Results for [juno stage] :
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About.com Home Recording on 1/13/11
One of NAMM's most surprising contributions comes from Behringer, designers and manufacturers of budget-priced gear for stage and studio. A few years ago, there were these simple, no-frills-attached speakers from a company called Auratone, and they had these great speakers called the 5C. They were simple, single-driver speakers that actually sounded really good for their intended purpose: checking mixes that are intended for simple car or home stereo speakers -- very, very important to any mix engineer. The Behritone C50A features a 30-watt amplifier and single full-range, 5 1/4" drivers with a myriad of connection options. The C5A is similar in spec, but with slightly more limited bandwidth on the low and high ends of the spectrum, and a different finish (wood grain, compared to the sleeker "piano-style" finish of the C5A. No word yet on pricing or availability. Relative News
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AudioTutsPlus on 12/13/10
Once you have exported your mix and started the mastering process, you may find that the impact of you track after any build ups or breakdowns may be slightly lacking. Of course you can go back to your mix to rectify this but often there is a quick fix that can work. Import Your Finished Mix Into Your DAW Grab your exported mix and import it into a fresh project. It’s a great idea to start with a blank template so that you have room to work and use of your entire CPU. I find treating the mastering process as a different stage of production also gives you a fresh perspective on the project. The mix is imported. Apply Automation to the Affected Area Now identify the area that needs a boost. Pay special attention to areas immediately after breakdowns, build ups and drops. You may notice that they lack impact and need an extra push. Now use volume automation to lower the section before the critical point of impact and create a small ramp. You can afford to make this pretty... Relative News
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AudioTutsPlus on 1/26/11
Creating a full, rounded and involving mix can be pretty challenging and one of the hardest bits is placing each instrument in it’s own defined space. Once you move past more than three or four elements there is always a danger of things becoming muddy. This is why we need to create separation. Ensuring that our instruments are clearly defined is not quite as hard as you may think. Like anything else in music production it really comes down to technique and experience. Let’s take a look at a list of ten things that should help you when completing your mixes. Step 1: Sound Selection The mixing process really starts as early as the sound selection process. Get things right at this early stage in your project and you could save yourself a huge amount of work later in the mixing process. The trick is to choose sounds that compliment each other in both timbre and frequency. For example using a large number of instruments that share the same low frequency can create a very confused... Relative News
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AudioTutsPlus on 12/7/10
Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+. This tutorial was first published in July 2008. Mastering your tracks can be a bit of a minefield and is often seen as the domain of the professional. However, if your tracks are just for demo purposes, a DJ set or even use on the net, you may want to tackle the job yourself. In this tutorial, you’ll learn how to master a track quickly and easily. Mo Volans shows you how… Software and equipment used This tutorial was completed in Logic Pro 8 using a mixture of Logic’s native plug-ins and third party processors from Universal audio. Although this specific mix of products is used in the workshop, all techniques are generic and can be translated to any genre of music using similar plug-ins and any digital audio workstation software. Step 1 Start by adding a stereo track to accommodate your un-mastered track. This should be an exported or recorded version of your entire mix-down.... Relative News
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AudioTutsPlus on 2/9/11
Hi everyone. In this tutorial we are going to create a growling pad that has a slow but sharp attack and has motion in the sustain and release. For this tutorial I will be using FL Studio’s Sytrus but any FM synth can work as long as it can have tempo based envelopes. Here is an example of what we will be creating… Download audio file (final.mp3) Step 1: Creating the Base Sound First reset your synthesizer to the default patch so you have nothing but a basic sine wave. Go to your first operator (FM synthesis version of an oscillator) and create a saw wave. Offset the shape of the saw so its slightly skewed on the ends; a value of 45% in Sytrus. For those of you who do not have a shape value the saw should start to become a triangle wave. The volume envelope should be set to tempo based time and the attack, decay, and release are as follows… The attack should end at beat four with a peak volume of 75%. The tension point should be at 9% Decay should end at beat four with... Relative News
