Apple adopts third-party API's for one of its own iOS apps. This is big news and a possible change in it's thinking.
Apple has updated GarageBand on iOS with support for Audiobus, a third-party interface that lets you use multiple music creation apps at the same time. Since Audiobus launched late last year, the developers behind several music apps have adopted it as a de facto communication standard for iOS, and it's easy to see why. The simple interface exponentially increases the iPad's value as a music creation tool by letting you do all the recording and sequencing on a single device without complex file imports, as well as enabling apps to talk to each other. For example, you could now record a synth track in Korg's iMS-20, filter it through the Amplitude amp modeler, and record the results as a track in GarageBand.
Apps can support Audiobus in up to three ways: as input, effect, or output. GarageBand only works as an output, meaning that you can't feed its own instruments into other apps; instead, the Audiobus support means you can use GarageBand to record and sequence sounds from Animoog, Figure, and a whole host of other apps that work as an input. When you launch one of those apps through Audiobus and select GarageBand as your output, you'll see a tab on the side of the screen that you can use to record your performance without actually switching apps. Once you're done recording you can use the tab to switch back to GarageBand, where your performance will appear just as if you'd played it within the app itself.
While GarageBand is just one of many apps that can be used in this way — Cubasis, Beatmaker 2, and Auria are popular choices — at $4.99 it's definitely one of the cheaper options for multitrack recording. It's also intriguing that Apple has seen fit to adopt a third-party API for one of its own iOS apps. This could signal a desire from the company to come up with a more robust way to share data between apps on iOS, or it might just show that Apple is content to let developers find their own solutions. Either way, Audiobus is likely to gain a lot more traction now that it has Cupertino's official blessing, and its creators have chopped its regular $9.99 price in half to celebrate.
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Ignite Music Software It's New and Interesting
Thu, Jan 31 2013 02:44
| Musical
Inspiring Sounds
Ignite includes over 275 instruments, many of which are taken from our renowned instrument collections - including Strike, Structure, and Velvet. All sounds have been optimized to load quickly, and the editing controls are automatically mapped to your connected M-Audio keyboard. These extraordinary sounds include keyboards, drums, percussion, basses, guitars, synths, strings, brass, and woodwinds.
Powerful Creative Tools
Ignite features Smart MIDI technology to help jump-start your ideas and enhance your music-making skills. The Chord Player generates a chord pattern from a single key, while the Phrase Player can provide a single-voice line to add to your composition. Both the Chord and Phrase player include dozens of patterns in modern music genres - these aren't canned, boring MIDI patterns. Tailor the performance of these Players by adjusting feel, speed and intensity. The Flexible arpeggiator plays held notes individually, either as a musical flourish or in a rhythmic pattern.
Designed to Work with M-Audio Keyboards
Simply connect any current M-Audio keyboard controller to your computer, and Ignite provides seamless integration. The keyboard is automatically detected and controls are automatically mapped when connected to your computer. Adding or changing your keyboard? The controls are automatically updated and mapped.
Share Your Passion
Share your latest creation with friends, fans, and family - or collaborate with other musicians - by taking advantage of direct uploads to SoundCloud. Plus, you can export your individual audio (WAV or MP3) and MIDI files, which can then be imported into any computer-based recording software - including Pro Tools.
Novation Announces the new Launchkey Controllers & iPad App
Sat, Jan 26 2013 05:25
| Musical
- Novation Launchkey - integrated instrument with DAW control and 16 launch pads.
Launchkey iPad app
Launchkey app is a powerful analogue modelling synthesiser for iPad. It integrates with the Novation Launchkey hardware creating a unique hands-on synth workstation for your iPad – along with the new Launchpad app. Launchkey app includes 60 brand new synth sounds for performing and producing music with iPad.
Launchpad iPad app
The Novation Launchpad is a music performance app for iPad that will have you making beats and triggering loops instantly with Launchkey hardware. It's packed full of high quality loops and sounds that can be combined in the multi-colour 8x6 Launchpad grid to make and remix music. The built-in time stretching always keeps you locked in to the beat so your loops don't go out of time.
NAMM 2013: Dave Smith Instruments Prophet 12 Synth.
