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It's important to remember that a compressor does not make a sound louder, it reduces dynamic range. By bringing down the peak values, you give yourself more headroom to bring up the overall signal level (so the quieter parts can be louder).
It is that "make up gain" which makes a sound louder, not the act of compression. The choice between using ...
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
Forum suitability: sure, this concerns music production much more than music playing, so it would seem more appropriate here.
Generic kernel will make dropouts ("xruns") more likely even when using jackd with realtime priority. The jitter introduced in Midi is not that much of an issue since signals are time-stamped in the kernel and traditional 31250bps ...
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
No, that doesn't make much sense. The point of a maximiser/limiter is to exploit the 0dBFS range as thoroughly as possible, but 0dBFS is only a meaningful range at the very end of the mastering process: it's the highest level that can be expressed by the consumer format you're exporting to. OTOH, digital plugins use floating-point arithmetic internally, ...
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 ...
3
Real Life delivery formats
44.1/48 kHz @ 16/24 bits
Files formats
Specification of the Broadcast Wave Format (BWF) - EBU
RF64: An Extended File Format for Audio - EBU
Standard Mixing Levels for Movie Theater, DVD, TV, Internet, Radio and Games
gearslutz thread
Interfaces
AES/EBU
TV :
ATSC A/85
EBU R128
Video Game
Sony ASWG
Apple iTune
Mastered ...
3
Vienna Ensemble Pro
Take a look at Vienna Ensemble Pro (VEP, VEPro). There is a Master/Slave feature that let you process VST instruments (and ordinary VST effects) on other computers (and you can mix Macs and PCs).
The master sends MIDI commands to the slave, and the slave returns the result samples. All through a plain cabled ethernet connection.
Here ...
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I recommend looking into a free online course from a site like Coursera .
There are also plenty of books available: The Sound Reinforcement Handbook by Gary Davis or Modern Recording Techniques by Huber could be a good resource for learning about the subjects you mentioned.
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If you want to make modern electronic music you will need something else that the good old TRs ;)
You can try a slightly different approach than pure samples if that's an option. As a producer of European electronic music I found ReFX's Nexus helpful from time to time. This is a so-called ROMpler (software based), a mix between sampler and synth, which ...
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Loudon Stearns of Berkleemusic.com runs Introduction to Music Production course on Coursera. It's free.
I can't recommend Loudon's courses high enough.
If you hooked up, you may also choose to take his paid Berkleemusic.com course. It will blow you away. I promise.
As for the choice of gear and software, it strongly depends on the kind of music you want to ...
2
Ah the loudness war...
Some of what you can do is in the mix... take out what you don't need. If you don't need above 400Hz in a pad, then cut below 400Hz on that pad. You might not hear a difference but that will have been adding to your audio level. Low cut everything you possibly can to where you possibly can...
As you mentioned club music, then ...
2
I'm honestly not sure what you are asking here. Compression does not increase the "volume" of a signal, it decreases it. Compression makes a quiet portion of the sounds louder relative to a louder portion by reducing the signal strength when the signal strength is high.
Often a gain is applied after compression to keep the signal strength up, but this ...
2
Dave's answer is correct, However, in the context of FL Studio and electronic music in general these steps are much more intermingled...for example, if a shuddering kick drum is an important element in your track you may want to work on the filters, reverb, compression, saturation, for that while still sketching out other elements, so you will get a better ...
2
To sum up the 3 general steps you have listed (Lets use a rock band as an example)
1. Make Song (Record Initial Tracks): This is typically the stage where the audio is actually recorded and the sampled/synthesized tracks are created. This is the stage that occurs in what most people call a "Recording Studio". In keeping with our example this is the stage ...
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The only way to do this would be to use a vibration meter that records vibration spikes on a graph. This would be similar to the machines that detect earth quakes, volcano eruptions. If you mean record the vibrations in some type of sound format, this is impossible sound IS vibration, they are not two separate things if you did not want any sound then you ...
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Pan and EQ each differently. Then mix them all to provide a wash/bed. Then ride the levels so that they take turns "poking" out.
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Tempo can be an illusion.
I suspect what is happening is that your loop sounds great at 191 (it was written that way) but at 96, different things stick out. Things that sounded good with speed might seem to drag, because the swing or pulse was never meant to be the focus, and now those things are made much more obvious.
I'm just sort of shooting in the ...
2
Headphones are not really optional for recording vocals, because you don't want the backing tracks to bleed into the vocal mic (usually).
Also, you should look at some kind of acoustic treatment. The best thing to have would be a walk-in closet where you can set up the vocal mic and headphones and put up some treatment to diffuse and absorb sound to reduce ...
2
The best way to learn what the pros do is listen carefully to all of your favorite albums. Not only does that tell you what the pros do, it tells you what you like to hear the pros do. There's pretty much no one right answer to any of these kinds of decisions. If you listen to enough music you'll hear all different kinds of production styles. So the ...
2
It's okay to use two low frequency instruments if you want to, as long as they don't interfere with each other, and the levels are handled correctly. I'd try it first, and see how it sounds.
Low frequencies(<250Hz) take up almost half of the logarithmic frequency spectrum. So any interference between notes or instruments at those frequencies seems ...
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They should be, if you try it this way:
Route the snare sample into a Delay bus.
Route the Delay bus into a Reverb bus, if that is how you wish to do it. In that case, unroute the Delay bus from the Master track so that the only processed Delay signal is reverberated.
The Reverb bus should be routed to the Master track as usual.
To be sure that this works, ...
2
The question of "what library do they come from" is nearly impossible to answer, since there are thousands of libraries out there and many of them overlap sonically.
I can't tell you every detail about every sound, but here's my general impression of how to replicate each one. It's all pretty meat and potatoes.
"Drive"
Instrument at 0:53: a synthesized ...
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Four Tet regularly uses Audacity and to answer Clark's question, familiarity with the software.
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As a qualitative approach to this question, I think you should look at it from a limiting point of view if you're trying to avoid clipping. This will allow you to keep the raw signal uncompressed and also control the peaking. I agree with @Shaun Farley about parallel compression, you should check out what it can do. Bare in mind its a little bit of black ...
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