Guitar Rig 5 Pro standalone vst rtas x86/x64

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Radmin v3.4 Mengendalikan dan Mengawasi Komputer Jarak Jauh Secara Diam-diam

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Adobe Audition CS5.5

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

DOWNLOAD Windows 7 iso Full (Gratis)

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Kumpulan Tutorial Recording, Mixing, Mastering

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

"Software" Membuat Flipping Book Sendiri

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Simulanalog Guitar Suite GUI

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Nomad Factory All Bundle Full (For PC)

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Kuliah Musik Digital v.2

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Menjadikan Audio WAVE atau MP3 Menjadi Midi (1)

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

View the original article here

Some VST Amp Sim free for your guitar

Mesa/Boogie Triple Rectifier Solo HeadYuk, now we discuss VST Amp Sim free in the internet. And certainly his legal alias free. Gk loses cool kok paid the same. Maap kalo previously writing system is rather rigid, 've long gk write because hehe: D.
Before, we must first know how the routing of his well ... We've discussed here are direct straight to the audio interface/soundcard aja yah ... So from the Guitar Instrument in/Hi-Z on the audio interface ... Simple really! : D

Instrument in? Hi-Z? Hell tuh? Gk have confused ... try reading-read http://www.distorsi.net/2012/02/soundcard-audio-interface-ini-dia-tips.html. There've terangin what that Instrument and Hi-Z input.

Guitarnya kan Udah tau mau plugged in where? Okay go ... When you use the above routing, it is definitely the sound of your guitar sound clean. Well that's why we need a clean guitar in order to process the sound fx, wearing head amp, until the cabinet use only software/freeware VST.

The sound of the guitar until finally heard in songs that there have several processes that might be a bit long if written one by one to so as that sounds, the bottom line is essentially Guitar Pedal FX/Rack-Head Amps/Amp-Cabinet (which ditodong with a microphone).

Well then we know, at the very least we need a Head Amp/amps and his Cabinet, so can gk pake aja, except for one if the combo of rich images taken this well hehe

Nah but from the flaring everywhere, Here we discuss Head Amp (Amp Simulator) aja dulu yah: D

Yuk goes without a lot of gk ah muter-muter, first we take a look-see plugins-plugins from LePou. This is some of my favorite free plugins for the manufacturer. One word, perfect: p while still free directly into her web, continue to download-in aja dulu-> http://lepouplugins.blogspot.com/
SoloC = Soldano SLOLextac = Bogner EcstasyLecto = Mesa RectifierHybrit = Marshall Le456 = EnglLegion = Original designIni some sample can ditemuin on youtube ... Kalo still curious, immediately wrote to youtube create own search;)

SoloC

Lecto

Le456

Legion

The second we got plugins from TSE : http://www.theserinaexperiment.net/
X 50 = Peavey 5150 X 30 = Engl e530 BOD = just SansampGk Amp Sim aja, they also have a Tubescreamer mantab ...The same sample of his curious? yuk maree

X 50

X 30

https://sites.google.com/site/nickcrowlab/
His voice gimana? Live footy, yuk: D



http://www.acmebargig.com/
Download at: http://www.acmebargig.com/product/shred/

Skip to 2: 50 pm to hear the demo

http://www.guitarampmodeling.com/viewforum.php?f=96&sid=c7449c47d8cfbcade21eecba0066ace7 http://www.auraplug.com/site/
NDzeit Dirthead
http://www.ndzeit.org/guitar/dirthead_0.61.zip


There are more? yuk share what you use: D

View the original article here

Mendapatkan sound Gitar ala Mesa dengan Tanpa Mengeluarkan Biaya Sepeserpun

AppId is over the quota
Bagi seorang mixing engineer, tentunya tidak asing dengan balancing, panning, Eqing, compressing, delay, reverb, chorus, automation, sidechaining, dan berbagai tetek bengek proses manipulasi audio dan editing lainnya. Tapi terkadang kita dituntut untuk lebih dari sekedar mixing, misalnya mengedit vokal agar sesuai dengan tempo, edit pitch vokal dengan autotune atau melodyne, quantizing drum agar sesuai dengan tempo, menghilangkan noise, reamping gitar, dan lain-lain

Pada pembahasan kali ini, saya akan fokus pada reamping gitar. Maksud dari reamping yaitu hasil rekaman yang sudah dilakukan sebelumnya, di routing / di salurkan ke hardware audio processor lalu di rekam ulang ke dalam track baru untuk mendapatkan kualitas suara yang lebih bagus! Misalkan kita ingin merekam gitar dengan set up stompbox, head, dan cabinet tertentu yang direkam dengan mic tertentu untuk mendapatkan hasil yang diinginkan tapi kita tidak memiliki fasilitas tersebut. Maka kita dapat merekam gitar langsung melalui DI Box untuk mendapatkan karakter asli gitarnya saja. Selanjutnya data tersebut kita bawa ke studio lain yang mempunyai fasilitas yang dibutuhkan untuk dirouting ke amplifier yang diinginkan dan ditodong dengan microphone di ruang studio yang didesain khusus untuk recording dan direkam ke track baru. Hasilnya adalah bunyi gitar yang telah direkam secara profesional. Walaupun pengertian reamping yang sebenarnya menggunakan hardware processor namun beberapa orang juga menyebut proses routing gitar DI melalui simulasi amplifier dengan software sebagai reamping.

Reamping dengan amp sim bisa digunakan dengan berbagai VST seperti Guitar Rig, Amplitube, Peavey Revalver, Overloud TH2, dan lain-lain. Ampsim mensimulasikan berbagai guitar audio processor seperti head, stombox, cabinet, mic, dan lain-lain dalam bentuk software. To be more specific, saya akan mencoba sharing tentang bagaimana mendapatkan sound gitar ala mesa tanpa mengeluarkan biaya sepeser pun menggunakan free plugins dan free impulse. So, here it how it goes!

Pastikan gitar anda cukup mumpuni untuk nge-rock! dengan senar yang sangat disarankan masih baru. Route gitar anda ke DI Box dan route DI Box ke audio interface atau jika anda tidak memiliki DI Box, bisa langsung colok ke Hi-Z In yang terdapat pada audio interface. Pastikan sinyal yang didapat tidak terlalu besar hingga clipping namun tidak juga terlalu kecil.

Berikut ini audio gitar DI yang kita gunakan sebagai sample

link : http://soundcloud.com/distorsi/mesa-sound-tutorial-guitar-di

Suara gitar terdengar polos karena gitar DI belum melalui proses apapun. Selanjutnya saya menggunakan TSE 808 yang merupakan simulasi dari Ibanez TS 808 untuk memberikan sedikit distorsi sebelum masuk ke head dan cabinet sehingga gain yang didapat pada akhirnya lebih optimal.

link : http://soundcloud.com/distorsi/messa-sound-tutorial-tse-808

Sebagai simulasi head, saya menggunakan Poulin Lecto dengan setting seperti gambar di bawah. Setting yang saya lakukan tidak mutlak, tergantung dari bunyi gitar DI dan sound seperti apa yang anda inginkan.

link : http://soundcloud.com/distorsi/messa-sound-tutorial-tse-808-1

Now it sounds brutal, tapi sangat harsh, jangan khawatir karena proses yang kita lakukan belum selesai. Selanjutnya saya menggunakan Poulin LeCab sebagai IR loader sebagai simulasi cabinet. Selain IR Loader, kita juga membutuhkan IR (impulse response) itu sendiri, dimana pada sample ini saya mengkombinasikan dua impulse response yaitu orange 2 mics dan asem recto

link : http://soundcloud.com/distorsi/messa-sound-tse-808-lecto-cab

Maka routingnya adalah: TSE 808 > Poulin Lecto > Poulin

Sekarang mari kita coba dengarkan sound gitar dengan backing track drum dan bass untuk mendapat gambaran sound gitar yang baru saja kita dapatkan dalam konteks lagu yang utuh.

link : http://soundcloud.com/distorsi/messa-sound-tutorial-with

Siapa bilang butuh uang banyak untuk mendapatkan sound gitar ala mesa? Bukanlah alat yang membuat sesuatu menjadi berguna tapi bagaimana sumber daya manusia yang menggunakan alat tersebut.