Sat, Jan 26 2013 05:13
| Musical
12-voice polyphonic synthesizer from the man behind Sequencial Circuits
Dave Smith, the man behind Sequencial Circuits, has just announced a brand new synth which shares a name with the '70s classic. Here's the press release:
Press Release: Dave Smith Instruments today introduced a new polyphonic synthesizer, the Prophet 12, at the 2013 NAMM Show. “After 35 years of creating synths, this is simply my best synth yet,” said Smith. “We sort of started from scratch on this one rather than spinning off another product from our previous designs.”
At twelve voices, the Prophet 12 boasts the greatest polyphony of any instrument designed by Smith. Each voice features four oscillators capable of generating classic and complex waveforms, a sub-oscillator, resonant analog low- and high-pass filters, and analog VCAs. The new Character section adds a variety of wave shaping and sound sculpting options, like Drive, Hack, Decimation, Girth, and Air. Additional features include a tuned feedback path, a four-tap stereo delay per voice, expanded arpeggiator functionality, deep modulation capabilities, and bi-timbral operation. The LFOs, delay, and arpeggiator can all be synced, either to the internal clock or an external MIDI clock. Two programmable position- and pressure-sensitive touch sliders take the performance controls beyond the standard pitch and mod wheels (also included).
“We’re already blown away by the sonic breadth of this synthesizer’s new voice architecture,” Smith continued. “It doesn’t sound like anything else and I’m very excited for people to hear it.”
The Prophet 12 is expected to be available Q2 of 2013 and is projected to cost $2999
Ableton Push: The MPC of the Future Is Here
Fri, Oct 26 2012 03:05
| Musical
Ableton Live isn't the only music making software out there, but it's the weapon of choice for legions of producers because it's so damn intuitive. Today, Ableton spilled the details on a new version, Live 9, and just as important, a homegrown hardware controller for the software, called Ableton Push.
There are already some 30 controllers designed specifically to work with Live, but Push is the first piece of hardware wholly designed by Ableton. If the company really nailed the integration between the hardware and software, the tool could be a game changer. And don't worry about the build quality or engineering, because Ableton turned that part over to Akai, the company that created the original MPC, along with the Ableton-friendly APC40.
Push is designed to be an all-in-one music production solution, which allows you to play and sequence your beats from start to finish. Playing and sequencing centers around 64 RGB-colored, velocity and pressure sensitive pads. You can then use the controller's other tools to fine-tune the paramaters of your sounds.
So far, this probably sounds familiar to people who've used controllers before. But Push has some additional features you won't find anywhere else. We're particularly excited about the special simplified workflow that's designed for improvising with song structure. More than just a controller, Ableton built Push to be an instrument as well. Using some clever design trickery, Ableton managed to "fold" the 88 keys of of a keyboard onto Push's 64 pads so that you can play chords and melodies. Push weighs just 6.6 pounds so it's light enough to throw in a backpack.
As for Live 9 it adds some granular editing features that will satisfy even the nerdiest beatsmiths. First up is more sophisticated MIDI tools. For example, Live 9 will now be able to transform audio clips into editable midi tracks. The new package also includes an improved graphic equalizer, as well as 3500 new sounds to build beats out of, because why the hell not? There are a ton of features here—check out Create Digital Music's overview for more details, if you're interested.
Ableton Live 9 will start beta testing next week, and it'll be available in Intro, Standard, and Suite versions for $100/$450/$750 when it's done. Ableton Push will be bundled with the Live 9 Intro for $600. All of the products will be released in early 2013, and we just can't wait.
There are already some 30 controllers designed specifically to work with Live, but Push is the first piece of hardware wholly designed by Ableton. If the company really nailed the integration between the hardware and software, the tool could be a game changer. And don't worry about the build quality or engineering, because Ableton turned that part over to Akai, the company that created the original MPC, along with the Ableton-friendly APC40.
Push is designed to be an all-in-one music production solution, which allows you to play and sequence your beats from start to finish. Playing and sequencing centers around 64 RGB-colored, velocity and pressure sensitive pads. You can then use the controller's other tools to fine-tune the paramaters of your sounds.
So far, this probably sounds familiar to people who've used controllers before. But Push has some additional features you won't find anywhere else. We're particularly excited about the special simplified workflow that's designed for improvising with song structure. More than just a controller, Ableton built Push to be an instrument as well. Using some clever design trickery, Ableton managed to "fold" the 88 keys of of a keyboard onto Push's 64 pads so that you can play chords and melodies. Push weighs just 6.6 pounds so it's light enough to throw in a backpack.
