6

One of the best (most educative, and most memorable) assignments of my undergrad: Record approx 30 seconds of your own voice. Compose a piece using only cut, copy and paste. Clips should be no longer than a single phoneme. No plugs. No reversies. No time-stretch. No sampler playback. No usual suspects. This micro-editing assignment taught me so much. Try ...


5

Since Filtering actually includes more than just excessive EQ, off the top of my head there's a few really crazy one's that I'm a big fan of. Obviously Soundtoys and GRM Tools are a bit of a given in our field, so here are some that give me that same "giddy child discovering new ways to make weird sounds" feeling when I get to work with them and will likely ...


5

My approach is that on my main FX tracks, there's never an RTAS running at all. Stages don't take well to this stuff usually., especially when they realize a bunch of your plugins won't necessarily load or load correctly. That said, I build in layers (where appropriate, of course) and try my best to region group parts of a sound catorgically (e.g. for a ...


5

For post-production, I'm not aware of any hardware device that can do what the software equivalent can't, with the exception of noise reduction hardware, such as CEDAR. That, and perhaps 5.1 processors, like the TCE Reverb 4000. But after speaking with Doug Jackson a couple weeks ago about this, he showed that the TCE reverbs on the dub stages he works on ...


5

Not all processors work the same way. Probably the most-imitated one is the Aphex Aural Exciter, which was the original. The quotes below are from http://www.soundonsound.com/sos/1995_articles/feb95/exciters.html The Aphex Aural Exciter (the first one): ...some of the input signal is diverted, via a side-chain and a high-pass filter, into a harmonics-...


4

I had a Drummer friend a while back who paired back his kit from an 8 piece full kit to a small 3 piece Jazz kit... being in a metal band, he had to get pretty insanely creative to keep delivering the same dynamic of drumming... but he did it. Sometimes I try to do the same with Audio... force myself to do something new. I feel like sometimes we get too ...


4

If you install the CoreAudio SDK (assuming you're on a Mac) you get a host called "AU Lab". Find it at /Developer/Applications/Audio. This is the most lightweight host you'll find that we AU developers use for testing the AUs without the hassle of starting Logic.


4

Max/MSP's Convolution is alright and also SoundHack has some awesome Mutation and convolution processes.


3

I find Cecilia great for accidentally creating amazing sounds... • e a r b e n d i n g s o n i c s • The legendary front-end and sound production platform for the Csound language is back in an fresh new set of duds. Cecilia was first launched in 1996 to take advantage of the then emerging real-time audio capabilities of Csound. It has seen a number ...


3

Fun article! But frankly I don't really see myself in it :-) I've always been more of an..um..additive, so to say, designer. It didn't really matter weather it was music (I began as an music audio engineer and producer but got bored with it) or film, I've always preferred working with tangible sounds which I layer and filter 'till I'll get what I want. Most ...


3

I only ever use the stock Bomb-Factory/Air plugs that come with PT. It's largely because I don't have a lot of throwaway money right now. When I do have $$$, the first thing I think of is always mics or cables or something. I've also taken it as a bit of a challenge, to do as much as I can with as little as possible. For the most part, and with the ...


3

I've had great success using compression to squash the ADR, since this tends to happen with production. Load up something like a C1 with a pretty harsh compression, and adjust the threshold in A/B comparisons with the production until it feels balanced. This goes without saying that all the other listed techniques work well too, and many are needed after ...


3

Using noise removal plugs such as RX or XNoise as sound design tools rather than for noise removal. For example, take a longish, constant waveform that has some variation in it dynamically like a backhoe digging a ditch. By either using extreme settings or swapping over to difference monitoring you can create some very unique source material with a little ...


3

The "morph" you're describing is known as (both) spectral cross-modulation, and spectral convolution. From what i've read in your question, I gather you're interested in essentially crossfading the two sounds together, but in the frequency domain not the time domain? If that's indeed the case then there are a few ways to go about doing this. you can either ...


3

All I know is it seems to be a reference to french house, the "french touch," which is a filtered-disco sound. Expect a prominent, musical filter, but I am not an expert on filter design so I can't separate out the marketing angle from the reality of what you will get. Examples of the kind of music being referenced: http://thesearepowerfulhours.com/...


2

Sound Toys Filter Freak or GRM Tools Bandpass work great for me. The new Air plugins for ProTools are actually pretty good too, like the Kill EQ etc..


2

Destroy FX has some weird digital glitchy stuff. They're free too!


2

Around 3 years ago, I left a studio where I worked for 4 years. We had some outboard, but mostly a petty darn good supply of quality plugins and two PT HD systems. My career path changed quite a bit at that point (mostly from music production to sound design), and I mostly started working from home on PT LE with minimal plugins. While I had worked in ...


2

Although James Hogg's reason for binning plugins relates to the sound design aspect and preference for analogue input; my reason similarly relates to over-processing, but from the point-of-view of field recording and its implications with respect to the future use of library sound archive material - so it all adds up not to waste your $$$ on plugins, and bin ...


2

Simpler plugins that are self-contained and and dont use many external files (e.g., the digi plugins) can probably just be dragged into the plugins window. More complex plugins (e.g., convolution reverbs) and packages which rely a lot on external files, will likely need to be reinstalled. It varies based on manufacturer, as well. I would definitely recommend ...


2

As the others said - it's possible but depends on the plugin. Make a backup of the plugin folder but I suggest spending a few extra hours (or days) installing every single one fresh. It's cleaner, safer and won't leave you with a buggy DAW. PT is fussy enough already..


2

Though I use mainly software plugins it's actually more because my mixes rarely has less than 400 tracks, and even trying to buy well over 400 compressors would seriously kill me. Or my wallet, whichever comes first. All convolution-reverbs are also software, as most I've used about 20 in the same reel (Some otherwise good Altiverb impulses have the annoying ...


2

I mostly agree with Chris Bishop answer. I would like to add that External hardware units are in general great for take-out some CPU demands - especially mentioned TC Reverbs (or TC Electronic System 6000) are great because they have no impact on CPU :) Today is "relatively easy" to model non-linear behavior such as saturation and others. Companies like ...


2

Files don't degrade. Not like that anyway. Though I could see it being the backbone of a pretty wicked sci-fi story. What's happening is that you're obsessing over the noise. The more you obsess, the louder it gets in your head. Also, careful not to fall down the EQ rabbit hole. One touch here, leads to one touch there, and next thing you know you've ...


2

Building on what g.a.harry said above, and if you're the main sound editor/mixer on the project, I might recommend beginning layering in your BGs, if you haven't done so already. It's obviously different when you're part of a larger crew in a traditional professional situation when you don't want to A. step on anyone else's toes B. make someone else's job ...


2

They are expensive, because they're a rarity in the plug-in market. I.e. it just happens to be that they've got a set of plug-ins that barely anyone else has considered replicating or just hasn't done it as well as the GRM plug-ins (there are some plug-ins that may be "sort of" the same, but not the same. The Michael Norris plug-in pack is exceptional in the ...


2

They may be somewhat expensive, but I could never live without them. I've gotten more sounds out of, say, GRM Freeze than just about any other plug-in I own (and I own quite a few), and while I haven't quite fallen for the new spectral tools, classics like GRM Delays, GRM Doppler and GRM PitchAccum are, to me, indispensable. I also really like their Bandpass ...


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