Extra:
Lecto dan LeCab: http://lepouplugins.blogspot.com/Impulse: http://www.4shared.com/get/uMeQ9iad/orange_2_mics.html
http://forum.fractalaudio.com/user-cabs-irs/47866-anyone-have-asem-recto-v30-l2-2.htmlTSE 808: http://www.theserinaexperiment.net/plugins/TSE_808v1.0.zip
Notes: selain menggunakan orange_2_mics dan asem recto, anda bisa menggunakan impulse lain seperti guitarhackimpulse, sperimental, brohymn mesa impulse, burny mesa OS 6505 HR, dan berbagai impulse lainnya (terutama impulse mesa) secara gratis yang banyak tersebar di ultimatemetal.com dan guitarampmodeling.com

Distorsi | Mixing Audio | Studio Rekaman | Home Recording | Alat Rekaman

View the original article here

Understanding Compressor (Part 2)-how to Setting Compressor

Learn how to properly setting compressor is certainly not an easy thing because of the resulting effects of compressor is not very audible such as equalizer, reverb, delay, and pemanipulasi other sound tools. One approach to setting compressor which is quite powerful to understand how the compressor works and how the resulting output is setting compressor maintainable so we clearly hear what we

Set release as soon as possible, the ratio is as high as possible, and to signal the thresold feels very compressed. After we get the three knob on very extreme positions, it is time set knob to the desired position for attack. With the extreme setting will make it easier for us to know the sound changes that happened when we set up the attack.

Next sweep attack from very fast to very slow while hearing the voice changes carefully. Fast Attack transients would cut so that the sound sounded blunt and slow attack will pass a transient. How are you going to attack will be very setting depending on the situation and the sound you want to get.

The important point is to forget the presets list. With much of the hearing you will increasingly get a "feel" to get the sound you want quickly. But presets can also be the starting point that gives us input as to how we are setting the compressor on a particular situation, just don't get too dependent on presets list so forget the essence of the album itself.

Another important point is the extreme settings on the three knob, the sound that is heard will be very severe, you should ignore it. Extreme settings you intended to focus on the effects of the change of attack time.

After the attack time is set at the position you want, it's time to step into setting release. Same as setting attack, listen to sound changes that happened with care, forget the math (as on how "should" release time according to the BPM with a certain formula or whatever) and feel the feel/groove. After getting the attack and release, it is now time lowering the ratio to the position you want. One approach that can be done is the lower ratio until you no longer hear the effect of the attack and release then praise again slightly until the resulting sound is heard. The key remains the same, listen carefully. After getting attack, release and ratio, prepare yourselves on the last step i.e. thresold. If you follow this tutorial from the beginning, the possibility of compressormu are working all the time with hard because the gain reduction is high so you can hear clearly the sound changes that occurred since the first three knob settings but maybe this isn't what you want

Praise thresold slowly or scaled thresold slowly so that the resulting sound sound fitting, no over compressed but not too less compressed (depends on your wants and tastes).

I hope this little process can help "unlock" your ear so that you can hear the sound changes that occurred on each knob in the compressor with clear so that you have a hand in deciding how you should be setting the compressor to get the sound you want. Mixing it about how to listen carefully and I think this process can help make it easier to hear carefully the effects that result from the compression process.

Focusrite | Rode Microphone | Mixing Tutorial | Recording Studio | Home Recording

View the original article here

Tips Mixdown untuk Mastering

AppId is over the quota
Jika kamu menggunakan plug-ins pada master output saat mixing, maka export dalam dua versi: A) versi pertama dengan plug-ins pada master output diaktifkan, dan B) versi kedua dengan plug-ins pada master output dinonaktifkan
Keterangan :
A adalah Versi pertama dengan plug-ins pada master output diaktifkan  B adalah Versi kedua dengan plug-ins pada master output dinonaktifkan
Mempunyai dua versi mixing memberikan pilihan in case you over-processed the mix. Pastikan ketika plug-ins di nonaktifkan tidak terjadi clipping. Jika terjadi, turunkan master fader hingga tidak terjadi clipping Jika anda mixing dalam 24 bit maka seharusnya peak tertinggi ada pada sekitar -12 dBFS hingga -3dBFS yang berarti masih ada 12 hingga 3 dB headroom sebelum melebihi digital ceiling yaitu 0 dBFS
Keterangan :
A Sinyal terlalu lemah, tidak optimal untuk masteringB Peak tertinggi di sekitar -12 hingga -3 dBFS. Baik untuk masteringC Peak di 0 dBFS, tidak diinginkan tapi masih bisa digunakanD Overloading (clipping), tidak bisa digunakan untuk menghasilkan mastering

Headroom adalah jumlah dB sebelum terjadi clipping and overload yang ditandai dengan lampu indikator pada master output. Jika terjadi, turunkan output fader hingga peak tertinggi berada pada range yang direkomendasikan. Kualitas suara tidak akan terpengaruh ketika kamu menurunkan master fader. Tetapi jika kamu melebihi digital ceiling, akan menimbulkan distorsi, dan tidak memungkinkan untuk memperbaiki kualitas orsinilnya. Tidak ada alasan untuk memaksimalkan volume saat mixing karena optimalisasi loudness akan dilakukan pada proses mastering nantinya

Mixing Tips – Dari Pandangan MasteringIsu berikut dapat diperbaiki dengan hasil yang lebih baik pada proses mixing daripada proses mastering. Pastikan kamu memperhatikan hal-hal berikut ini

Noise
Pada rekaman analog (gitar, drum, dll), gunakan mute automation untuk mengeliminasi hiss noise pada saat track tersebut tidak aktif terutama pada intro, breakdown, dan outro dimana noise berpotensi untuk terdengar.

Phase dan Polarity
Pastikan bahwa drums, synthesizer, dan elemen lainnya tidak out of phase. Dengarkan playback dalam mono, apakah suara menjadi melemah atau bahkan hilang jika polarity nya di invers.

Frekuensi Sub
Frekuensi sub (di bawah 40 Hz) yang terlalu berlebihan pada individual track dapat menyebabkan masalah pada kualitas suara dan final volume dari master. Pastikan melakukan low cut pada semua track yang tidak membutuhkan frekuensi sub. Misalnya pada vocal dapat dilakukan low cut pada 80 Hz dengan 12 dB/Octave slope. Jangan memotong frekuensi sub pada keseluruhan mix jika tidak secara hati-hati karena dapat menyebabkan mix terdengar tipis (thin)

Sibilants dan Suara Runcing/Tajam Lainnya
Suara sibilants and suara runcing/tajam lainnya merupakan tantangan yang serius ketika mastering. Pastikan vokalis mengontrol sibilants. Gunakan de-esser jika dibutuhkan, terutama broadband de-esser untuk menghindari artifact. Gunakan volume automation pada sibilants yang sangat keras, bunyi plosif, bunyi click. Perhatikan juga bunyi runcing seperti crash cymbals dan hi-hats

Level Vocal
Vocal yang tidak rata/stabil sulit untuk diperbaiki pada proses mastering. Terkadang dua compressor dengan low ratio lebih baik daripada satu compressor dengan high ratio. Namun adakalanya setelah compression kamu masih harus melakukan volume automation. Naikan atau turunkan bagian tertentu hingga semuanya terdengar smooth dan stabil. Coba untuk mendengarkan pada low volume ketika melakukan volume automation
Volume Automation pada vocal track
Versi Alternatif
Terkadang perlu untuk menyiapkan beberapa versi alternatif mixing dengan vocal lebih keras (atau lebih pelan) misalnya +0.6 db dan 1.4 db, versi instrumental, dan versi akapela atau kick/snare drum yang lebih keras.