As for Live 9 it adds some granular editing features that will satisfy even the nerdiest beatsmiths. First up is more sophisticated MIDI tools. For example, Live 9 will now be able to transform audio clips into editable midi tracks. The new package also includes an improved graphic equalizer, as well as 3500 new sounds to build beats out of, because why the hell not? There are a ton of features here—check out Create Digital Music's overview for more details, if you're interested.
Ableton Live 9 will start beta testing next week, and it'll be available in Intro, Standard, and Suite versions for $100/$450/$750 when it's done. Ableton Push will be bundled with the Live 9 Intro for $600. All of the products will be released in early 2013, and we just can't wait.
Impressive New Behringer X32 Review.
www.tech-sanity.com
The New Behringer X32 has really impressed us on a lot of levels. Heres a quick review.
Build
First up, the build quality is something that Behringer’s low cost production has been criticised for, so how is the X32?
First impressions are good, it's not a lightweight thing, easily liftable by one, but not something I’d want to carry all that far, it has a heft that bodes well. There are 25 physical faders …
The New Behringer X32 has really impressed us on a lot of levels. Heres a quick review.
Build
First up, the build quality is something that Behringer’s low cost production has been criticised for, so how is the X32?
First impressions are good, it's not a lightweight thing, easily liftable by one, but not something I’d want to carry all that far, it has a heft that bodes well. There are 25 physical faders …
Muse Research Ships Two New Receptor VIP Models one with SSD Perfect for Stage Musicians
Fri, Aug 17 2012 03:28
| Musical
www.tech-sanity.com
If your a serious gigging musician who wants the power and flexibility of a Computer creating complex sounds on stage but know it kills the heck out of your CPU and a computer is really not the best design for road warriors, then check out Muse Researches new Receptor models. They have been taking software synths like Komplete for years now and marrying them to a computer thats not a computer! Yes its got it's own purpose built OS that only runs musical software synths and strips all the unnecessary complexities, drain and instability of a standard PC out of the equation. So it's a dedicated hardware device that comes with or can have loaded into it your favourite soft synths.
Well Muse Research and Development, Inc. has upped the gain recently and just announced there are now three configurations of their new RECEPTOR VIP dedicated hardware plug-in player. This new software-powered music instrument combines the ease of use and stability of dedicated hardware with the flexibility and sonic power of software-based computer technology, delivered in a compact and affordable package. Perfect for the gigging musician who wants superior sounds and effects in a road-proven package, the base model RECEPTOR VIP comes bundled with over $900 of software on its 1TB hard drive and has a MAP price of $1599. The new RECEPTOR VIP SSD comes with a 256GB Solid State Drive for supreme performance, and has a MAP price of $1999. Also available is….
If your a serious gigging musician who wants the power and flexibility of a Computer creating complex sounds on stage but know it kills the heck out of your CPU and a computer is really not the best design for road warriors, then check out Muse Researches new Receptor models. They have been taking software synths like Komplete for years now and marrying them to a computer thats not a computer! Yes its got it's own purpose built OS that only runs musical software synths and strips all the unnecessary complexities, drain and instability of a standard PC out of the equation. So it's a dedicated hardware device that comes with or can have loaded into it your favourite soft synths.
Well Muse Research and Development, Inc. has upped the gain recently and just announced there are now three configurations of their new RECEPTOR VIP dedicated hardware plug-in player. This new software-powered music instrument combines the ease of use and stability of dedicated hardware with the flexibility and sonic power of software-based computer technology, delivered in a compact and affordable package. Perfect for the gigging musician who wants superior sounds and effects in a road-proven package, the base model RECEPTOR VIP comes bundled with over $900 of software on its 1TB hard drive and has a MAP price of $1599. The new RECEPTOR VIP SSD comes with a 256GB Solid State Drive for supreme performance, and has a MAP price of $1999. Also available is….
MOTU Track16 Audio Interface. What a Ripper.
Wed, Aug 1 2012 06:18
| Musical
www.tech-sanity.com
Posted on 31 July 2012 by G
The MOTU iTrack16, a 16 x 14 desktop studio interface with mixing and effects is finally being shipped which is great news. . Track16 connects via FireWire or hi-speed USB 2.0 to your Mac and features elegant design, compact size, simple one-touch operation, and studio-grade sound quality. Together, the Track16 base unit and included breakout cable provide a total of sixteen inputs and fourteen outputs, hybrid FireWire/USB connectivity, optical digital I/O, MIDI I/O, and SMPTE time code sync. Advanced features include a 16-bus digital mixer (with reverb, EQ, and compression), audio analysis tools such as an FFT with spectrogram “waterfall”, and an instrument tuner.
