Space?
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- KVRer
- Topic Starter
- 10 posts since 15 Feb, 2016
Hi,
How can i give each sample in a tune ive made its own space to make it sound more polished?
How can i give each sample in a tune ive made its own space to make it sound more polished?
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thecontrolcentre thecontrolcentre https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=76240
- KVRAF
- 35159 posts since 27 Jul, 2005 from the wilds of wanny
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- KVRAF
- 4710 posts since 26 Nov, 2015 from Way Downunder
At your disposal:
- Panning, left to right
- Volume, quiet to loud
- Reverb, front to back depth
- EQ, opening frequency spaces
- Panning, left to right
- Volume, quiet to loud
- Reverb, front to back depth
- EQ, opening frequency spaces
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Mister Natural Mister Natural https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=164174
- KVRAF
- 2834 posts since 28 Oct, 2007 from michigan
I'd also add the old adage : less is more (fewer instruments/voices/processing)
expert only on what it feels like to be me
https://soundcloud.com/mrnatural-1/tracks
https://soundcloud.com/mrnatural-1/tracks
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- KVRAF
- 3089 posts since 4 May, 2012
Low pass filters can also be used to add depth.
In general you'll want to reduce frequency masking to create space. If you are working with sounds that clash but also operate separately elsewhere in the track, you can use an envelope follower to control a peak filter so that one signal only attenuates masking frequencies in another signal when played together.
In general you'll want to reduce frequency masking to create space. If you are working with sounds that clash but also operate separately elsewhere in the track, you can use an envelope follower to control a peak filter so that one signal only attenuates masking frequencies in another signal when played together.
- KVRAF
- 6160 posts since 29 Mar, 2003 from Location: Location
Ultimately it all comes down to compression.
Acquire a good understanding of how compressors work and why they do those things.
Acquire a good understanding of how compressors work and why they do those things.
....................Don`t blame me for 'The Roots', I just live here.
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simon.a.billington simon.a.billington https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=341278
- KVRAF
- 2375 posts since 12 Nov, 2014
MogwaiBoy wrote:At your disposal:
- Panning, left to right
- Volume, quiet to loud
- Reverb, front to back depth
- EQ, opening frequency spaces
- Compression & Transient Shaping
- Harmonic Saturation
- Doubling
This will help with adding presence to instruments as well to help them to cut.
Not everything is usable or relevant, but it is really a little bit of several things that makes the difference.
There are tools around that can help stream line this process, providing you have the budget for it.
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- Banned
- 12368 posts since 30 Apr, 2002 from i might peeramid
you want your sound to be shinier not polisheder
all of these posts are good advice but they are different. i rarely use compressors.
i mean, i can read your post and reinterpret it as 'definition' or 'character'. some sounds i use aren't there to stand out and can be very obscurely defined, but work in combination - 'presence' for me is often about some perceptible high frequencies. but aural composition isn't hard and fast, your creation may have its own set of rules. staying flexible in definition helps to adapt conception to what you've actually got in samples. the more techniques you have in play can lead to more options, hopefully ones you know how to avail.
all of these posts are good advice but they are different. i rarely use compressors.
i mean, i can read your post and reinterpret it as 'definition' or 'character'. some sounds i use aren't there to stand out and can be very obscurely defined, but work in combination - 'presence' for me is often about some perceptible high frequencies. but aural composition isn't hard and fast, your creation may have its own set of rules. staying flexible in definition helps to adapt conception to what you've actually got in samples. the more techniques you have in play can lead to more options, hopefully ones you know how to avail.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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Hermetech Mastering Hermetech Mastering https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=7418
- KVRAF
- 1619 posts since 30 May, 2003 from Milan, Italy
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simon.a.billington simon.a.billington https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=341278
- KVRAF
- 2375 posts since 12 Nov, 2014
If you've got a few dollars to spend and don't mind a simplified/streamlined solution you could always try the Greg Wells Signature Series, Parallel Particles or the Black Box HG-2
If your tracks/samples are already harmonic rich adding more harmonics probably won't help. Subtractive eq, reverb, delay are probably your best bet then.
If your tracks/samples are already harmonic rich adding more harmonics probably won't help. Subtractive eq, reverb, delay are probably your best bet then.