Gunakan nama yang jelas untuk menghindari kebingunganTuliskan perbedaan perlakukan pada file name. Selain perbedaan pada file name, segala sesuatu yang lain identik 100% dengan versi normal, jangan ubah master fader. Jika dibutuhkan kita dapat memilih beberapa versi alternatif sebagai final mix.

Start/End
Pada saat export, tambahkan minimal satu bar kosong sebelum lagu benar-benar dimulai dan beberapa bar di akhir lagu untuk memastikan reverb, delay, dan instruments decay habis sepenuhnya
Tambahkan bar kosong di awal dan akhir lagu
Fades
Jangan lakukan fade out saat mixing. Katakan kepada mastering engineering kapan fade out mulai hingga akhir, misalnya fade dari 3:15 hingga 3:30 atau fade out 15 detik terakhir

File Format
WAV atau AIFF lebih disukai.

Stereo Format
Pilih interleaved stereo bukan split stereo saat mixdown untuk mastering. Jika sequencer kamu tidak memberikan pilihan maka kemungkinan adalah interleaved stereo.

Bit Resolution
Guanakan 24. 16 bit hanya digunakan jika tidak memungkinkan untuk mendapatkan 24 bit. 32 bit floating point tidak digunakan untuk mixdown untuk mastering karena dengan bunyi yang identika dengan 24 bit, 32 bit floating point memakan banyak space dan lebih lambat dalam hal transfer data.

Sample Rate
44.1 kHz atau lebih tinggi. Hanya export pada lebih tinggi dari 44.1 kHz jika proyek direkam dan diproses pada rate tersebut. Keuntungan dan kerugian dari sample rate diatas 44.1 kHz masih diperdebatkan. Jika proyek kamu diatas 44.1 kHz jangan convert sample rates sendiri, biarkan mastering engineer yang melakukannya pada proses mastering.

Dithering dan Noise Shaping
Jangan gunakan noise shaping atau colored dither, seperti UV22 saat export mixdown untuk mastering. Reduksi final bit menjadi 16 bit (audio CD format) dilakukan pada proses terakhir saat mastering

Normalizing
Jangan lakukan normalize pada mixdown. Final volume level akan dioptimalisasikan pada proses mastering

Dengarkan Mixdown
Selalu dengarkan mixdown dari awal hingga akhir sebelum dikirim untuk proses mastering. Pastikan lagu dimainkan dengan benar dari awal hingga akhir, struktur lagu benar, dan tidak ada artifcat atau bunyi click.

Dan, selesai! oke itulah beberapa Tips Mixdown untuk Mastering yang dapat anda gunakan sebagai acuan :)

Distorsi | Alat Rekaman | Studio Rekaman | Home Recording

View the original article here

Bagaimana Cara Mixing Bass Untuk Genre HARDCORE

AppId is over the quota
Tidak sulit menemukan diskusi bagaimana mixing gitar, drum, atau bahkan mastering, tapi lain halnya dengan bass yang kurang mendapat perhatian, walaupun perannya tidak sangat dominan tetapi bass memainkan peran penting dalam mengisi frekuensi rendah dan membuat komposisi musik menjadi lebih dinamis.

Apa yang ditulis pada sharing kali ini mungkin tidak begitu saja berlaku pada kasus anda, maka gunakan guideline ini untuk berlatih, bereksperimen, dan ciptakan soundmu sendiri.

Beserta artikel ini, terdapat sound sample agar kamu bisa membandingkan perubahan sound tiap langkah yang dilakukan dan sebagai bahan pembelajaran.

Jadi saya punya sebuah track bass DI which is well played and have pretty sounding tetapi masih terdengar terlalu lembek dan sangat berdinamika.

link : http://soundcloud.com/distorsi/bass-di

Langkah pertama yaitu duplicate track tersebut menjadi 2 track yang sama persis

Waves CLA Bass > Waves CLA 76 > DMG Audio EQuality
CLA Bass digunakan hanya untuk memberikan sedikit color terhadap tune nya dan sedikit distorsi which is barely noticeable.

Settings: Bass di 0-1 db dengan opsi sub. Treble di 0-3 db dengan opsi honk, compress di 0-1 db denga opsi push, sub dimatikan, distortion di sekitar -10db dengan opsi growl, pitch dimatikan.

Selanjutnya saya menggunakan Equality, but most EQ will work well too. Low pass dengan 12db slope di sekitar 3500 khz atau lebih rendah tergantung selera anda dan high pass dengan 12 db slope di 30-40 hz. Saya juga melakukan wide scoop di 500Hz beberapa db

And then I am squishing the crap out of the bass (compression with low thresold, 4:1-10:1 depending on taste, slow attack, fast release)

link :http://soundcloud.com/distorsi/bass-track-1-processed

Waves CLA 76 > Mokafix NoAmp! > DMG Audio EqualitySaya mensetting compressor sama dengan track pertama, tapi kuncinya adalah saya menambahkan distorsion SETELAH compression untuk mendapatkan detail dari not yang dimainkan.

Saya menggunakan NoAmp! yang menyerupai Sansamp Bass Driver which is FREE sebagai pendistorsi track bass kedua.

Setting yang saya gunakan di sini adalah knob volume di arah jam 11, low dan high di arah jam 12, drive di arah jam 10, classic, clean british. Setting yang saya lakukan bukanlah patokan mutlak, feel free to experimentalize

EQ high pass dengan 6 atau 12 db slope di sekitar 500Hz (dengan tambahan sedikit wide-ish scoop di sekitar 450Hz) dan low pass dengan 12db slope di sekitar 4500khz

link : http://soundcloud.com/distorsi/bass-track-2-processed

Buat buss untuk bass, dan route 2 track bass yang sudah diproses secara terpisah kedalam buss tersebut. Atur volume level 2 track tersebut (saya pribadi prefer non-distorted bass di 0db and distorted bass di -15db)

link : http://soundcloud.com/distorsi/bass-buss-unprocessed

Pada buss tersebut saya menambahkan limiter untuk menjinakan “jumping notes” dan EQ dengan Equality high pass 50 hz, wide-ish scoop di 300hz beberapa db dan boost beberapa db di 4 khz. Dan tadaaa now you’re hearing beast sounding bass. Trik mixing semacam ini walaupun tidak mutlak, seringkali ampuh digunakan pada lagu-lagu bergenre metalcore, hardcore, death metal, dan semacamnya yang membutuhkan bass sebagai “daya hancur” extra penyokong gitar.

link : http://soundcloud.com/distorsi/bass-buss-processed

That’s it for the bass! Ingatlah bahwa korelasi volume level bass dan gitar (secara khusus, dan overall lagu pada umumnya) is SUPER HYPER MEGA CRUCIAL. Jika volume level bass terlalu kecil maka lagu akan terdengar kosong dan jika volume level bass terlalu besar, bass akan terlalu mendominasi dan overpowering keseluruhan lagu.