Posted on 31 July 2012 by G
The MOTU iTrack16, a 16 x 14 desktop studio interface with mixing and effects is finally being shipped which is great news. . Track16 connects via FireWire or hi-speed USB 2.0 to your Mac and features elegant design, compact size, simple one-touch operation, and studio-grade sound quality. Together, the Track16 base unit and included breakout cable provide a total of sixteen inputs and fourteen outputs, hybrid FireWire/USB connectivity, optical digital I/O, MIDI I/O, and SMPTE time code sync. Advanced features include a 16-bus digital mixer (with reverb, EQ, and compression), audio analysis tools such as an FFT with spectrogram “waterfall”, and an instrument tuner.
Jordan Ruddess Keyboard Wizard shows off his new project "Spacewiz"
www.tech-sanity.com
Thanks Keyboard Mag this is a great video of Jordan Ruddess with his new gear.
This generative music app uses an animated solar system, whose orbiting planets have realistic physics and gravitational pulls upon one another, as real-time music creation objects. This is the first ever look at this app, which should be in the App Store soon. It's truly stunning on the latest iPad's Retina display, and as for what it does musically, well ... once you pick it up, it's hard to put it down.
Thanks Keyboard Mag this is a great video of Jordan Ruddess with his new gear.
This generative music app uses an animated solar system, whose orbiting planets have realistic physics and gravitational pulls upon one another, as real-time music creation objects. This is the first ever look at this app, which should be in the App Store soon. It's truly stunning on the latest iPad's Retina display, and as for what it does musically, well ... once you pick it up, it's hard to put it down.
Ultimate EQ reference for Musical equipment
Tue, Jul 10 2012 12:26
| Musical
www.tech-sanity.com
The Ultimate EQ Guide
Here goes with a great reference thats very "human" in thats most people can understand it.
You'll need something like a parametric Equalizer to get accurate adjustments. These allow you to target exact frequencies.
Either that or a graphic EQ with LOTS of bands.. 15 at least but 30 plus is better.
Please Note - The values below are merely guides, each mix is unique and individual so experimentation is advised.
Low Bass: anything less than 50Hz
This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it's almost impossible to determine any pitch. Sub bass is one of the reasons why 12" vinyl became available: low frequencies require wider grooves than high frequencies - without rolling off everything below 50Hz you couldn't fit a full track onto a 7" vinyl record. However we do NOT recommend applying any form of boost around this area without the use of very high quality studio monitors (not home monitors - there is a vast difference between home nearfield and studio farfield monitors costing anywhere between £5,000 and £20,000). Boosting blindly in this area without a valid reference point can and will permanently damage most speakers, even PA systems. You have been warned!
Bass: 50-250Hz
This is the range you're adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity.
Muddiness/irritational area: 200-800Hz
The main culprit area for muddy sounding mixes, hence the term 'irritational area'. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it.
Mid-range: 800-6kHz
Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound - almost the same as if you boosted around 10db at any other range. This is because our voices are centred in this area, so it's the frequency range we hear more than any other. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This frequency also covers TV stations, radio, and electric power tools. If you have to apply any boosting in this area, be very cautious, especially on vocals. We're particularly sensitive to how the human voice sounds and its frequency coverage. There tons more so read on..
High Range: 6-8kHz
This is the range you adjust when applying the treble boost on your home stereo. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call 'lifelike') when mastering a track before burning it to CD.
Hi-High Range: 8-20kHz
This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it's a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they'd otherwise sound. However, boosting in this area also requires a lot of care - it can easily pronounce any background hiss, and using too much will result in a mix becoming irritating.
----------------------
Kick Drum
Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end.
50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss
Snare
Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound.
100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence
Hi hats or cymbals
Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz.
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Bass
Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss
Vocals
This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity.
100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness
Piano
Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity.
50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss
Electric guitars
Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness.
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss
Acoustic guitar
Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.
100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Strings
These depend entirely on the mix and the sound used.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
-----------
50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B.
__________
100Hz
Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
Reduce to remove boom on guitars & increase clarity.
__________
200Hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar (harder sound).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
__________
400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
__________
800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars
__________
1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
__________
3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars
__________
5KHz
1. Increase for vocal presence.
2. Increase low frequency drum attack (foot/toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars.
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
__________
7KHz
1. Increase to add attack on low frequency drums (more metallic sound).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
__________
10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
__________
15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.
