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A sample is the smallest usable quantum of digital audio. The term frame isn't formally defined in pure audio terms, but is often used in relation to video that may accompany an audio track. In that context a frame is the quantity of audio samples taken during a video frame interval.
If there are 30 video frames per second and 48000 audio samples per ...
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The term 'frame' has several different meanings, dependent on the context. Beside the obvious meaning in video contexts, and the usage in audio codecs like MP3, a frame may also be used as a name for all the samples in a bundle with several channels, which belong to the same point in time. Yet another usage of the word is with communication protocols, where ...
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What you are looking for is an orchestral hit / orchestral pad.
Very popular throughout the 80's
Those sounds were mostly created using the Fairlight CMI.
I think you can find a sample library or something.
I really don't know how someone should go on about creating one. But those who used them , used the Fairlight(...
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Yes, that's essentially correct. The recipe for effecting is simple: add a lot of reverb and compression to even out the overall volume — and at times, a reversed copy to make it suck/whoosh backwards.
This is known as a variation of the "Pryda Snare", as famously used by Eric Prydz in "Miami To Atlanta". YouTube presents possible paths to achieve such a ...
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Some possibilities…
Some of these are old old tricks & may not be necessary with modern equipment & space to sample huge numbers of layers/velocities
Randomisation - of anything, so long as it's subtle
Velocity to pitch - louder is higher [very slight, of course]
velocity to filter - was always an old favourite, but we have more chance to have ...
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Commercial use: You need to alter it significantly or mix with other sounds to the point that we can say it is a new creation.
Noncommercial use: You can use it analtered.
In both cases:
You need to give attribution to the creator.
You can't use the track to advertise or promote anything other than your new work. This says that there is no way to use it ...
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Firstly it's nice to see someone making use of RS5000! Sadly, though, it works in the same way as most samplers in that it achieves the pitch changes simply by playing back the sample data at different speeds.
Within Reaper you could do the work using ReaPitch which would also allow you to do formant correction to compensate for the vocal sounding ...
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I usually randomize velocity itself a tad bit. The sampler does it's work. Apart from sample start which can be a pretty dramatic effect, filter, pitch, pitch of a doubled voice, verb send level, and volume itself can be randomized if the velocity is not helping. You can figure out the mechanics to attaching some sort of randomization to these things. ...
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Sounds like a female voice, pitch-adjusted upwards for a synth-y quality, with a little fuzz for a buzzy static edge, a drop of phase shift for shimmer, and a short but noticeable time delay to introduce a second copy of the voice. The recording itself may be doubled instead of a delay; it's so short and heavily processed it's hard to tell.
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In a audio stream of signed data, what difference is there between a positive and a negative sample?
Imagine a simple speaker, or a microphone. Either of these devices (usually) have a diaphraghm which vibrates to create or detect sound. The position at any given time of the diaphragm relative to its resting position could be called its displacement. Since it can move in two directions from the resting position, we the displacement is a distance that can be ...
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I'd suggest 5 ways,
1. Find a Piece old enoguh that it has become Creative Commons and Take a recording of it.
2. Google the CC audio up
3. FM Synthesize it
Convert this Youtube video into an Audio file (You can't use this Audio file in you track if you are planning to release your track since the video is not creative common, But if you are not planning ...
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Use 0,25 instead (divide by 4). That will give you about half perceived volume.
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That's a metallic-striking sound, probably a pitch-lowered ride cymbal used in many a track for many a year to convey some level of tension. Usually as a single, unobstructed strike at the end of a chord pattern or drum sequence.
It also has a lot of large room reverb, which helps to define it as a large, tense, important sound.
Beautiful, robust sound and ...
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OK for a bus simulator you would probably want to try a parameterised procedural approach to generating the audio. This may involved using samples but would more likely use synthesis. The tone of the engine would change dramatically with different RPM levels, and also the external sound you hear would also change dependent on road-conditions as well so there ...
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REAPER has multiple different time-stretch algorithms that can be used, each with their own sound and strengths. Try experimenting with those. Additionally, if you are losing high-frequency content, consider adding a harmonic exciter to the stretched sample to add more "shine" back to it
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Check whether your answer is on WhoSampled. The content is produced by humans and therefore not exhaustive, but it's worth a try.
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Also on the Korg M1, Ala Jimmy Jam and Terry Lewis Rhythm Nation era
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If you want to find and use this sound, you could look for an old Roland General MIDI sound module.
I used an SC-55 and later a JV-1080 and found nice derivates of this sound, called Orchestra Hit on both of them.
I think, I hear the sampled versions from Roland and other manufactures more often in the 90s dance music than its old sources from fairlight.
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If you are able to filter out the vocals, you could invert the phase and that would cancel out the vocals, leaving the rest of the track intact. You can remove the vocal if it is centered in the mix. The problem is that drums and bass tend to be centered as well, especially the kick.
Using mid-side processing you could potentially extract the elements you ...
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That is not a delay, or an effect. It is called a roll. 16th notes, 32 notes, and even 64th notes can create this effect.
It's important to know that a crescendo (a gradual increase in volume), or a decrescendo (gradual decrease in volume) will enhance the effect.
I made a clip that you can easily reproduce. Snare roll sound
It is a roll using 32nd notes ...
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Sounds like a short snare ruff sample, not delay. Listen to this guy 2/3 in here:
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This is very easy to do in Ableton with follow actions, but you can probably get a similar effect in Logic with EXS24.
Load a dozen or so samples into an instance of EXS24, then use Logic's arpeggiator to throw random notes at it. You may need to use multiple instances of EXS24 in order to make use of all 400 of your clips.
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Maybe this software would be of some help: http://soundplant.org/
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Not sure about the vocoder on that, maybe autotune, i think i hear autotune on the lower end of that voice shot. Try autotune and then add a vocoder in to see if it lines up. The keys right after the shot are perfectly aligned in terms of sound waves, whatever they did to that chord stab they did to the vocals.
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As far as I know there is no "direct" way to export a sample built from reason synths/samplers. What you can do is:
Set your reason project to only play the single note you want to export (clear the sequencer and only leave a single note) and use the "Export as WAV feature". Reproduce for each note.
The other way around is to use signal routing on your ...
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If you only have a single sample, you're only going to see the same problem with the time change repeated in other samplers. Even with some clever warping in PT or Ableton Live, there is still only so far you can stretch the sample before it becomes unusable (especially when you're pitching it up, but retaining the speed).
The ideal solution is to get more ...
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