Distorsi | Studio Rekaman | Jual Alat Rekaman | Home Recording

View the original article here

Menjinakkan Sibilan pada Vocal dengan Deesser Ganda

AppId is over the quota
Menurut wikipedia, Sibilan atau konsonan desis adalah cara artikulasi konsonan frikatif (desah) dan afrikat (gesek), dibuat dengan mengarahkan aliran udara dengan lidah menuju tepi pangkal gigi, yang diadakan berdekatan. Contoh suara sibilan adalah konsonan pada awal kata saya, zirah, syair, cakap, jahil; konsonan kedua dalam kata visi; konsonan pada kata susu. Pada istilah audio, sibilan adalah bunyi desis yang berlebihan sehingga mengganggu tatanan suara secara kesuluruhan.

Sibilan bisa berasal dari vocal manusia atau instrumen musik lainnya seperti crash cymbal, gesekan antar benda logam dan lain-lain. Namun pada pembahasan kali ini, saya akan memfokuskan pada kasus vocal manusia. Untuk mereduksi sibilan, you can simply throw a single deesser to your vocal track and process your vocal track with EQ, compressor, reverb, and blah blah blah. Tapi bagaimana jika setelah melakukan EQ-ing dan compressing bunyi sibilan yang sebelumnya sudah tereduksi kembali muncul? Kemungkinan dari kita mungkin akan berpendapat “pasti EQ nya kebanyakan boosting high tuh, coba turunin”. Tapi ketika high nya diturunkan, tujuan saya EQ-ing untuk mendapatkan shape yang saya inginkan tidak tercapai. Apakah ini berarti kita harus mengorbankan salah satunya? Tentu tidak! Bagaimana caranya? Don’t go anywhere, check this out!

Jadi inilah audio sample dari track vocal growl yang masih raw tanpa sentuhan plugin apapun.

link : http://soundcloud.com/distorsi/menjinakkan-sibilan-pada

Apa yang anda dengar? Growl yang cadas? Itu sajakah? Dengarkan sekali lagi! Sangat jelas bahwa konsonan desis terdengar sangat berlebihan!

Untuk memecahkan masalah tersebut, saya gunakan deesser sebagai insert pertama yang bekerja dengan mereduksi 3kHz ke atas saat konsonan desis muncul.

Dan hasilnya adalah sebagai berikut:

link : http://soundcloud.com/distorsi/menjinakkan-sibilan-pada-1

Yap, konsonan desis yang mengganggu sekarang sudah diselesaikan. Tapi saya merasa bahwa vocal sangat menggulung dan terlalu berdinamika sehingga saya melakukan EQ-ing to shape the sound dan compressing it quite hard to make it less dynamic and a little bit distorted.

Dan hasilnya adalah sebagai berikut:

link : http://soundcloud.com/distorsi/menjinakkan-sibilan-pada-1

Tujuan saya melakukan EQ-ing dan compressing tercapai, tapi apa yang terjadi? That annoying sibilant is back! Kita tidak perlu berkompromi untuk mengorbankan sound shaping atau sibilan. Just simply throw a desser again AFTER EQ&compressor, namun yang menjadi kunci pada deesser kedua adalah saya menggunakan mode narrow sehingga frekuensi yang tereduksi adalah frekuensi yang benar-benar merupakan sumber sibilan sehingga tidak mengganggu frekuensi yang lain dan menyebabkan vocal terdengar dull.

Maka chain akhirnya adalah deesser > EQ > compressor > deesser 

Dan hasilnya adalah sebagai berikut:

link : http://soundcloud.com/distorsi/menjinakkan-sibilan-pada-2

Sekarang coba bandingkan audio vocal raw dengan audio vocal setelah melalui berbagai proses desser, EQ, dan compression. Pada vocal raw, sibilan sangat eksplosif, pada vocal setelah diproses, sibilan tetap ada tapi tidak overwhelming. Pada vocal raw, sibilan terdengar menggulung dan sangat berdinamika, pada vocal setelah diproses, vocal tidak lagi menggulung dan dinamika vocal lebih stabil. Dengan deesser ganda, tidak perlu khawatir dengan kompromi antara sibilan dan overall frequency curve.

Sekian artikel kali ini mengenai “menjinakkan sibilan pada vocal dengan deesser ganda”. Sesungguhnya banyak jalan dalam mixing untuk menghasilnya bunyi seperti apa yang kita inginkan, be creative and out of the box!

Distorsi | Mixing Tutorial | Alat Recording | Studio Rekaman

View the original article here

How to record drums/techniques (drum recording)

The Drum is one of the most complicated instruments to be recorded, getting a great drum recording results not only from the quality of the drummer and engineer, but also affected the quality of the tools used (drums, mic, cables, etc.) and position the microphone technique. In this tutorial, we will discuss the basics of recording the drums in the studio.

Equipment
Drum Set Microphone Pre amps and other recording equipment

Tunning
To get a good drum recording results, you need to tune of the drum is concerned. Tune the drum affects audio quality, and if it's a good already then tune the editing and mixing will be easier.

Kick, Snare, Tom and the table generally has 2 skins (up & underside)
1. the Batter head skin (top): effect on "attack" and initial pitch
2. The Resonant head skin (bottom): effect on "overall pitch" and sustain.

Each drum kit (Kick, Snare, and Toms) has a size of & material of different material, and that means each size & material has a resonant tone sound different. There are several Snare which has resonant sound with a wide, meaning badwidth Snare can be ditune from low to high pitch tone and still produce a Tone that is perfect. Preferably tunnning Snare according the basic tone of the songs, and tunning of tom and the table follows the intervalnya tone.

Recording A Kick
Bass guitar and kick drum is what keeps the flow of the song, and the Kick drum is the heart of the rhythm section of your song. To record a kick, you can use microphone such as the Sennheiser E602, SM57, D112, Neumann KM184 RDA or R92 (ribbon microphone) so it's up to the tastes and the budget that you have to buy a microphone. Start placing the microphone in the kick drum and listen. How is sound produced? If the boomy (too low and unclear), place the microphone closer to the beater for sound clarity, if it sounds produced are too tight, then sliding back up to get sound as desired. Do experiments to test the mic position, and there is no right or wrong way to do it.

Tips:
Use 2 microphones (in &). Microphone placed inside to get the "attack" of the batter well. The Microphone was placed outside to get sound sub low.But for the use of 2 microphone note also about the Phase (the correlation between these two microphone). When getting a position felt good (In-PHASE), trying to do check PHASE, by means of reversing the phase of one of the microphone. If his voice is so strange/weak/low his ilang (Out-of-Phase), the mean mic position before his behind phase is correct.

Recording The Snare
Get a good snare drum sound is very easy if the voice is indeed nice snare, tune, according to the character of the song and played by drummers. For the record, you can use the Snare microphone Shure Beta 57A, Josephson C42, Heil PR20, BeyerDynamic M201, and others. You can use the 2 microphone for recording the snare, 1 are placed above and below the 1 again.

Tips:
3. use the mic (2 above and 1 below). For 1 mic over to get the "attack" & "snappy" and 1 mic again to get the "Body". Both the mic we tie with duct tape with the same position and is placed under the hihat with 45derajat slope overlooking the Center SNARE (opposite of hi-hat) to minimize leakage/spil of the hi-hat.As for the bottom snare you can use a dynamic microphone for sound rattle recorded not too sharp and more natural than using a condenser microphone. And don't forget the reverse phase to snare bottom because the direction opposite to the microphones to capture him on top.