--------------------------------------
80hz - rumble of the bass
100hz - thump of the kick
200hz - bottom of the guitar
250hz - warmth of the vocal
350hz - bang of the snare
400hz - body of the bass
500hz - clang of the high hat
600hz - clang of the cymbals
800hz - ping of ride cymbal
1000hz - meat of the guitar
1200hz - body of the snare
1400hz - meat of the vocal
1600hz - snap of the kick/plectrum on guitar (attack)
2500hz - wires and snap of snare
3000hz - presence of the vocal
4000hz - ring of ride cymbal/top end of bass guitar
6000hz - sizzle of the high hat
7000hz - sizzle of the cymbals
8000hz - top end of the kick
9000hz - brightness on snare and cymbals
10000hz - brightness on vocal
12000hz - air on vocal
14000hz - air on cymbals
The Ultimate EQ Guide
Here goes with a great reference thats very "human" in thats most people can understand it.
You'll need something like a parametric Equalizer to get accurate adjustments. These allow you to target exact frequencies.
Either that or a graphic EQ with LOTS of bands.. 15 at least but 30 plus is better.
Please Note - The values below are merely guides, each mix is unique and individual so experimentation is advised.
Low Bass: anything less than 50Hz
This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it's almost impossible to determine any pitch. Sub bass is one of the reasons why 12" vinyl became available: low frequencies require wider grooves than high frequencies - without rolling off everything below 50Hz you couldn't fit a full track onto a 7" vinyl record. However we do NOT recommend applying any form of boost around this area without the use of very high quality studio monitors (not home monitors - there is a vast difference between home nearfield and studio farfield monitors costing anywhere between £5,000 and £20,000). Boosting blindly in this area without a valid reference point can and will permanently damage most speakers, even PA systems. You have been warned!
Bass: 50-250Hz
This is the range you're adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity.
Muddiness/irritational area: 200-800Hz
The main culprit area for muddy sounding mixes, hence the term 'irritational area'. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it.
Mid-range: 800-6kHz
Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound - almost the same as if you boosted around 10db at any other range. This is because our voices are centred in this area, so it's the frequency range we hear more than any other. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This frequency also covers TV stations, radio, and electric power tools. If you have to apply any boosting in this area, be very cautious, especially on vocals. We're particularly sensitive to how the human voice sounds and its frequency coverage. There tons more so read on..
High Range: 6-8kHz
This is the range you adjust when applying the treble boost on your home stereo. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call 'lifelike') when mastering a track before burning it to CD.
Hi-High Range: 8-20kHz
This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it's a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they'd otherwise sound. However, boosting in this area also requires a lot of care - it can easily pronounce any background hiss, and using too much will result in a mix becoming irritating.
----------------------
Kick Drum
Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end.
50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss
Snare
Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound.
100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence
Hi hats or cymbals
Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz.
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Bass
Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss
Vocals
This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity.
100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness
Piano
Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity.
50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss
Electric guitars
Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness.
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss
Acoustic guitar
Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.
100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Strings
These depend entirely on the mix and the sound used.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
-----------
50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B.
__________
100Hz
Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
Reduce to remove boom on guitars & increase clarity.
__________
200Hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar (harder sound).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
__________
400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
__________
800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars
__________
1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
__________
3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars
__________
5KHz
1. Increase for vocal presence.
2. Increase low frequency drum attack (foot/toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars.
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
__________
7KHz
1. Increase to add attack on low frequency drums (more metallic sound).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
__________
10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
__________
15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.
--------------------------------------
80hz - rumble of the bass
100hz - thump of the kick
200hz - bottom of the guitar
250hz - warmth of the vocal
350hz - bang of the snare
400hz - body of the bass
500hz - clang of the high hat
600hz - clang of the cymbals
800hz - ping of ride cymbal
1000hz - meat of the guitar
1200hz - body of the snare
1400hz - meat of the vocal
1600hz - snap of the kick/plectrum on guitar (attack)
2500hz - wires and snap of snare
3000hz - presence of the vocal
4000hz - ring of ride cymbal/top end of bass guitar
6000hz - sizzle of the high hat
7000hz - sizzle of the cymbals
8000hz - top end of the kick
9000hz - brightness on snare and cymbals
10000hz - brightness on vocal
12000hz - air on vocal
14000hz - air on cymbals
Arturia Shipping the SPARK Vintage Drum Machines. Lots of lovely retro units. Yummy.
