow tempo"
The way to do this is to mark the region,
and check the "follow tempo" checkbox in the inspector.
After you have done that you can just change the BPM to the desired speed.
Now, sometimes the "follow tempo" checkbox does not show up. I read somewhere that this is because the follow tempo feature is ...
What are the moving green bars in the following picture that Logic Pro displays called?
This is called a Level Meter.
What do they measure?
They mesure dBFS
What is the smaller colored line often moving above the bar?
This is the maximal value the audio peak reached
What is the number scale Logic uses, quadratic?
I'm not sure to well understand ...
A couple beautiful plugins for achieving this effect that are fun to even use in tandem for a richer warble:
I endorse both enthusiastically! And if you want some more grit and hiss, add TB ReelBus to your arsenal. It's designed to simulate magnetic ...
Personally I prefer Boar for version control of binary files. That is the exact use case of that system - mostly used for photos, etc.
On the other hand, I can also recommend you the git Large File System. That means you can stay with git syntax/toolchain without a need of setting up boar.
Took the above advice. This has been working great for me with git. Logic Pro X 10+.
Project\ File\ Backups
Haven't tried it, but splice looks interesting as well.