Waldorf Largo manual
I have gotten a lot of questions on how to get hold of the manual for the Waldorf Largo (perhaps it is not included in any torrent packages, LOL)
Well now you can have the manual in either way
Torley tutorial on Alchemy
Awesome YouTube video by Torley where he walks you though some features and presets of Alchemy
VISIT http://torley.com for more useful fun!
Frequency response chart
Download at Stereoklang as pdf >>
Reason 4 real time performance effect combis
I have been exploring live performances in Reason for the past few months and I was pretty amazed when I saw that Peff was into the same thing some time back, so instead of having to make a video of my own on the subject I show to you here:
[youtube=http://www.youtube.com/watch?v=X060N6V7uPQ]
Good Reason tutorials to enjoy
I got a tip on these nice tutorials that are really good. They are mostly for propellerheads reason, but can easily be applied to other synths. The Bodyrox Yeah Yeah synth [youtube=http://www.youtube.com/watch?v=YT3u6HNWsi0] Dirty Electro Bassline In Reason Tutorial [youtube=http://www.youtube.com/watch?v=i0LP5S3UwpU] Wobble/Wow/Fidget Effect In Reason [youtube=http://www.youtube.com/watch?v=eZZER6SukpY]
Enhance your drumkicks via sinewawes – tutorial
Excellent article by Björgvin Benediktsson
People spend ages pondering how to get that kick drum sound. They want the big fat boom that they can hear on records, but can’t recreate it themselves. And not for lack of trying. I have a trick that can help you make your kick drum all that much fatter, resulting in a sound you can use for tight, throbbing pile driving rock or for fat hip hop beats. I’ll be using Logic Pro 8 in this tutorial but any decent DAW will produce the same results.
Adding sine waves to kick drums
When you have your kick drum recorded and you’ve spent hours trying to squeeze out a fatness that isn’t there, maybe you can use artificial tricks to enhance the kick drum sound. Enhancing the low end by adding a sine wave generated by your DAW’s oscillator is a great way to add thump and boom to your bass drum track, whether it be rock, hip-hop or whatever genre you choose to make.
A sine wave is the most simple sound wave you can find, representing only the fundamental frequency you choose — in this example, 50 Hz. It doesn’t include any harmonics, unlike the square or sawtooth waves. So by adding a sine wave to the kick drum we will only be adding one tone, and not a musical element or characteristic.
Step 1 – Get your original kick in good shape
You have your kick drum track EQed, gated and compressed however you like it. Get your kick sound the best it can be before following the rest of this tutorial, because the sine wave is only going to enhance the bottom, and is not a character in itself.
I gated mine to get rid of the snare sound bleed and most of the hi-hats. I compressed it moderately (for rock) and EQed to enhance the click and cut out the boxiness. I also filtered it quite high because I thought it sounded better when I added the sine wave later on. Always think of the sound as a whole, not two sound sources that sound great individually but clash when they are together.
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Step 2 – Make a new track for the sine wave
Add another track below the kick drum. Name it “Sinewave for kick.” We won’t actually be putting any audio into that track, but rather putting a test oscillator on the inserts.
In Logic, you can find the test Oscillator under Utilities > Test Oscillator > Mono.
Step 3 – Make the sine sound
Next step is to make a 50 Hz sine wave continuously oscillate on the track. On the Test Oscillator there are many functions, different types of sound waves and noise you can generate to calibrate your equipment for example. We will be choosing the sine wave…
Use of compression in your music production
Compression
Compressors and limiters are specialized amplifiers used to reduce dynamic range–the span between the softest and loudest sounds. All sound sources have different dynamic ranges or peak-to-average proportions. An alto flute produces a tone with only about a 3dB difference between the peak level and the average level. The human voice (depending on the particular person) has a 10dB dynamic range, while a plucked or percussive instrument may have a 15dB or more difference. Our own ears, by way of complex physiological processes, do a fine job of compressing by responding to roughly the average loudness of a sound. Good compressor design includes a detector circuit that emulates the human ear by responding to average signal levels. Even better compressor designs also have a second detector that responds to peak signal levels and can be adjusted to clamp peaks that occur at a specific level above the average signal level.
Download tutroial here (pdf) >>
[youtube=http://www.youtube.com/watch?v=qtX_gRDvcug]
In-depth on Propellerheads Record
Three nice tutorials on yesterdays announcement on Record – audio recording the thing the whole music production community that enjoys Reason has been dreaming of for the past 5 years.
This series of videos offers a very in-depth look at Propellerhead Record, a recording application for Windows and Mac.
Propellerhead Software’s Gerry Bassermann digs deep into Record, without layering on a lot of hype.
Part 1:
[youtube=http://www.youtube.com/watch?v=yYE5gX7hN80&feature=player_embedded]
Part 2:
[youtube=http://www.youtube.com/watch?v=9GI84SU0ano&feature=player_embedded]
Part 3:
[youtube=http://www.youtube.com/watch?v=n6eP2b2m_aQ&feature=player_embedded]
Using vocoder in Reason 4
Found a good tutorial today on how to get the most out of the Vocoder in Reason, make sure to try it out.
[youtube=http://www.youtube.com/watch?v=anAC4Xd31q8]
Short on Reason’s vocoder below:
BV-512
Besides being a 4 to 512-band vocoder capable of modulating sound in both old-school analog style and digital FFT fashion, this unit also doubles as a fully automated equalizer with a twist. The BV-512 can be used for everything from classic robot vocals to weird harmonic effects.
To Vocode
A vocoder takes two input signals, the carrier, which provides the pitch, and the modulator, supplying the characteristics.
Traditional vocoders require you to sing into a microphone while playing a keyboard. Not this one – with the BV-512 you can combine any two sound sources. Try vocoding your percussion track with the bass line or the string pad with the rhythm guitar.
The Bands
A vocoder splits the incoming audio into a number of frequency bands. More bands gives you more control and more detail. Where most vocoders max out at eight to sixteen bands, the BV-512 gives you up to, you guessed it, 512 bands. In 4-band mode, the BV- 512 provides a gritty, analog, lo-fi sound. The 512- band setting is another beast altogether. In this mode, a digital 1024-point FFT-based algorithm provides the clearest, most detailed and most audible vocoding you ever heard from a computer.
The EQ
Hitting the EQ switch on the front panel calls up a handy parametric and low shelving equalizer for additional tweaking of your reverberated signal. Combine this section with the HF Damp and HF Smooth knobs on the front panel, and be the master of your wet signal’s every frequency.
The Gate
A flick of a switch turns the BV-512 into a 4 to 512 band stereo equalizer. Use the higher settings for detailed control of the spectrum.
Or try the four and eight band modes for a decidedly more lo-fi sound that adds an unmistakable vocoder “color” to your input signal.
Automation
Like all other Reason devices, the BV-512 Vocoder can be fully automated, band level settings included. Record your front panel actions, or use the pen tool to draw in layers upon layers of wild frequency changes. The Shift knob is just one example of a control that’s dying to be automated. One session with BV-512 and you’re hooked for life.
Reason tutorial – Using granular effects and timestretching
Since I have been asked quite a bit about granular synthesis in Reason I thought I’d share a couple of good tutorials on the subject
A demonstration of a custom granular audio manipulation system in Reason 4.0. A variety of patches based on this system are currently in development.
[youtube=http://www.youtube.com/watch?v=VAw7nsslmqs]
Tutorial making use of Reason’s NN19 Sampler to simulate the effects of timestretching and granular synthesis by increasing the length of a sound without changing it’s pitch.
[youtube=http://www.youtube.com/watch?v=Yb3cf9NwqWM]
DATAMASKIN