Tue, Apr 24 2012 01:21
| Musical
www.tech-sanity.com
Arturia just announced the availability of its newly-developed SPARK Vintage Drum Machines software instrument. Thats 30 legends in the form of classic drum machines. High-quality samples mixed with virtual analog synthesis comes together and is based on Arturia’s advanced propriety TAE® (True Analog Emulation) technology. Captureing the unique electronic musical soul of the 30 classic drum machines.
The awesome Roland CR-78 which was popularized by artists like Marvin Gaye, Alicia Keys, Gary Numan, and John Foxx — and Korg Mini Pops 7 used on Jean-Michel Jarre’s Oxygene album. Then theres that prominent punch of Roland’s TR-series. These ’60s, ’70s, and ’80s units are available in a singular easy-to-use interface.
SPARK offers in-depth tweaking possibilities, including 14 high-quality effects (Multiband Compressor, Reverb, Bit Crusher, Multiband EQ, Chorus, Delay, Distortion, Phaser, Plate Reverb, Destroyer, Flanger, Space Pan, Limiter, and Sub Generator) and the live features of Arturia’s hardware SPARK Creative Drum Machine controller’s integrated software: XY Touch Pad, Beat Looper, Slicer, and Realtime automation on all parameters. SPARK’s Step Sequencer makes track creation a breeze, or make use of the more than 1300 pre-programmed patterns. 16 independent audio outputs and MIDI I/O permit the ultimate in DAW integration. This creative mix equals a must-have solution for the most demanding beat-makers.
Heres a list of features straight from their website.
Main Features
Complete list of units.
System Requirementa:
Mac version requires OS X 10.5 or higher and a 2 GHz Intel processor or faster. It can be run as a standalone unit, and in a compatible RTAS, VST (32/64-bit), or AU (32/64-bit) host application. An Internet connection is required to authorize the product.
SPARK Vintage Drum Machines is available to purchase from Arturia’s Online shop as boxed software for €119.00 / $129.00 or as a software download for €99.00 / $99.00.
Arturia just announced the availability of its newly-developed SPARK Vintage Drum Machines software instrument. Thats 30 legends in the form of classic drum machines. High-quality samples mixed with virtual analog synthesis comes together and is based on Arturia’s advanced propriety TAE® (True Analog Emulation) technology. Captureing the unique electronic musical soul of the 30 classic drum machines.
The awesome Roland CR-78 which was popularized by artists like Marvin Gaye, Alicia Keys, Gary Numan, and John Foxx — and Korg Mini Pops 7 used on Jean-Michel Jarre’s Oxygene album. Then theres that prominent punch of Roland’s TR-series. These ’60s, ’70s, and ’80s units are available in a singular easy-to-use interface.
SPARK offers in-depth tweaking possibilities, including 14 high-quality effects (Multiband Compressor, Reverb, Bit Crusher, Multiband EQ, Chorus, Delay, Distortion, Phaser, Plate Reverb, Destroyer, Flanger, Space Pan, Limiter, and Sub Generator) and the live features of Arturia’s hardware SPARK Creative Drum Machine controller’s integrated software: XY Touch Pad, Beat Looper, Slicer, and Realtime automation on all parameters. SPARK’s Step Sequencer makes track creation a breeze, or make use of the more than 1300 pre-programmed patterns. 16 independent audio outputs and MIDI I/O permit the ultimate in DAW integration. This creative mix equals a must-have solution for the most demanding beat-makers.
Heres a list of features straight from their website.
Main Features
- 30 legendary drum machines
- Easy workflow: one interface to learn, thirty drum machines to play
- Made for live performance: XY Pad, Beat Looper, Slicer, Real-time automation on all parameters
- 14 high quality effects: Multiband Compressor, Reverb, Bit crusher, Multiband EQ, Chorus, Delay, Distortion, Phaser, Plate reverb, Destroyer, Flanger, Space pan, Limiter, Sub generator
- SPARK’s Step Sequencer makes track creation a breeze
- Perfect integration: 16 independent audio outputs, midi I/O
- Unparalleled sound quality based on virtual analog synthesis (TAE) and high resolution sampling
- More than 1300 pre-programmed patterns
Complete list of units.
