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Inspirado por la talla de Philip Glass y Brian Eno, la msica ambiental se trata
tanto de crear el estado de nimo, ya que es la creacin de la meloda.
11. Al trabajar con la voz, usted puede tener un montn de diversin con Pitch
Shifting. Cuando lanzando voces alrededor, ayuda a utilizar un plug-in con un
control de formantes - esto ayuda a voces conserven sus caractersticas o, por
el contrario, pueden ser utilizadas para alterar radicalmente. Echa un vistazo a
Smoky Joe, un procesador de formantes lo-fi.
12. Con secuenciadores de audio modernos, es ms fcil que nunca para cortar
las voces y otros sonidos rtmicos con el fin de adaptarse a ellos con la ranura
de la pista. Al cortar los sonidos en su secuenciador, recuerde que debe
acercar la imagen para asegurarse de que est cortando el archivo en un punto
donde la amplitud es cero - tambin conocido como un 'cruce por cero'.
14. tonos de guitarra bajo sedosos son un sonido comn en el dub ambiente,
pero si usted no tiene un bajo verdadero en mano, usted tendr algunos
problemas para conseguir el mismo sonido suave. Romplers bajo como
Spectrasonics Trilogy y de Bornemark palo de escoba Bass son sus mejores
apuestas para recrear este tipo de cosas.
17. Para agregar un panorama estreo natural para muestras mono, usted
podra hacer mucho peor que dar Voxengo Stereo Touch a intentarlo. Este
efecto utiliza un algoritmo de retardo para crear un efecto estreo convincente
que est garantizado para revitalizar cualquier mono viejo cutre sonidos que
podra haber por ah.
Reverb
18. Reverb es una de las herramientas ms importantes que tiene para crear
una sensacin de espacio, por lo que si usted est haciendo la msica
ambiente, vale la pena tomar el tiempo para conseguirlo tan dulces como
puedas. Un buen comienzo es usar una reverb de alta calidad - ambiente no es
slo libre, es uno de los mejores reverb plug-ins por ah.
19. Puede ser tentador slo se adhieren reverberacin en algunas pistas y dejar
las cosas as, pero eso no sera el uso de este poderoso efecto en todo su
potencial. Utilizando los valores de amortiguacin altos, grandes tamaos de
habitacin y largos tiempos de reverberacin crear un gran sonido que,
cuando se combina con EQ juiciosa, puede crear una especie 'muy lejos' de
efecto.
22. Muchos efectos interesantes pueden ser creados por la prestacin fuera de
reverb y delay colas, menos el sonido seco original, a continuacin, aplicar el
procesamiento creativo de la cola. Los filtros funcionan particularmente bien
para este tipo de cosas y, una vez procesada, el nuevo sonido se pueden
reproducir junto con la versin original, o reemplazar por completo.
retraso
24. Delay es un efecto muy comn en la msica atmosfrica como ambiente,
pero para dub ambiente, un servicio completo, en el retraso de
retroalimentacin, tales como excelente efecto OhmBoyz de Ohm Fuerza, es
slo la cosa.
26. Conseguir que morphing distintivo dub retrasar efecto se puede hacer
mediante la adicin de un filtro o componente de distorsin para el ciclo de
retroalimentacin - fcilmente hecho en OhmBoyz, como lo ha hecho tanto. Si
usted est usando un efecto de retardo en Reaktor u otro entorno modular,
27. Los efectos de retardo funcionan bien antes de una reverberacin, aunque
demasiado de cualquiera de los dos va a inundar la mezcla. Sin embargo, es
posible domar a estos efectos con automatizacin - establecer el nivel de
mojado de la reverb a 0%, la automatizacin de forma que aparece como el
final de la cola de retardo est jugando. De esta manera, usted ser capaz de
utilizar tanto el retraso y la reverberacin, sin tener demasiado de cualquiera
de los dos cosas a la vez. Como una alternativa avanzada, se podra utilizar la
compresin de la cadena lateral de pato del comienzo de la reverberacin (el
uso de la seal de la fuente como entrada clave), y establecer el tiempo de
liberacin apropiada, logrando as el mismo efecto de forma
Inspired by the likes of Philip Glass and Brian Eno, ambient music is as much
about creating mood as it is creating melody.
1. If all the soft sounds and smooth vibes get a little too much, try some
juxtaposition. Ambient heroes The Orb are fond of this technique, and whether
it's a squealing guitar, devastating synth hit or ridiculous vocal sample, they're
not afraid to toss something a little unusual into the mix.
portable recorder take a field trip and record some of nature's bounty.
Running water's always good for a laugh, but remember: your equipment
should stay dry, even if you don't
3. Second-hand record shops are great places to find sounds. You may even
find that your local charity shop has an untapped collection of oddities just
waiting to be snapped up by the enterprising samplist. From records featuring
nothing but steam engine noises to children's story albums, there's an
abundance of weirdness out there for the taking.
4. Samples are a constant source of inspiration, but it's easy to discount one
because it doesn't fit the feel of your track when you first try it. If you're short
on fresh ideas, try running short bursts of a sample through a delay effect.
Using this method, it's possible to come up with some great abstract noises
that sound nothing like the original source material.
6. Recordings of natural sounds such as rainfall, waves, wind and fire are great
for filling out a mix because they're basically noise, and as such, they have a
wide range of frequencies. They shouldn't be too loud or they'll overpower the
mix, but use them with care and they can be extremely useful.
7. Noise is a useful synthesis tool if your synth features a noise oscillator, you
can use it with a fast-attack amplitude envelope to create your own percussion
sounds. This sounds artificial, but in a lo-fi way, and works especially well when
teamed with a high-quality reverb.