Recording Toms
In most drum kits, you will find a wide number of sets of tom, all of different tonal range, usually a drummer would have a high tonal, midle of tom, and tom lowh. Sometimes you will find a more diverse drummer utilizes some of tom's all tuned differently. But in the studio recording is usually enough to use 2 tom and 1 floor only. Microphone that is used is not much different with the snare microphone.

Tips:
You can also use the 2 microphone for 1 tom, but also already cukupPosisikan 1 microphone microphone 45 degrees leading to the middle of the skin

Recording Hi-Hat Ride &
You may not put a microphone on the Hi-Hat or the Ride, and voice recorded through overhead. But we recommend using chanel herself or fixed record it on an individual basis for Hi-Hat and Ride (with separate overhead), it will also simplify the process of mixing. The first thing to record hi-hat hi-hat was the election itself, the hi-hat is very vulnerable her voice recorded sounds cheap and very sharp-voiced as cans. Use the hi-hat and percymbalan are nice, thick character and not too sharp.

Tips:
Use the microphone to his transient ribbon can be maintained properly.Position the microphone approximately 20 cm above the hi-hat. The goal is to reduce the leakage of spil/snare that is hindered by the hi-hat.Height of the microphone was set up so that the overall sound of the hi-hat dapet recorded properly.

Recording Overhead
Mic positioning for overhead is the most important thing to get a great sound overhead, in addition it will also be very influential to the overall sound of drums. The main purpose of the Overhead? This is to take the entire sound piece instruments (but more focuses on the cymbals) and to unite all other sound so that the mic's individual everything sounds as 1 unit. You can use the AEA R84 microphone, RDA, Oktava MC012 C414, Marshal MXL series and so on.

Tips:
Initial placement starts with the following basic techniques? 3-to-1 Rule, namely the basic positions of? the placement where the distance between the 2 microphone mic 1 mic 2 with 3 x shall be from the distance between one of the mic to the instrument (drums). This Formula was created to avoid the problem of Phase/comb filter.Pan microphone 1 full right and mic 2 full left (dead Left and Dead Right) Check Phase reverse phase, by means of one of the mic. If sounds are heard to be heavy to left/right (out of phase), then it means the previous position is correct.Rooms/room, which will either acostic very influential on tracks overhead.After the steps above drum recording, start to record. You'll usually need the effect Gate and Compressor for editing after tracking is complete.

View the original article here

Tips for recording/time recording vocalist

For those who want to be singers or vocalis who recorded vocals, maybe this article cucok banget buat adds science take you guys in vocal/recording vocals. Some things to look for in take vocal:
1. the articulation of a Word
Singing is an expression that must be delivered. So sing as we speak or speechless. Then the song will be able to capture the listener with clear what we have said. If we're talking is not clear, then the person we're talking to are saying "sorry, you just now say what?" well that will affect all of the results take vocal. So the point is should be clear articulation of our words, if we're already singing with clear as one talks, then there is also conscious that we are already singing with solid or "tight".

2. Select Microphone
Indeed not many recording studio which provides a choice of microphone. But when you get to the studio lot, mic choice facilities take advantage of the facilities and look for the mic that fits the character/color your vocals. Usually required for vocal polar Cardiod pattern (Unidirectional Mic), which sounds just caught from the direction of the front and somewhat reduced when you sing from the side of the mic.

3. Mic Distance
Take vocal or recording the vocals are nice is a 1 inch of hands between the mic and our lips or 15-30 centimeters, because when we are singing near the mic, it will give rise to sound "beb" (flare) or "Fizz" (hizzing) which is too excessive. There is indeed a plugin that tackling the problem the fizz of "De-Esser" or hardware pop-filter for flare (plossive), it would be nice if it was just us tanggulangi from the time of the recording. Sebagus-bagusnya recording tool or plugin, can't sealami the singing natural, so start learning to sing with a pretty good distance from now on.

4. Tone Vocal
Many say if today's tape, everything can be corrected with sophisticated equipment, it does very well indeed. But one thing that can not be identified between human and equipment namely "vocal tone" or our character. May be low volume vocal manipulation with a variety of equipment compressor so that the sounds become hard. But surely it's just loud vocals but not powered (powerless). For among the senior musician or a reliable audio expert, surely they can tell which tone and original results manipulation tool. For that, make the ' tone ' of your vocals.

5. Compressor
Functions of the compressor is to compresses an unused vocal that is too large dinamikanya. Well, actually the man himself had a compressor. Cried but not peak, i.e. by way of withholding power from the diaphragm to the strains the vocal cords, but does not reduce the tone/tone vocal us. That is what is called a "level control", in need of engineering as well as exercises is enough to be able to master it properly.

6. Soul/Soul (Sense)

"... a vocalist also must learn how to" manipulate "or playing a different role in each of the songs that will be sung ..."

I actually all this deals among the explanations one with other explanations. Soul/taste/feel it's very important for a singer. Because it is used to convey what the content of the lyrics we sing. In my opinion, it's the same as actors vocalist's role in the soap opera or drama, why? Because the perpetrators were usually able to play role of emotion/mood that fits the role that will be diperankannya. Well, it's a vocalist also must learn how to "manipulate" or playing a different role in each of the songs that will be sung ...Although he just express them with sound doang. Well here is the layout of the importance of the dynamic of singing, because it can play the emotions of the listener. Although indeed the singer is no longer in a condition to be singing sad but sadly. If it already can you understand and jiwai, guaranteed the sound you would sound better.

7. Review
After the take over, try to listen to the vocals again without the need for plug ins or sticking to the effect track (flat). Are you already a maximum as discussed from the point 1-6? Do you already feel comfortable with the results of the vote during the singing, whether already fill/soul/it's in every word you said? Try to repeat it back if it has not been corrected, we recommend to obtain maximum results.

Indeed sing it depending on the mood or feeling of the heart, so keep the mood that's fine as long as you do the recording of vocals. Try again tomorrow, if the mood was not there. Have fun and be fun, I suggest you do the recording, do not tense and do not hesitate to ask for the opinion of the operator, producer or studio people when we record.

8. Tips:
Sing with the articulation of clear!Select mic that strengthens the character of your voice!Adjust the distance the mic with your mouth properly!Maximize the ' Tone ' of the Vocals in yourself, not with the help of a tool!Keep the dynamics of the sound or use ' compressor ' naturally exists in you!Show emotion when singing the song needs!Review the results of your original voice recordings!

View the original article here

Tutorial mendapatkan Fat Drum Sound dengan Parallel Compression

AppId is over the quota
Parallel Compression, yang juga dikenal sebagai New York Compression yang namanya diambil dari tempat asal teknik kompresi tersebut dipopulerkan, adalah teknik memproses dua track yang sama persis dengan kompresi yang berbeda untuk mendapatkan sound dengan karakteristik kompresi tertentu. Parallel compression memungkin kita untuk mendapatkan benefit dari cara kompresi tertentu tanpa menimbulkan over compression.

Compressor mengangkat level yang lemah atau mereduksi level yang terlalu kuat sehingga dinamika suatu sinyal audio menjadi stabil. Proses ini cenderung memberikan kesan gemuk (fat) pada bunyi, which can add a lot of character. Tapi efek fat yang kita inginkan baru terasa dengan heavy compression, dimana over compression membunuh dinamika dari performansi player. Parallel compression seringkali menjadi teknik kompresi yang lazim digunakan untuk mengkompromikan hal tersebut.

