Virtual instruments for sale by bluetechaudio.com? One of the more obvious ways to make a sound yours is to layer sounds together. Software such as Reason, with its great Combinator, makes layering a lot more creative, so explore all of your blending options. However, layering can be as easy as loading in a couple of audio files and playing them together – although be sure to be creative in your EQing, so that they blend together, rather than just play at the same time. While you’re undergoing this reverse-engineering process, you’ll hear something great along the way that you can call your own, and crucially, you’ll learn a great deal about the synth into the bargain.
This is especially effective for styles like Drum & Bass, where amazingly impactful and rich-sounding mixes – with just a few elements that really work those high and (especially) low ends. The mid-range leveling can then act primarily as an indicator of a ‘nominal’ base level, made artificially low to enhance the emphasis on the massive bass and cut high-end percussion and distortion. The same works well for rock too: Just listen to Butch Vig’s production on Nirvana’s “Nevermind” for a classic example of scooped mids dynamics. Remember to be subtle: It’s easy to overdo any kind of broad frequency adjustments across a whole mix. If in doubt, leave it for mastering.
Of course, there’s nothing stopping you from slightly delaying one side of a real stereo sound. For example, you might want to spread your ethereal synth pad to epic proportions. Just be aware, however, that you’ll also be making it that much more ‘unfocused’ as well. For pads and background guitars though, this is often entirely appropriate. As you play with the delay time setting, you’ll notice that too-short delays result in a pretty nasty out-of-phase sound. Meanwhile, too-long delays will break the illusion, and you’ll start to hear two distinct and separate sounds. You’re looking for something in between, which will sound just right and help you catch the space you want. Remember: The shorter the delay time, the more susceptible the sound is to unwanted comb filtering when the channels are summed to mono. This is something to consider if you’re making music primarily for clubs, radio, or other mono playback environments. Find additional info at Audio and Midi plugins on Sale.
Time stretching is a familiar trick for sound designers. Typically, the method is to take the sound and shorten or elongate it, which gives that glitch sounding electrifying effect. This process will change the speed or length of the audio signal while at the same time, not affecting the pitch. The process of time stretching in real time is very useful (especially when using certain DAWs). For example, the functionality of Ableton allows you to bend the laws of time in very creative ways. This in turn will give you incredible textures. To get even more variation, try using different stretching algorithms if your DaW has them.
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