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- Banned
- 12368 posts since 30 Apr, 2002 from i might peeramid
music is a spectral event, meaning time and frequency.
it is also a cultural event, meaning representation.
it is also a bunch of other kinds of events constructive complexity, CMD paradigm and all.
so, if you make space in one kind, it has space. if you make space in frequency, it has space. it may not have space in time as well as frequency, but space in frequency is still space, and perhaps strongly so.
and so forth, the sound may have strong semantic definition, eg. in a room full of people talking, a fart *may* have similar spectral and temporal characteristics, but may be singular in a cultural context, same for swearing.
third example, space in time, but common spectrality. still well defined. eg. call-response form, when repeated, you expect something at a certain time, and expectation gives space, definition, to a sound.
so there is as much space to be found as there is space you can create. introduce a new context, introduce a new dimension to exhibit.
it is also a cultural event, meaning representation.
it is also a bunch of other kinds of events constructive complexity, CMD paradigm and all.
so, if you make space in one kind, it has space. if you make space in frequency, it has space. it may not have space in time as well as frequency, but space in frequency is still space, and perhaps strongly so.
and so forth, the sound may have strong semantic definition, eg. in a room full of people talking, a fart *may* have similar spectral and temporal characteristics, but may be singular in a cultural context, same for swearing.
third example, space in time, but common spectrality. still well defined. eg. call-response form, when repeated, you expect something at a certain time, and expectation gives space, definition, to a sound.
so there is as much space to be found as there is space you can create. introduce a new context, introduce a new dimension to exhibit.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
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Mister Natural Mister Natural https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=164174
- KVRAF
- 2834 posts since 28 Oct, 2007 from michigan
^ I LOVE your posts Rurick ! Your language regarding this electronic music of ours is so very poetic & inspirational
thank you for your contributions up in here
peace
thank you for your contributions up in here
peace
expert only on what it feels like to be me
https://soundcloud.com/mrnatural-1/tracks
https://soundcloud.com/mrnatural-1/tracks
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- KVRAF
- 3978 posts since 20 Feb, 2004
Yeah, too I like xoxos' perspective a lot of the time. Thanks Rurick, interesting stuff.Mister Natural wrote:^ I LOVE your posts Rurick ! Your language regarding this electronic music of ours is so very poetic & inspirational
thank you for your contributions up in here
peace
A well-behaved signature.
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- Banned
- 12368 posts since 30 Apr, 2002 from i might peeramid
so you know what's interesting about the music industry right
like the 'beautiful era' oscillator - right under your nose but never seen.
people ignore eg. adze/stoooner despite the simple and obvious concept of applying a fourier transform ot the sample, which makes it much more versatile than any other sampler, up to the top of the industry.
what's more i tell you -
take your percussion sample. do a rudimentary fft of a louder part of the sample, eg. the front part, take the magnitude, and
instead of being your basic buttfuck who only does things out of a book, you apply a simple random number and write new phase information.
because of fourier theory, you are left with a strip of audio of say.. 4096 samples, that loops seamlessly. unless you get a really fortuitous string of random numbers or have very sparse spectral weights, the result will be a continuous sounding block of noise with the spectrum of the sample. like a block of noise that sounds like the snare drum.
now, you take your original percussion sample and analyse the amplitude contour of the sample in time. you use this envelope to amplify the signal in the block o noise file, and start playback of the file at any point, to generate an animated version of the sample.
simple.
you could control the sample playback to create recallable variations. and of course, many spectral functions can be easily performed in analysis. after the source file is analysed, the actual sample playback is about as inexpensive for cpu as normal sample playback.
but where is this in the market? it's such a basic idea and it works to bring animation to sample quality realism.
like the 'beautiful era' oscillator - right under your nose but never seen.
people ignore eg. adze/stoooner despite the simple and obvious concept of applying a fourier transform ot the sample, which makes it much more versatile than any other sampler, up to the top of the industry.
what's more i tell you -
take your percussion sample. do a rudimentary fft of a louder part of the sample, eg. the front part, take the magnitude, and
instead of being your basic buttfuck who only does things out of a book, you apply a simple random number and write new phase information.
because of fourier theory, you are left with a strip of audio of say.. 4096 samples, that loops seamlessly. unless you get a really fortuitous string of random numbers or have very sparse spectral weights, the result will be a continuous sounding block of noise with the spectrum of the sample. like a block of noise that sounds like the snare drum.
now, you take your original percussion sample and analyse the amplitude contour of the sample in time. you use this envelope to amplify the signal in the block o noise file, and start playback of the file at any point, to generate an animated version of the sample.
simple.
you could control the sample playback to create recallable variations. and of course, many spectral functions can be easily performed in analysis. after the source file is analysed, the actual sample playback is about as inexpensive for cpu as normal sample playback.
but where is this in the market? it's such a basic idea and it works to bring animation to sample quality realism.
you come and go, you come and go. amitabha neither a follower nor a leader be tagore "where roads are made i lose my way" where there is certainty, consideration is absent.
- KVRian
- 597 posts since 10 Jan, 2017
Erm, does it? Could you elaborate?annode wrote:Ultimately it all comes down to compression.
Acquire a good understanding of how compressors work and why they do those things.