Abstraksi parallel compression yang telah sedikit saya jelaskan mungkin masih belum memberikan gambaran secara jelas bagaimana parallel compression bekerja, bagaimana melakukannya, dan bagaimana hasilnya. Agar pembahasan kita jelas dan terarah, maka saya fokuskan ruang lingkup pembahasan kita kali ini pada parallel compressionn pada drums.

Adakalanya kita sudah mendapatkan sound drum yang cukup mumpuni but we still want to fatten it up a bit and make it punchier a bit, namun bagaimana pun kita melakukan EQ-ing dan compressing baik pada individual track maupun drumbuss tidak menghasilkan sound yang kita inginkan. Wonder how to solve it?

Buat satu Group Channel dan routing-kan semua elemen drum (kick, snare, toms, overhead, dll) ke group channel tersebut. Untuk mempermudah, kita namakan group channel tersebut dengan drum buss atau group drum atau sesuka kamu. Sebagai audio sample, saya mempunyai drumbuss seperti berikut:

link : http://soundcloud.com/distorsi/tutorial-mendapatkan-fat-drum

Buat satu Group Channel lagi dan send Drumbuss yang sudah dibuat ke group channel tersebut. Untuk mempermudah, kita namakan group channel tersebut dengan paracomp atau parallel compressor atau sesuka pacar anda. Insert compressor dengan setting gila-gilan pada Paracomp. Ratio minimal 4:1, a lottagain reduction, attack dan release secepat mungkin hingga suaranya sangat dull dan breathing, pelan-pelan perlambat attack dan release hingga dull dan breathing nya hilang. Di bawah ini adalah setting yang saya gunakan pada audio sample, but don’t copy my setting exactly! Jadikan guideline pada artikel ini agar kamu bisa menggali lebih jauh. 

Sehingga kita mendapatkan sound seperti berikut

link : http://soundcloud.com/distorsi/tutorial-mendapatkan-fat

Now you’re hearing that fat, punchy, and powerful drum tones, but it’s heavily overcompressed!

Drop Fader Paracomp mentok kebawah hingga tidak ada suara dari group channel tersebut. Play lagunya sehingga kamu hanya mendengar drumbuss, pelan-pelan naikan fader paracomp hingga drum terasa sedikit “menggemuk” but don’t overdo it. Perpaduan level antara drumbuss dan paracomp sangatlah krusial. Level paracomp terlalu lemah dan kamu tidak mendapat impact dari parallel compression dengan maksimal, level paracomp terlalu keras and you’re squeezing the drums too much. Pada audio sample yang saya buat, Drumbuss + paracomp menghasilkan bunyi seperti berikut ini

link : http://soundcloud.com/distorsi/tutorial-mendapatkan-fat-1

Sekian pertunjukkan kecil pada artikel ini! By the way, tidak hanya satu cara untuk melakukan parallel compression pada drums seperti yang telah saya tunjukkan pada artikel ini. Sebagai contoh, ada yang hanya me-routing kick, snare, dan toms ke group channel yang dikompres gila-gilaan, ada yang menggunakan 2 atau lebih group channel paracomp, ada yang mem-boost 100 Hz dan 10kHz pada Paracomp untuk memperjelas definisi kick dan snare, dan banyak ide kreatif lainnya. Jangan sampai artikel singkat ini menghalangi kretivitasmu!

Distorsi | Jual Novation | Home Recording | Studio Rekaman | Mixing Tutorial | Alat Recording

View the original article here

The terms that are in the audio world

So much of the language used in the audio world, and sometimes often confuse us as practitioners/musician/connoisseur/the observer in the audio world. Below are some terms/language used in the audio world.

Anechoic Chamber:
A room designed specifically to eliminate the reflected sound from the wall. Ideally, an anechoic chamber does not cause the reflection of sound at any frequency (the walls absorb all frequencies) and can be ' me-reproduction of ' the original sound has been in design/design of experiments as accurately as possible we do there.

Audio Mixer:
A tool that serves as a reinforcement and stabilisation of some sources of sound, into a single output (output) that meet the criteria to become an input (input) on the recording device.

The Basilar membrane:
A layer in the inner ear slugs a home we are in charge of analyzing the frequency of the sound wave is received by the eardrum.

Clip On:
This type of microphone which forms a small, to the position mic use paired on a shirt or a costume event. Can be clipped manner or by way of pasting.

Clipping:
Something happens when the amplitude of the sound past the threshold of batasmaksimum. Generally the sound becoming broken.

Complex tone:
Tone/voice that had some of its frequencies, 99.9% of the kind of sound that we hear is a complex tone, only a few votes are called pure tone (has one frequency content only) like a sine wave, several types of birds and others.

Compressor:
Tool used to adjust the dynamic range of sound.

Critical bandwidth:
Wide bandwidth of a band-just passed noise that can close a narraow signal has frequency band Center in the same area. Critical band refers to a region that delineates a roughness sensations where one frequency can be heard clearly.

DAW (Digital Audio Workstation):
The recording device is digital or computer-based. Such as Nuendo, cubase, Sonar etc. ..

Decibels (dB):
logarithmic unit for measuring sound levels.
(an antecedent unit used to measure sound, like cm (centimeters) at a distance).

A Di Box:
A tool that serves to turn the signal unbalanced (-10dB) be balanced (+ 4dB).

Diffuser:
Tools/content that generally reflect sound and installed to reduce a focused reflection, usually worn diffuser to spread certain frequencies in all directions with (often referred to as the diffuser).

Diffraction:
One of the properties of the sound which can be "replayed" if it hits an object that is smaller than its magnitude.

Early reflection/bounce-bounce early vote:
Reflection-reflection of the beginning sounds from the sound source to ketelinga we average with one/two time bouncing off the walls/ceiling/floor. The amount was greatly influenced by sound absorption coefficients of materials attached to the wall/langit-langit/lantai. This sound is usually up to ditelinga we are no more than 50ms after the original sound from the sound source to.

The Equalizer:
Tools to change the tonal balance of a sound spectrum.
(Tool yg bs meng-CUT/boost posting frequency is desirable with Q-factor)

Fundamental frequency/frequency of basic:
Natural frequency (natural frequency low produced a system (first harmonic).

Frequency/frequency:
Abundance of vibrations that occur within a specified time period (unit is Hertz, commonly abbreviated Hz).

FOH (Front Of House):
A place that is used to control the sound system.

Handheld Microphone:
Microphone is held by hand/handheld microphone.

Harmonic:
Frequency-frequency spectrum sound that berkelipatan the basic frequency of the round.

Is Infrasonic:
Frequency/sounds under the limit of our hearing (less than 20 Hz).

Microphone:
A device that converts the energy of motion into electrical energy.

Millisecond (ms):
Milli-seconds. Equal to one thousandths of an SEC (1/1000 seconds = 1 ms).

Monitor Mixer:
A Mixer that is behind or beside the stage that its concentration is to serve the Division of votes and balancing the monitor above the stage.

Noise:
The chill.

Are Omnidirectional:
Polar pattern that can receive sound from all directions.

Overtones:
Frequency – higher frequencies from the frequency of the fundamental, can be round or berkelipatan fractions.

PA (Public Address) System:
Professional language for sound system is facing the audience.

Phonemes:
The smallest voice/language of a calibrated.

Pink Noise:
The frequency of 20 Hz-20 kHz is emitted simultaneously with the same volume of violence.

Resonance:
The smallest voice/language of a calibrated.

Reverberation time:
The time it takes for the sound diminished within a room that has 60dB walls reflective.

Reverberance:
A sensation of reverberation in a room, it can also mean the sensation that we are surrounded by sound.