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AudioTutsPlus on 1/13/11
// Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+. This tutorial was first published in September 2008. Following my tutorial on creating a house drum track we received requests for information on creating bass lines, lead sounds, FX and arrangements. So, over the coming weeks I will be supplying step-by-step tutorials, demonstrating possible techniques for completing an electronic house track. I will build on the track in each tutorial so you can see things develop and make the Logic project available at each stage. Even though these tutorials are completed in Logic Pro 8 and in a one particular style of house, the techniques are very much generic and can be applied to any software and genre of dance music. Note: this tutorial contains embedded audio that will not display in a feed reader. Click back to the site to read the tutorial with audio or download the Play Pack at the end of the tut. 1. Choose your weapon Once... Relative News
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AudioTutsPlus on 1/23/11
Writing lyrics is a very personal thing, and it is that sense of individualism that can really help people relate to a song. There are no strict rules that must be followed, but having a helpful collection of songwriting resources can really help. Here are 7 sets of lyric writing resources with a bunch of helpful links. Feel free to add more resources in the comments. It will make this list more useful. 1. Life Experience But before you go elsewhere for help, first look to yourself. Your own life experience is your greatest resource. Countless songs have been written on just about every topic – love being the greatest cliche – but your own unique perspective makes it worth writing another one. As you live your life, you’ll come across: Interesting, unusual and memorable phrases and sayings. Often the catchiest part of a song is a single phrase. Keep your ears open for them. Stories. Whether it is the experiences of your own life, or stories from the lives of others you... Relative News
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AudioTutsPlus on 1/19/11
This tutorial will show you how you can build an organic sounding ‘super flanger’ using the RV7000 and a combinator in Reason. This effect can really add some life and movement to drums and other sounds in your music, and takes advantage of the unique wiring options offered in Reason. I have used Reason 4 to make this effect but any version of Reason from 2.5 and upwards is fine. Below is an example of the kind of effect you can create with this device. Download audio file (audio example 1.mp3) Step 1 This process will be easier to understand if you know a little about what actually creates a flanging effect. Flangers are essentially the same as delay units, but with a very very short delay time. In this first audio example I am using the standard DDL-1 delay unit in reason, with a simple drum hit being played as I shorten the delay time. The first hit has a delay time of 191 ms, and the last one has a delay time of just 30 ms. Download audio file (audio example 2.mp3) You... Relative News
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AudioTutsPlus on 12/13/10
Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+. This tutorial was first published in October 2008. Ever wanted to DJ with Ableton Live? Here’s how! While it’s true that you can produce a complete live show with Ableton Live, bringing your studio production to stage, some would just like to mix their favorite tracks “a la DJ.” The most basic principle of DJing is to have a set of tunes playing continuously — no jumps, no cuts, no funny transitions, just as if all the pieces in the playlist were one. A long tune of an hour or more. Thumbnail image courtesy of Dade. There are many sets of tools to help you achieve this, the most common being turntables and a selection of vinyl records. Others DJ with CDs instead, while some resort to laptops and DJing software and a few even use iPods. No matter what set of tools and techniques you choose, DJing will always require the smooth transitioning and syncing of musical pieces. An... Relative News
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AudioTutsPlus on 12/30/10
// It’s been a big year! In 2010 we’ve seen some great tuts, some interesting series, and introduced Quick Tips. We recently published our thousandth post. I’d like to thank our brilliant authors, and also thank you—the Audiotuts+ community—for your interest, involvement and comments. Here are the Top 15 posts of the year, categorized by written tuts, video tuts and articles. Their popularity was measured by taking into account the number of times they have been visited, and the number of comments they inspired. Congratulations to all of the authors involved for your useful and insightful work, and for often going beyond the call of duty. Top 5 Written Tutorials How to Create Organic Ambient Instruments in Ableton Live Alkis Livathinos In this tutorial we are going to use Ableton Live’s “Sampler” and some of its built-in audio effects to produce wide, organic, ambient textures and pads, originating from a single one-note instrument sample. It’s a great way to create... Relative News
