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LATEST ARTICLES
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Alien Spaceship Soundscapes
Alfredo Treccani, a SAE graduate in electronic music production, has been playing with the principles of sounds and waves that surround our every life. Starting from that fascination for waves and frequencies and harmonies and geometries He started considering that each reality or world is made of its own sounds. With this idea in mind, he created what he thought an alien soundscape would be like. Designing the sounds from our world and into the next. Alfredo Hit me up to tell me he has been visiting the site and loving the community here for a while and wanted to share some slivers of his alien soundscapes. And with that I am happy to share with you a live pack that he has created. Alfredo describes this pack as: “a sort of gateway to enter some alien spaces and sounds... The cool thing to underline about the pack is that you can turn an explosive percussion into an ambience and considering the fact that each sample is already layered by 8 other samples, the combination of layering them together in a simple midi
Granular Synthesis and Max For Live
A week ago I wrote an article on Granular synthesis and showed off a few tools I used. I got a few request to show off the Max For Live Patch I use from Amazing noises. I put together this little intro video to give you an idea of how you can use it in sound design and how powerful of a tool it is. Download the Device and watch videos at:http://www.amazingnoises.com/amz/prod... Article on Granular Synthesis at:http://https://www.subaqueousmusic.com//produc...
Getting the Best Spatial Panning For Your Mix
One of the keys to having a good mix is the position of all your instruments. If you look at your soundstage of where all the sounds are coming from, you will have a richer mix. Not only that, but you can make it sound bigger and clearer sounding mix. In searching for the best way to position my instruments in Live I learned a lot about how Live Pans things and other techniques. Panning is achieved by changing the level of one stereo channel in relation to the other channel. That is a very simple way to make something sound more to the right or left. This doesn’t truly represent what we as humans hear, but it is the easiest and cleanest way to do it. This is why Ableton Live has a Pan Pot, or the Pan function, on each track and master.
We Won The Loudness Wars?
We Won The Loudness Wars? Guest article by Erik Magrini (Tarekith) For the last few months, more and more industry experts have been proclaiming that the loudness wars have been won. No longer do we have to fight each other to get the loudness master on the planet, we can all go back to just enjoying nice dynamic music. Except nothing has really changed, has it? How has this been won, when everything is just like it was before? As a professional mastering engineer, I’ve noticed an increase in clients asking about this potentially confusing situation. There’s a lot of misinformation out there on the topic at the moment, and not much real understanding of why this may come to pass. To help people get better understanding of what’s going on, I thought I would try and briefly summarize the main causes of why someone might claim the loudness wars are over. It all starts with ITUR BS.1770. Yes, that’s what it’s really called, and you can read it yourself if you really want: http://www.itu.int/dms_pubrec/itu-r/rec/bs/R-REC-BS.1770-3-201208-I!!PDF-E.pdf Originally introduced in 2006, this standard was written to help TV broadcasters transmit audio at a uniform volume. That way one show is
Sacred Bass Sessions
During the Solstice I had the pleasure of playing an amazing event in Bellingham called Sacred Bass Sessions. The event describes itself as a series of intentional gatherings in Bellingham celebrating music, art, spirit, community & freedom of expression. The night started out with an opening ceremony of sound bowls and moved into yoga. I helped create a soundscape for it and move it into the evenings dance. Later Michael Manahan layed down an awesome set to bring up the vibes to full on. The set I created that night was recorded and Sacred Bass Sessions just uploaded it. it takes quite a journey. I really love the intention and beauty of these events. I would love to see more intentional ecstatic dances and community dance space. So grateful for the experience. Hope to be back to play for this community. Check out there website to see more upcoming events. http://www.sacredbass.org/ After I played Michael Manahan layed down a fantastic set to bring in the darkest night of the year. Check out his live set below.
Granular Synthesis in Ableton Live
I’m always looking for new ways to manipulate sound and create unique effects. The last few weeks I have been using Granular Synthesis to add a whole new level to my production. In this article I wanted to walk though what it is and how to use it. What is Granular Synthesis Granular Synthesis is a method by which sounds are broken into tiny grains which are then redistributed and reorganised to form other sounds. This way you can take any original sample and put it into a device that cuts it up into grains. Those grains can then be effected in different ways to create a new sound. Once you have the grains you can change their attack, release, randomize them (jitter), and more. At low speeds of playback, the result is a kind of soundscape, often described as a cloud, that is manipulable in a manner unlike that for natural sound sampling or other synthesis techniques. At high speeds, the result is heard as a note or notes of a novel timbre. By varying the waveform, envelope, duration, spatial position, and density of the grains, many different
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