- TAE engine: Roland CR-78, Roland TR-808, Roland TR-606, Korg Mini Pops 7, Korg KPR-77, Ace Tone Rhythm Ace FR-2L, Yamaha MR-10, Maestro Rhythm King MKII, Boss DR-55, Casio VL Tone and SK-1, Simmons SDS V, Phatwerk, Micromatix
- Sample based and hybrid engines: EMU SP 12, Roland TR-909, Roland TR-707, Roland TR-727, Roland TR-626, Roland R8, EMU Drumulator, Oberheim DMX, Sequencial Circuits Drumtrax, Kawai R-100, LinnDrum, Linn 9000, Casio RZ1, Yamaha RX5, Pulsator, Dirty-909
System Requirementa:
Mac version requires OS X 10.5 or higher and a 2 GHz Intel processor or faster. It can be run as a standalone unit, and in a compatible RTAS, VST (32/64-bit), or AU (32/64-bit) host application. An Internet connection is required to authorize the product.
SPARK Vintage Drum Machines is available to purchase from Arturia’s Online shop as boxed software for €119.00 / $129.00 or as a software download for €99.00 / $99.00.
Apple Updates Logic Pro and Express, May Be Fast-Tracking iPhoto Patch
www.tech-sanity.com
Apple’s pro audio users were blessed with a couple of software updates on Tuesday, while a “highly reliable source” claims that Cupertino is hard at work putting a new iPhoto 9.2.3 patch on the fast track to address stability issues with this month’s update.
AppleInsider is reporting on a trio of software updates for Apple’s creative applications. On Tuesday afternoon, Cupertino pushed out updates for the company’s pro audio applications Logic Pro and its stripped-down sibling, Logic Express, bringing both apps to version 9.1.7.
The 195.66MB Logic Pro 9.1.7 update “improves overall stability and addresses some minor issues” which include:
- Resolves several issues related to the download and installation of content
- Updates compatibility with GarageBand for iOS projects
- Fixes a problem that produced an error message when editing fades on numerous regions
Meanwhile, the prosumer-focused Logic Express 9.1.7 weighs in at 139.92MB and also offers improved stability while patching a few different issues:
- Updates compatibility with GarageBand for iOS projects
- Fixes a problem that produced an error message when editing fades on numerous regions
- This update is recommended for all users of Logic Express 9
Finally, AppleInsider has also received insider information from “a highly reliable source” who claims iPhoto 9.2.3 may be just around the corner. In addition to the usual “overall stability” patches, the update also promises to address “an issue that could cause iPhoto to quit unexpectedly on systems with multiple user accounts.” A pre-release version of the update is packed into a 256.9MB download, although there’s no word on when it might actually land in your Software Update window.
Apple’s pro audio users were blessed with a couple of software updates on Tuesday, while a “highly reliable source” claims that Cupertino is hard at work putting a new iPhoto 9.2.3 patch on the fast track to address stability issues with this month’s update.
AppleInsider is reporting on a trio of software updates for Apple’s creative applications. On Tuesday afternoon, Cupertino pushed out updates for the company’s pro audio applications Logic Pro and its stripped-down sibling, Logic Express, bringing both apps to version 9.1.7.
The 195.66MB Logic Pro 9.1.7 update “improves overall stability and addresses some minor issues” which include:
- Resolves several issues related to the download and installation of content
- Updates compatibility with GarageBand for iOS projects
- Fixes a problem that produced an error message when editing fades on numerous regions
Meanwhile, the prosumer-focused Logic Express 9.1.7 weighs in at 139.92MB and also offers improved stability while patching a few different issues:
- Updates compatibility with GarageBand for iOS projects
- Fixes a problem that produced an error message when editing fades on numerous regions
- This update is recommended for all users of Logic Express 9
Finally, AppleInsider has also received insider information from “a highly reliable source” who claims iPhoto 9.2.3 may be just around the corner. In addition to the usual “overall stability” patches, the update also promises to address “an issue that could cause iPhoto to quit unexpectedly on systems with multiple user accounts.” A pre-release version of the update is packed into a 256.9MB download, although there’s no word on when it might actually land in your Software Update window.
Toontrack Music releases EZkeys Grand Piano
Thu, Mar 15 2012 02:35
| Musical
www.tech-sanity.com
Toontrack Music has announced the immediate release of EZkeys Grand Piano – a plug-in and stand-alone piano instrument that combines "breathtaking" tonal qualities with creative songwriting tools. It features an extensive drag and drop MIDI library, a smart transpose functionality that allows the user to change chords and add harmonic color on the fly as well as introducing an intuitive interface with a streamlined workflow.
