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Audio Improvements using send effects. Tips N Tricks.
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assaf
IsraTrance Full Member
Started Topics :
66
Posts :
242
Posted : Sep 3, 2008 21:06
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orgytime, you can open the analyzer on the master instead of all the sends...
another one:
send a sound to a regular digital delay that repeat it self, and open on the group, after the delay, a phaser or flanger or anything intersting, that makes the delay more dynamic and crazy.
mad scientist, im going to try it now, sounds interesting:) |
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orgytime
IsraTrance Full Member
Started Topics :
120
Posts :
1703
Posted : Sep 3, 2008 23:54
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assaf, lotta thanks, that will save much time...
my signature says everything^^
my waves doppler somehow doesnt do its job well (i use it as try before buy^^), after a few mins cubase crashes, and i just can set the doppler from left-to-right or backwards.
that means it goes
left-mid-right-left-mid-right, not as i want
left-mid-right-mid-left-mid-right...
i was looking for some freeware/demos/trybeforbuy... anyone could tell me some other plugins, because i cant get the ultrafunk stuff 
cheers www.soundcloud.com/orgytime |
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ohshit
IsraTrance Junior Member
Started Topics :
45
Posts :
605
Posted : Sep 4, 2008 15:50
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For automate pan etc have a look to. delamancha kitchensync, easy, free and killer!
http://www.delamancha.co.uk/kitchen_sync.htm
kitchen sync is a tempo-sync complex LFO that modulates 4 functions
- 4 state filter (LP, HP, BP, notch)
- flanger
- volume
- panning
- tempo-sync LFO with multiple waveforms modulated by second LFO and/or ADSR envelope
- both LFOs can be synced to start cycle by any midi note on message
- ADSR envelope can be triggered by any midi note on message
- 4 effects can be modulated: filter cutoff, flanger, volume, pan
- LFO 1 phase, depth and offset can be different for each effect
- LFO 2 phase, strength and origin can be different fo each effect
- ADSR envelope is independant for each effect
- LFO depth can be randomised each cycle
- full midi CC / midi learn
- plugin wet/dry mix control
http://soundcloud.com/alphadelphi |
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gutter
Inactive User
Started Topics :
54
Posts :
3018
Posted : Sep 4, 2008 15:52
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i was searching gearslutz and found this post with some really great info gathered about widening and depth, which apply in all kind of music .. i hope im excused
the credits goes to mr James Meeker
Ways to get width and depth in a mix:
1.) Chorus stuff. Try chorusing only one side of a signal. Can be cool with clean electric guitars.
2.) Flip a side on a stereo track out of phase, mix in 3-6 db underneath the other side.
3.) Haas effect--delay one stereo side on an element or two by 10 milliseconds or so.
4.) Make an aux buss with a pitch shifter on it: detune one side by 6-16 percent, and tune up the other side by 6-16 percent. I.e. left is pitchshifted -6 and right +6 percent. Classic trick.
5.) Buss a few things to an aux with a delay on it. Go sparingly. Ping pong delay can be fun on high hat.
6.) Create an aux buss with a stereo widener on it like Waves S1. Run various stuff to it.
7.) Put a flanger or phaser on an aux buss with a panner. Run a few things to it ever so slightly. You shouldn't really hear it, but you should notice when its gone.
8.) Create a drum buss, route stuff to it. Put a bit of a room verb on it... now smash it with a limiter. Throw into your mix a little bit.
9.) If you are doing primarily sampled drums ala electronic/industrial music try running a mix of the drums to a set of speakers in the live room. Now mic the room in stereo. Add to mix. Fun, fun, fun.
10.) Create a buss and run some snare to it. Pitch shift it down an octave. Mix it in a little bit.
11.) Put 20 milliseconds of delay on your room mics to make the room feel bigger.
Add some of the above ideas along with proper and judicious use of reverb and your tracks will take on new life and size.
If you need the sounds to have 'verb but still stay present in the mix you need to pay attention to the following:
1.) You're running the 'verb as an aux buss or send, right? Not inserting it in the track and playing with the wet/dry ratio, right? Also, make sure the verb is 100% wet on the aux buss. That way you get 100% of the dry sound, plus however much 'verbed sound depending on how much you buss to the aux.
