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This is just a limited (or clipped through distortion) sound wave added through the normal mixing process, to a lower frequency soundwave.
I've created a simple example to demonstrate what I mean.
The higher frequency sound wave; Let's pretend it's a nice brass instrument:
The brass instrument is then clipped for whatever reason:
The ...
5
For electronic, hip hop and house, you should be able to get a lot done with samples of the classic drum machines. Things like the Roland TR-808 and TR-909, the Linn Drum, and other classics. If you google around, you can find plenty of free or donationware sets. There are also commercial sets that are very nice, though most good software samplers will come ...
5
how far away? is your macbook air connected to speakers?
Your file has a "loudness" (RMS level) -> player volume (gain) -> system volume (gain) -> audio interface voltage specs (gain/level) -> amp (gain) -> speakers (sensitivity). So it's impractical to try and "compute" it with that many variables. Grab an SPL meter.
There are SPL meter smartphone apps ...
5
After a 3 year hiatus I return with an answer that I hope doesn't get torn to shreds by newer members here:
I'm going to start out with a more general answer: NOTHING done as a corrective measure (ADR, 'fixing in post', etc.) is necessary to do on a film set if it is properly planned for and solutions are brought to the table well enough and early enough in ...
4
Other than turning down the music, if you have access to the music stems, you can "remix" the music to accomodate the dialogue. Certain instruments often compete with dialogue (cymbals, guitars, or strings are common culprits). If you are working with premixed music or licensed tracks from an album it is obvious that the music was not mixed with the ...
4
Jamendo has a whole bunch of cc by licensed music.
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Here are some techniques and things I used improperly for a long time that I think will help you. Luckily for you, I've researched a lot of techniques for dubstep and EDM in general. And I have a lot of experience with NI Massive.
What I did for a long time was use the EQ too boost the loudness of my instruments which is NOT what you want to do. Using the ...
4
Assuming we're thinking about the same thing, it's not octaves, it's harmonics. The difference being that harmonics are doubles of the original harmonic, meaning for example the first overtone of 250Hz being 500, the secon one being 750 and so on. They are pretty hard to come by because they are mainly used to remove hum and such, though it can indeed be ...
4
Uh oh, don't do that... the stereophonic inversion police aren't up for any fun...
Truth is, many headphones are designed almost symmetrical, so if you turn them around and flip the stereo channels you get exactly the same experience. Flipping the channels is easy enough if you're working with a mixing console. In consumer devices there's seldom such an ...
4
You will note that this emulates the effect of a DC blocking capacitor, in a record player on clipped vinyl... i.e. no 0Hz being passed. This waveform's clipping slopes exclusively the same way, towards zero. Unless this were a mixture of a triangle, and a square (clipped) wave, of the same frequency, with a phase difference of 90 degrees, Marc W's example ...
4
In my experience, it all depends on where the audio is to be used next. If there is a limiter of some kind in the next phase of the process. Sometimes a limiter will be applied at varying levels below 0dB to prevent overload and clipping distortion.
-o.1dBFS is a peak normalization preset because basically, that is the highest level a sample can be without ...
3
Labels ask remixers for remixes as these serve as added content and added value to sellable products. In the professional industry the label typically initiate the process (that is, you are asked to remix something, you don't ask to remix something).
As you have mentioned, remixing competitions are common nowadays as they increase the artist reach, exposure ...
3
I'm not a FL Studio user, but I'd be surprised to find that there are no active forums full of FL Studio users.
That said, the other DAWs you suggest break down as follows:
ProTools is said to be great at audio and weak at MIDI. It seems to
be the go-to choice for full-serivce professional studios. As far as
I know, you can't run VSTs natively in ProTools, ...
3
I dont think this is particularly a Sound Design question in the first place, but I would point out that there can be considerable differences between any two different equalisers (hardware or software) in the first place, so the notion that settings for 'an' EQ might be studied, rather than the more consistently measureable frequency content of music, seems ...
3
I don't think you will find any research in to what EQ settings will make a difference. There may be certain frequency groups that help, but EQs just apply adjustments to what is already there though and countless other things have more of an impact. Pacing of the music, how busy the music is, how complete the "wall of sound is", tempo, style, volume, etc ...
3
The most "proper" solution is to use a bass sound that in itself has some midrange as well. For normal subtractive synth sounds, that means: don't use too steep LP filters, try a simple 12 dB/8ve or perhaps 18 instead of 24 dB/8ve.
There's a trick that works pretty well on almost any bass, to introduce some "non-sub" harmonics: apply gentle overdrive/...
3
Depends...
If it's a track played by humans then unless they played to a click then it's unlikely the BPM is consistent because people will fluctuate tempo. Obviously the best will fluctuate only microscopically but fluctuate all the same.
However it's electronic then the BPM is (likely) to be consistent. Therefore what happens isn't that it suddenly goes ...
3
I would recommend using square and saw waves detuned with some unison. I recommend you start with massive but serum is better if you have it. Modulate the wavetables in bend+/- or bend plus or bend - if you don't know what this is, read the manual or google it. This will add movement I recommend to synch this modulation. Add an extra oscillator to taste for ...
3
The uses range from simple separation (one instrument left, another right, vocals and percussion centred) to realistic spatial separation to match the real world environment.
Effectiveness is a very subjective point - what I'd suggest is listening to a track by your favourite artist and turning the balance full left and full right to see what is panned ...
3
As mentioned in the DiscID howto that you can find here : http://ftp.freedb.org/pub/freedb/misc/freedb_howto1.07.zip,
The disc ID is an 8-digit hexadecimal (base-16) number, computed using
data from a CD's Table-of-Contents (TOC) in MSF (Minute Second Frame)
form.
This document includes a description of the algorithm used to compute the DiscID of a ...
3
Well…how to say this…
There is no software (that I know of) that can make your voice sound like Paul McCartney's voice. The only way to achieve this is to either;
A. Learn how to sing like Paul McCartney, or;
B. Hire someone who knows how to sing like Paul McCartney.
This forum is really the wrong place to post this question, but I figured it deserved an ...
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
Hello Melissa,
I had a lot of similar discussions last year in one of my my Master's program classes. We would talk about the concept of synesthesia and how it differed from individual to individual, so it was very difficult to design for all listeners. I agree with @NoiseJockey that "surprise" without external context (in the sense of "startling") is a ...
2
I don't consider surprise a "steady-state" emotion like joy or sadness or fear. Surprise, while a legitimate emotion, seems like a reaction to a major change in state, context, other emotions, or expectations.
Sound and music are all about surprise, but it's usually momentary. In terms of film sound, surprise seems to be usually handled usually by atonality ...
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