RTA (Real Time Analyzer):
Tools to detect the frequency, shape like a PDA but the built in microphone.

Sensitivity:
His great energy electricity generated by
microphone due to the energy of sound membranes
microphone.

Speech Intelligibility:
The ability to hear and understand a conversation,

SPL (sound pressure Level):
The Level of pressure on the ordinary sound waves caused by the units of dB, could be seen at each microphone (a Microphone SPL capability).

Tinnitus:
Sensation in buzzing/ringing/roaring/buzzing in the ear. Is a form of damage that occurs in our ears.

Ultra sonic:
Frequency/sound above the limit of hearing us (above 20.000 Hz)

White noise:
A voice that does not contain the information, which this vote has the same energy at each interval frekunsinya. An example is the sound of a waterfall.

Wirelless microphone:
Microphone Wireless: microphone that does not use the connection cable. Transmits their signal using a small FM radio transmitters that are connected to the receivernya in a sound system.

The Term Thread/Languages In The Audio World

View the original article here

Find out what it is and its function the limiter

As well as the effects of Compressor, Limiter effect is also working to process the audio signal and function to reduce the dynamic range of the audio signal. Compressor and Limiter also has interface and knob-knob that are similar, such as Threshold, Ratio, Input, Output, Gain, Attack and Release.

Limiter is also still included in Compressor, simple definition of a compressor and limiter according to Fry are: Basically what these do is keep an eye (or should that be ear?) on signal levels, stopping them from getting any louder than the level you set (the Threshold). A compressor puts a gentle? squeeze? on excess levels, whereas a limiter hits it on the head with a hammer.

The limiter function is as the name suggests, that is me-limit/restrict the audio signal, usually used to make a constant output, the input signal will be constrained by the threshold and output will be raised as needed. Compressor can also act as a Limiter when the compression ratio of the compressor exceeds 10: 1.

Refer to the diagram above, signals exceeding the threshold reduced to the level of the threshold so that the signal is never past the limit. These tools are sometimes used to protect equipment from a sharp signal of a destructive nature. However, this solution results in heavy distortion due to work force such as the limiter saturation.

As in the article about the Compressor and its functions, the following functions of the existing parameters on the Limiter:

Threshold
Compressor threshold start work or active. Example: If the compressor threshold gives a chance at the 0 means that the compressor will be activated or belertja when the signal hits the numbers 0dB, but if the signal does not touch the 0 berartis the compressor is not working.

Ratio
Quantify the reduction in the amplitude of a signal above the threshold, or a comparison of the signal in and out.
1: 1 there is no compression, the output signal with the signal above the input2: 1 the threshold is reduced to half. If the signal exceeds the limits by 10 dB, its value is reduced to 5 dB. other values including 3: 1, 4: 1, etc. To value ratio higher than 10: 1, acts like a compressor limiter.
Attack time
The time it takes before the signal tercompress. Attack time is measured using a milisecond (ms). Example: If the attack time means chance at number 0ms compressor will work right away, because there is no time lag before the signal is tercompres, then the soundnya will sound dull. We recommend setting a slower attack time signal in order to keep a good attack or have also.

Release Time
The time it takes to return to the State of compressor not compression, the goal is smooth action of the compressor. A split release just like attack, i.e. use the ms (milisecond). release time setting sometimes makes the wrong audio to be pumping.

Hold Time
After the input signal amplitude back to the bottom of the threshold, the compressor reduces the action during its release until you reach the compression ratio 1: 1. Hold time allows time release was delayed after the signal back to the threshold, so that the compressor remain active for a longer time.

The Output Of The
The Output could be said as a gain. You can use the output of the compressor to increase the volume level.

View the original article here

Understanding Compressor (part 1)-Understand the controls and features in Compressor

In terms of audio, the compressor is a tool commonly used to decrease the dynamic range (dynamic range) of an audio signal. For example, in a composition of music that we're mixing, vocals that we have very berdinamika, sometimes the pronunciation of lyrics too softly and sometimes pronunciation of lyrics too toned. To minimize the dynamics so that the vocal levels more stable, we can use the compressor. In addition to using the compressor, some prefer using sound engineer fader manually, this technique is commonly referred to as the level of automation. However, some choose to use compressor sound engineer because of its versatility to decrease the dynamic range without having to change the fader manually from each part into another part in a song. Some other sound engineer even use compressor and faders simultaneously to gain maximum control over.

Some of the basic elements on the compressor are:

Ratio a comparison between dB signal expressed in compressor and signals that come out compressor. A 4: 1 Ratio means that any incoming signal compressor by 4 dB will be reduced so that the signal that goes out compressor stays of 1 dB. On the compressor Ratio can vary from 1: 1 to infinity: 1. The higher the ratio the more signal means the compressor is reduced and the smaller dynamic range so that the audio signal is becoming increasingly stable. Thresold declare dB where the compressor begins to process the incoming audio signal. For example we are setting the 0dB Thresold, then the compressor just started to process the audio signal when an audio signal hits the 0dB. If the audio signal has not touched the 0dB then compressor not working. The lower the thresold then the faster the compressor starts to work. The Gain Reduction or also called attenuation stated number of dB signal which has been compressed, the higher the gain reduction, then the more the signal is compressed. The Gain reduction is too much will led to the signal to be compressed and voice-over sound like a squashed. Attack States needed time compressor (usually in units of ms) for processing an audio signal. If we attack setting time of 0 ms then no attack at all because of the incoming signal is directly processed by the compressor and causing sound will sound very dull. If sound is heard through the compressor, blunt might attack his time too fast, try to slow down the attack time Release stating the time in units of ms needed compressor (usually in units of ms) to compress before removing the effects of compressor to compress it back then. The Release time is too fast will cause the effects of pumping (pumping), the release time is too slow will cause compressor not working to the maximum because of the signal will be compressed before it is discharged again. The combination of attack and release time is essential to generate the character dynamics as desired. The Gain also known as output, used to compensate the gain is reduced by the process of compression. For example we compress the vocal with the gain reduction of 4 dB. Then the resulting audio signal will sound 4 dB weaker than the audio signal before it is compressed. To restore the gainnya as it was before, then we increase the gain or the output of 4 dB. How Setting Compressor?After learning about the functioning of a general overview of each knob on the compressor, the next step is to try to put into practice the theories have gained into real applications. But with the number of knob is there, sometimes making us confused as to where we need to start setting the compressor and how.

Look forward to Understanding Compressor part 2 where I will try peeling one technique which hopefully can help speed up your learning curve in understanding the compressor

Mixing Tutorial | Distortion | Recording Studio | Home Recording | Sell Midi Controller | Sell Recording Tool

View the original article here

How do I record/technical bass (bass recording)

Bass guitar Instrument fills the rhythm section of a song, the bass is very important to all the genre of song, good pop, punk, rock, jazz, funk and so on. Usually there is a supposition? A good bass Sound is mated (nyatu) with the kick drum? How to make it? Or each song genre usually feature characters individually, such as bass sound is round, thick, and others, would be created when mixing?. The Sound will be easy to come by if it starts with a good bass recording techniques.

To get a good bass sound and as dibutukan, the most important thing is the quality of the bass itself, because the resulting sound will come from the original character of the bass, so try on bass in a healthy state, minimal use of the string/new strings (not fals/jarring) and if the active bass should use new batteries. The second thing that equally important is the quality of musicians who play the bass player/, the sound is nice though will not produce a good quality with a bad game. Next is the technique of recording the bass is good, in general there are 3 techniques how to record bass, namely: in the (direct/indirect), using a microphone (todong AMPS), or a combination of both.