2.) Pre-delay is your friend. That gives the dry sound a chance to be heard before the 'verb cloud starts building up. 20 milliseconds is a good starting point. Anywhere from 10 to 60 milliseconds is common. That will keep things up front, but with ambiance.
3.) Brighter 'verbs feel closer to the listener. Use a shelf or lowpass filter to knock off some top end off the verb. Try a roll off around 3-6 khz for starters. Will move the 'verb in the background, but let you get some mileage out of it.
4.) Time the verb (RT60) to work with the tempo of the song. Works wonders in reducing the sonic clutter.
5.) Dampening absorbs high freqs over time, so the front of the 'verb will be brighter than the tail, making the verb feel more distant. Try that too.
6.) Try increasing the low end decay time or shortening the high end. That's how you get huge without being too spitty on top.
7.) For percussion the main thing that determines the "size" of the space is what's happening on the snare. Maybe less overhead 'verb and a bit more snare. Heck, multiple 'verbs on snares work... I've ran a nonlin, plate and room simultaneously in the past and would do it again. Tweak it right and the snare stays front and center, but is big with a nice decay to it.
8.) Setting a balance between early reflections (ER) and the reverb tail is a key to the psychoacoustic distance the listener will perceive. Don't go nuts with the ER's, it can sound a bit weird on many sources and feels closer. Less ER's seem to put things in the distance. However, sometimes it is fun to put a lot of ER on percussion and keep the tail muted a bit. Sounds like shit is bouncin' off the walls.
.. its great info gathered here
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Medea
Aedem/Medea
Started Topics :
127
Posts :
1132
Posted : Sep 4, 2008 17:02
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Can't figure out what's wrong with playing wet\dry instead of making aux send.
What's the difference when you tweak the same balance, moving volume faders on input track and aux buss? More flexibility, like processing the reverb signal separately, right? Or something else?
http://soundcloud.com/aedem |
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hugaw
Started Topics :
7
Posts :
319
Posted : Sep 4, 2008 17:08
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you have the punch of your dry signal, and yes you can for example compress or EQ only the wet signal.
Sometimes i put heavy phaser/flanger on reverb channels ^^
Psy stuff : myspace.com/neyaprod
Non-psy stuff : myspace.com/cheaperbits
french psy production forum : http://www.hadra.net/forum/viewforum.php?f=18 |
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MadScientist
IsraTrance Full Member
Started Topics :
97
Posts :
1220
Posted : Sep 4, 2008 17:09
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its simply that SOME wet/dry sliders also lower the dry signal when you go more to wet 
means 50% wet, and just 50% of the dry signal left for example.
I know that page on gs for pretty long time and there are some really good tricks in there.
I especially dig the roomverb on drumbus and crush it with a limiter, I use it in almost every track 
https://soundcloud.com/hazak
"Have you ever had that feeling where you're not sure if you're awake or still dreaming?"
"Hmm, yeah... All the time, man - it's called mescaline. The only way to fly!" |
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Upavas
Upavas
Started Topics :
150
Posts :
3315
Posted : Sep 5, 2008 03:18
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Take a voice sample, rout it to an aux track, then take any electronic sample ( works great with sounds processed with buffer override) and rout it to the same aux. Apply a modulator onto the aux channel and tweak the voice sample into oblivion!
Upavas - Here And Now (Sangoma Rec.) new EP out Oct.29th, get it here:
http://timecode.bandcamp.com
http://upavas.com
http://soundcloud.com/upavas-1/ |
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-aeon-
Aeon
Started Topics :
10
Posts :
546
Posted : Sep 5, 2008 10:31
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yeah that gearslutz post is inspiring  some really cool principles.
i like using two reverbs on one send channel - one for initial dense roomy verb and one with a longer tail. also EQ your send effects, particularly reverb! |
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psyaudionamics
IsraTrance Junior Member
Started Topics :
38
Posts :
546
Posted : Sep 5, 2008 11:46
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instead of mics in different rooms and different reverbs on different aux, etc get yourself this audioease speakerphone
after i tried it, i havent gone back, that plugin gets me
hard... I truly recommend to everyone here and its my choice of plugin i cant live without, anyways do go to their site and read on it you will quickly realize the new possibilities it can make on your music too bad it doesnt work for surround mixes but anyways worth the cash at what it does. keep the secret in this forum only hehehe for my psy heads top secret!!! |
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soulfood
IsraTrance Junior Member
Started Topics :
10
Posts :
875
Posted : Sep 5, 2008 12:17
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Quote:
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On 2008-09-03 21:06, assaf wrote:
orgytime, you can open the analyzer on the master instead of all the sends...
another one:
send a sound to a regular digital delay that repeat it self, and open on the group, after the delay, a phaser or flanger or anything intersting, that makes the delay more dynamic and crazy.