"EZkeys marks a major step in developing the scope of products in our EZ Line and for the creative music industry as a whole," said Erik Phersson, Toontrack Music's head of Software Development. "Combining pro-played drag and drop MIDI with smart songwriting features have up until now not been combined in a tonal instrument of this kind. EZkeys sets a new standard and we are beyond excited about the feedback from our pool of testers. We are confident that EZkeys will be an important songwriting and production tool for years to come."
When Toontrack released EZdrummer, it quickly became a success. The company's recently overhauled multi-effect mixing tool, EZmix 2, follows in its footsteps.
"The products in our EZ Line are all about erasing the boundaries between user and computer," said Henrik Kjellberg, co-founder and head of Content Development at Toontrack Music. "The success of these products prove that a large portion of the music community is looking for tools that are quick and easy to use, produce instant results and above all, inspire. Adding a piano instrument that has these characteristics was the obvious next big step for the company. EZkeys fills a wide-open slot in the software piano market."
EZkeys comes with a meticulously sampled Steinway and Sons model D grand piano, recorded in a world-class studio and using only the best of the best in vintage and modern recording gear.
"This recording is every bit as detailed as our drum sample libraries. It features sympathetic string resonance based on real samples, key and hammer noise as well as three foot pedals. Combined, this makes for unparalleled realism and playability, making it the performer's and top producer's instrument as much as the new gem in the songwriter's toolset," said Mattias Eklund, Toontrack Music's co-founder and head of Sound Design.
Toontrack Music has announced the immediate release of EZkeys Grand Piano – a plug-in and stand-alone piano instrument that combines "breathtaking" tonal qualities with creative songwriting tools. It features an extensive drag and drop MIDI library, a smart transpose functionality that allows the user to change chords and add harmonic color on the fly as well as introducing an intuitive interface with a streamlined workflow.
"EZkeys marks a major step in developing the scope of products in our EZ Line and for the creative music industry as a whole," said Erik Phersson, Toontrack Music's head of Software Development. "Combining pro-played drag and drop MIDI with smart songwriting features have up until now not been combined in a tonal instrument of this kind. EZkeys sets a new standard and we are beyond excited about the feedback from our pool of testers. We are confident that EZkeys will be an important songwriting and production tool for years to come."
When Toontrack released EZdrummer, it quickly became a success. The company's recently overhauled multi-effect mixing tool, EZmix 2, follows in its footsteps.
"The products in our EZ Line are all about erasing the boundaries between user and computer," said Henrik Kjellberg, co-founder and head of Content Development at Toontrack Music. "The success of these products prove that a large portion of the music community is looking for tools that are quick and easy to use, produce instant results and above all, inspire. Adding a piano instrument that has these characteristics was the obvious next big step for the company. EZkeys fills a wide-open slot in the software piano market."
EZkeys comes with a meticulously sampled Steinway and Sons model D grand piano, recorded in a world-class studio and using only the best of the best in vintage and modern recording gear.
"This recording is every bit as detailed as our drum sample libraries. It features sympathetic string resonance based on real samples, key and hammer noise as well as three foot pedals. Combined, this makes for unparalleled realism and playability, making it the performer's and top producer's instrument as much as the new gem in the songwriter's toolset," said Mattias Eklund, Toontrack Music's co-founder and head of Sound Design.
Real Guitar 3 New Features part 1 and 2 vidoes
Tue, Feb 14 2012 10:58
| Musical
iStomp effects pedal for iOS musicians
Microsoft currently testing its own smartphone, says WSJBy Sam Byford on November 2, 2012 12:51 am Email @345triangle98COMMENTS34LikeTweet140This page has been shared 140 times. View these Tweets.85inShareMicrosoft surprised the world earlier this year when it moved into producing its own computer hardware with the Surface, but the company's plans may not stop there. According to the Wall Street
Native Instruments Launches Studio Drummer Special Offer
Microsoft currently testing its own smartphone, says WSJBy Sam Byford on November 2, 2012 12:51 am Email @345triangle98COMMENTS34LikeTweet140This page has been shared 140 times. View these Tweets.85inShareMicrosoft surprised the world earlier this year when it moved into producing its own computer hardware with the Surface, but the company's plans may not stop there. According to the Wall Street