8. If you're using long, sustained sounds, such as pads, your mix can lack
movement if these elements are too static. By subtly altering tuning, pulse
width or filter cutoff over time, you can create more organic sounds that will
enhance the mix rather than make it sound lifeless.
"Recordings of natural sounds such as rainfall, waves, wind and fire are great
for filling out a mix because they're basically noise"
9. If you've got a sample that you want to play for longer than its duration, you
have two basic options: you could timestretch it, which will most likely
introduce unwanted audio artifacts, or loop it. Crossfade looping is the best way
to get seamless loops, but if this isn't possible, you can recreate the effect
yourself by fading between two audio tracks in your mixer.
10. To make a pad sound particularly evocative, try modulating the filter cutoff
with a shallow LFO as well as a big, sweeping envelope. This will give the sound
a great deal of movement and works superbly when combined with a delay
effect.
11. When working with vocals, you can have a lot of fun with pitchshifting.
When pitching vocals around, it helps to use a plug-in with a formant control
this helps vocals retain their characteristics or, conversely, can be used to alter
them radically. Check out Smoky Joe, a lo-fi formant processor.
12. With modern audio sequencers, it's easier than ever to cut up vocals and
other rhythmic sounds in order to fit them in with the groove of your track.
When cutting sounds up in your sequencer, remember to zoom in to make sure
you're cutting the file at a point where the amplitude is zero otherwise known
as a 'zero crossing'.
13. When deploying your newly-sliced rhythmic samples, it's not always best to
have your sequencer's snap control active. You might find that pulling samples
forwards along the track a little makes them fit in better with the rest of the
groove, and having the snap control turned off also makes programming
human-sounding rhythms easier.
14. Silky bass guitar tones are a common sound in ambient dub, but if you
don't have a real bass guitar to hand, you'll have some trouble getting the
same smooth sound. Bass ROMplers such as Spectrasonics Trilogy and
Bornemark's Broomstick Bass are your best bets for recreating this kind of
thing.
15. Whether you're composing in stereo or surround, it's important to use the
available panoramic space properly if you want to create a sense of size. If your
track has drums, you'll probably want to pan these around the centre, but with
synths and effects you can afford to use the space more creatively, so try
panning them around.
16. Most DAWs have simple pan controls that only enable you to pick one
position in the stereo panorama. If you're looking for slightly more control, a
stereo imaging plug-in such as mda Image or BetaBugs Moneo can be used to
control the position and filter setting of each channel or tweak them as a
mid/side pair, respectively.
17. To add a natural stereo panorama to mono samples, you could do a lot
worse than give Voxengo Stereo Touch a try. This effect uses a delay algorithm
to create a convincing stereo effect that's guaranteed to revitalise any dodgy
old mono sounds you might have lying around.
Reverb
18. Reverb is one of the most important tools you have for creating a sense of
space, so if you're making ambient music, it pays to take the time to get it as
sweet as you can. A good start is to use a high quality reverb Ambience isn't
just free, it's one of the best reverb plug-ins out there.
19. It can be tempting to just stick reverb on a few tracks and leave it at that,
but that wouldn't be using this powerful effect to its full potential. Using high
damping values, large room sizes and long reverb times will create a big sound
that, when combined with judicious EQ, can create a 'far away' kind of effect.
20. When using reverbs, if you want to create a softer, more ethereal effect,
use less of the dry signal in the output. You can do this by turning the wet/dry
ratio up, or, if you're using a send effect, by setting it to pre-fader and turning
the source channel's main volume level down.
21. If you'd rather have a brighter, closer effect, then make the reverb's
damping less severe, reduce the room size and turn down the delay time. This
works especially well in conjunction with stereo enhancer effects such as the
Voxengo Stereo Touch plug-in.
22. Many interesting effects can be created by rendering out reverb and delay
tails minus the original dry sound, then applying creative processing to the tail.
Filters work particularly well for this kind of thing and, once processed, the new
sound can be played back alongside the original version, or replace it
altogether.
23. Finally, when programming synth patches, don't discount the creative
potential of your instrument's reverb section. With a long, lush reverb, even the
smallest synth squelches or blips can be turned into pleasingly tonal
atmospheric effects. Of course, if your synth effects truly suck, you can always
use a separate reverb or delay plug-in instead to create the same effects.
Delay
24. Delay is a pretty common effect in atmospheric music like ambient, but for
ambient dub, a full-on feedback delay, such as Ohm Force's excellent OhmBoyz
effect, is just the thing.
25. Dynamic use of feedback delay is useful for creating long, evolving
rhythmic effects. By automating the feedback control on a delay plug-in, you
can build to a crescendo or create weird rhythmic effects.
26. Getting that distinctive morphing dub delay effect can be done by adding
either a filter or distortion component to the feedback loop easily done in
OhmBoyz, as it has both. If you're using a delay effect in Reaktor or another
modular environment, you can add these elements yourself, though it's
advisable to put a level limiter after them to ensure the feedback doesn't get
out of control.
27. Delay effects work well before a reverb, though too much of either will
swamp the mix. However, it's possible to tame these effects with automation
set the reverb's wet level to 0%, automating it so that it comes up as the end
of the delay tail is playing. This way, you'll be able to use both the delay and
the reverb, without having too much of either going on at once. As an
advanced alternative, you could use sidechain compression to duck the start of
the reverb (using the source signal as the key input), and setting the release
time appropriately, thus achieving the same effect automatically.