Direct Injection or Direct Input
Direct Injection or often abbreviated with direct plug in is a technique, or in the recording was recorded directly. This technique means that the cable is plugged in is your bass connected with in the box (the box) and in the box connected to the soundcard. This is highly recommended if you're a passive type of bass, and also used in box, you can also replace it with a pre-amp before entry to the soundcard.

The advantage of Recording direct is you will get a clean sound from your bass record. And as long as the quality is good and the bass games musisinya is also good, you will get the recorded sound can be easily edited and dicompress, in equalizing later.

Recording using the Microphone (todong)
Most engineers prefer the bass amplifier using the recording instead of using it on. Recording using the microphone commonly known by the term todong mic, how the plug to amplifier bass bass (such as during exercise/gig), and then in front of the amplifier cabinet placed microphone (usually using a dynamic microphone), and then the microphone is connected to the soundcard. The sound from the microphone that will be recorded into DAW.

The advantage of the technique is to get a todong sound that is already compressed naturally by the amplifier speakers, in addition to not only get the bass character, but the character of the amplifier, which is obviously the characters will be hard to come by using virtual amplifier in the DAW.

View the original article here

Choose Masterbuss Compressor For Your Music

Figure 1. Different types of masterbuss compMasterbuss compressor is one of the unique and interesting phenomenon in the world of audio mixing. Why do I call interesting? Because it is so often done by the mixing engineer but however less favoured by the mastering engineer, especially when setting the compressor in the infinite set of a'la limiter and leaves very little headroom for mastering engineer. Mastering engineer you will be mencak-mencak: p.

The results mix that goes through masterbuss the comp will be more pronounced his excitement, more felt his groove, and more punch. Of course this also depends on the type of election material, compressor, usage instructions and setting the compressor itself.

The results mix that goes through masterbuss the comp will be more pronounced his excitement, more felt his groove, and more punch. Of course this also depends on the type of election material, compressor, usage instructions and setting the compressor itself.

Masterbuss how to use compressor there are 3 common
Mixing through Masterbuss compressor. Masterbuss compressor activated since the beginning and we are mixing thru masterbuss comp itself. Advantages of this technique is a more sound character and attitude that is more fitting. It should be noted here that the election of compressor prevalent and varies according to the genre of the music itself is very important. You certainly don't want to mix your metal sounding deflated in the frequency lo mid!Masterbuss compressor at the end. The result is usually more transparent and more focused on the dynamic control of the mix. To note is when we put up the masterbuss comp, then the whole track will pass the compressor and may change the balance adaTanpa masterbuss compressor at all.
Figure 2. Manley Megas Yialos. Compressor required for genre popPemilihan types and masterbuss compressor settings also vary for each genre. Often this type of compressor is selected is a type of VCA or optic. Not always like this but I usually start here for further tweaking more in track suits
For this type of music is Funk, usually to the bass and drums are highlighted. It needs to be setting a slow attack, fast release and a moderate ratio for mengekspose groove of music. Can be started from Attack 30ms, release 0.1 – depending on the tempo with a 1ms ratio 2: 1. Keep the Gain reduction is about 2-3 dbUntuk type of Rock music, usually want highlighted is the glue and wide. Then choose a compressor which is not narrowed its airy your stereo. A 30-10ms R 0.1-1ms or auto release. Sidechain feature itself is very useful for removing the sub frequencies in order to kick roaring did not interfere with the balance of the whole track. Keep the gain reduction of no more than 3 dbUntuk of Music Dance, usually to achieve maximum gain and punch. Select a compressor with a transparent character and punch. A 30ms R 0.1 ms with gain reduction to 5 db. Parallel compression feature would be very useful in keeping the compression can be maximized with less artifactUntuk usually pop to be achieved is the glue and enhance. Select is usually the type of compressor tube with smooth character. A 30-10ms R 1-2 ms or auto release. The Gain Reduction 1-2db

Masterbuss compressor usage alone should not be relied upon to get the balance, character, and glue. Balance and the glue should begin from the compression of each channel is made, masterbuss the comp just as a topping for Dynamics and character of the song "out" perfectly.

By: Dya Pratama Andryan

Mackie Mixer | Mixing Tutorial | Recording Studio | Home Recording

View the original article here

What is the function and usability in Box/Direct Box

The function and usability at the Box or Direct Box is, to change the Unbalance signal into Balance. So that the signal can be sent through the bemeter cable-feet in length without reducing the quality of the signal significantly. Therefore, the roles in the Box for live performances is urgently needed, because the cables used from stage to mixer front/FOH fair length, about 50 metres or less. Generally at the Box used to instrument like guitar, bass, keyboard, synthesizer, etc.

Then what about the footage, what is the role at the Box needed? The answer depends on what hung, hmmm ... I mean depending on the cable used. If the cable length is only ranges 3-5 meters it's still not needed in the Box. Instrument Switch or Hi-Z Switch aja is enough.

The Behringer GI1000 features "Virtual 4x12 Cabinet Emulation" which turn signals spekear to the signal line that balance, meaning the FOH mixer seems to read the signal from the microphone, which is the same as ditodong to the speaker cabinet. There are several ways the fitting at the Box that can be used. For example, we wanted to take the character of the effect and the head amp. Simultaneously, in other words not to use mic todong. Then for the order is the guitar--> effect--head-input-> > input at. While the parallel outnya lgs enters the Cabinet amp tsb.

As for the use of todong mic, which the guitarist would want to take a ketakter head and effect separately. Then urutanya is a guitar--> effect--the input Box >. Parallel outnya into the input head amps. As for the recording if you want to take a clean original benar2 from pick up your guitar and the sound of the effect separately so there is no need to take it twice then the order is the guitar--in the input Box >. While the parallel out--> effect--> input head amps. + the ditodongkan microphone to the Cabinet/Box extra, so you use two separate channels to take your guitar safe and simple, isn't it??

Direct to the Audio Interface/Soundcard? Yasudah live guitar--> in Box--Audio Interface/Soundcard >

So, from the multiple ways installing in Box above, we can conclude that the installation at the Box it all depends on the needs of the musicians themselves, which is better for the musicians.

Then, what is the difference between the price on the Box in another box one to greatly affect the sound quality/sound different from him?

According To Bang Indaq:

There is a sound difference, tp ngk should so significant functions essentially in the krn box just to change the signal to an outstanding balance unbalans dr. Not for kolorisasi.

Klopun there are any additional features, plus ' casing ' potent for all terrain use steel alloy materials for example, yes it's yg bikin add expensive. This realistic and really helpful stuff, every product ' spawned ' feature and long-term durability/product durability. Plus this is a feature also makes the price is also a plus.

So back to the needs. You need yg gimana? Simple, basic, and needs to be as strong as the steel casing of the ngk alloy krn just need basic features in and only worn indoors in the studio, or you need extra features such as coloring, potent all-terrain waterproof casing wear in the stage environment krn pool wrote the possibility for damage to high?

Booking back to your own bujeting for at the box it is reasonable for you pd brp figures. Last reply is the most realistic way of reply and simple in selecting tools.

It took in Box for live or recording? Try to check on the TokoDistorsi.com copied from
freeantiplaque.blogspot.com

View the original article here

Cara mudah Recording

Home Recording, Drum record, guitar record, Bass Record, Keyboard record, easy record, Tutorial recording, Cara dasar Recording, Instrument Recording, Music Record, Mastering, Mixing, Entertaiment, download Pdf tutorial Music, 

Recording Made Easy.pdf

klik disini untuk download Tutorialnya

Lihat tutorial lain tentang Recording