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its all about sending to a ping pong delay follow by some very deep phasing and a bitcrusher.
Or instead of using sends, just do the whole wet/dry thing on the channel strip (we're talking delay here btw) then record a copy of that so you still have your original sound in its place un-effected, then use your copy as a delay tail which you can do all manner of raping and spoiling too for some truly insane delays. My personal favourite is random pitch and pan alterations |
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PsyGalaXy
IsraTrance Full Member
Started Topics :
68
Posts :
437
Posted : Sep 6, 2008 04:14
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"4.) Time the verb (RT60) to work with the tempo of the song. Works wonders in reducing the sonic clutter. "
I don't understand this..does it means the rt60 time should be for example 1bar lenght in ms of the song tempo?
For widening all type of sounds i use Tritone Digital Phasetone
(free!) it's soooo wonderful ,using the 0.90.180 buttons can really change the binaural perception of position whitout panning anything
Like Soulfood a thing i do is recording only the fx and put in an audio track, then slice and reverse it at the end of bar .
@Adharaguy : you certainly have bad phase problems , try to use one reverb only on each instrument.
If you wanna use 2 ,automate the level of one when you hear a
phase cancellation.
Another one is: put a bar synced fx at the song start , then put a delay on insert whit feedback fully cranked up.
Put a noise gate after that whit slow release and medium slow attack.
Then sidechian it whit whatever you want sent to a bus which is the ducker of the gate.
Another delay (1/4 , 1/8) after the gate give smoothness on the end
http://mystic-sound.com/releases/ioon-cosmic-downtempo-9314-oclock/
FREE DOWNLOAD EKTO http://www.ektoplazm.com/free-music/ioon-the-ioonfinite-loop
https://spiritedrecords.bandcamp.com/album/times-of-peace-2
https://soundcloud.com/opalmoonproj |
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Upavas
Upavas
Started Topics :
150
Posts :
3315
Posted : Sep 6, 2008 09:22
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Quote:
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Ways to get width and depth in a mix:
2.) Flip a side on a stereo track out of phase, mix in 3-6 db underneath the other side.
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I have done this very successfully with a bassline! It adds a lot of presence. Just make sure the signals are even spl out of both speakers.
Great stuff Gutter!
Upavas - Here And Now (Sangoma Rec.) new EP out Oct.29th, get it here:
http://timecode.bandcamp.com
http://upavas.com
http://soundcloud.com/upavas-1/ |
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Tomos
IsraTrance Full Member
Started Topics :
84
Posts :
981
Posted : Sep 6, 2008 18:23
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Quote:
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Time the verb (RT60) to work with the tempo of the song. Works wonders in reducing the sonic clutter.
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Not sure I agree with this. It's common sense not to let the reverb swamp the track anyway, but having reverb exactly in time sounds robotic. It's much better to pick a time where it sounds like it flows best into the next element, this might be before the tail ends, or after it. |
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Upavas
Upavas
Started Topics :
150
Posts :
3315
Posted : Sep 6, 2008 22:02
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Quote:
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On 2008-09-06 18:23, Tomos wrote:
Quote:
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Time the verb (RT60) to work with the tempo of the song. Works wonders in reducing the sonic clutter.
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Not sure I agree with this. It's common sense not to let the reverb swamp the track anyway, but having reverb exactly in time sounds robotic. It's much better to pick a time where it sounds like it flows best into the next element, this might be before the tail ends, or after it.
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Yeah, I agre on this one, shfting the predelay a bit can give you a nice pump as well...
Upavas - Here And Now (Sangoma Rec.) new EP out Oct.29th, get it here:
http://timecode.bandcamp.com
http://upavas.com
http://soundcloud.com/upavas-1/ |
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