USEFUL LINKS FOR THE MPC ADDICT PT II

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Re: USEFUL LINKS FOR THE MPC ADDICT PT II

By padlock Fri Nov 11, 2011 6:32 pm
http://music.cornwarning.com/2009/04/29/paul-stretch-extreme-audio-time-stretching-for-os-x-to-download/


awesome insane **** crazy timestretch software for osx..

can timestretch wav files into DAYS of audio, sounds amazing!

awesome for making string type sounds from samples, just try it.
deadly tool in the right hands!


your welcome,
padlock
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Re: USEFUL LINKS FOR THE MPC ADDICT PT II

By Lampdog Wed Nov 23, 2011 6:47 pm
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Hypnotism:


.......................YOU WILL VISIT THIS THREAD...............
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TS-404 v1.05

By Lampdog Mon Dec 05, 2011 5:11 pm
http://www.threechords.com/hammerhead/ts-404.shtml

"Virtual Analogue Synth"

"Transistor Synth 404 is a virtual analogue, multitimbral synthesizer for Windows 95/98. You can use it to create fat basslines, melodies or just noise in true TB-303 (ReBirth) fashion.

FEATURES:

4 generators
2 oscillators per generator
Freely link generators (so you can easily build 8-oscillator-sounds!)
4 waveforms (saw, 303-saw, square, sine) + 1 user waveform per oscillator
Oscillator Mix, Oscillator Sync & Phase Adjust
Pulse Width
Filters: 12/24dB Lowpass, 12dB Highpass and Bandpass with variable Cutoff and Resonance
Ring Modulator
Frequency Modulation (FM)
LFO on Pitch, Resonance or Cutoff
ADSR + Step gate to cut notes
2 distortion types for each generator
1 delay unit
Step Sequencer with Shift up/down/left/right
Random/algorithmic pattern generator

This is a really nice piece of software. Although it's not directly related to HammerHead, the two programs complement each other great. It only has a few drawbacks, the most irritating is probably that you can't save realtime knob and slider movements and that you're limited to one pattern (16 ticks). The stream to disk option is also quite limited, it only saves one measure and can only save to RAW (a format HammerHead users should be familliar with). This can of course be worked around by using Windows' Sound Recorder (or any other suitable software) to record the sound "live".

This software is provided without any help file or manual, so you'll have to figure things out by yourself :-(

Version 2 of this software in underway. In addition to a lot of cool new features it will also have a new graphical user interface instead of this "Win95 standard" look. I have no idea if the new version will be free or not though."

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vst-effects

By Lampdog Fri Dec 16, 2011 4:23 pm
FREEWARE!

http://varietyofsound.wordpress.com/vst-effects/

http://varietyofsound.wordpress.com/downloads

BaxterEQ – transparent mastering and mix buss shelving EQ

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What it does

The BaxterEQ is an incredible smooth shelving EQ.
Tips & tricks

For easiest workflow it’s recommended to always start in L/R mode, link both channels control sets and apply overall shelving and cutting as needed.
Then, unlink both control sets, switch to mid-side mode to refine EQing per channel and adjust the output volume control per channel as well.

BootEQ mkII – Musical sounding mixing EQ
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What it does

The BootEQ mkII is an equalizer and pre-amp simulator combination which provides some nice and musical signal coloration effects.
Tips & tricks

utilize the pre-amp’s LF boost in combination with the EQ’s low-cut to obtain consistent low-end
tune MF and LF on (nearly) same frequency to boost and cut the same time (push/pull style effects)
here are some more user tips and review on BootEQ mkII

Density mkII – Smooth and versatile bus compressor


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What it does

Density mkII was primarily designed to work in a typical stereo audio group mixing situation or for summing and to glue all things together in an unobtrusive way.
Tips & tricks

use the limiter mode to manage difficult audio dynamics – it does not operate in a brickwall design but offers a more strict handling of dynamics
utilize the RANGE functions for each channel while working in M/S mode – this makes it a little easier to get M/S compression right

NastyVCS – Virtual console strip

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What it does

Built around an entirely new opto-electric style compression unit, NastyVCS offers everything you need to shape your channels dynamics and tone. It offers a dedicated input stage featuring crunchy pre-amp saturation and a brickwall safety limiter in the output stage. Everything is set up to work in zero latency and so be available for hassle free tracking and mixing.

Two dedicated filters can be used in either the audio path or in the compressor’s sidechain which can be external as well. Whether pre or post compression, the equalizer section offers four interacting coloring tools with well-selected musical sounding curves. The concept gets rounded off by a phase alignment tool which can be used for coloring purposes as well.
Tips & tricks

NastyVCS really shines when all the three dynamic tools are properly combined. Condense the dynamics in some small amounts right in the input stage, apply some smooth compression without affecting the punch/transients and then let the limiter eat some peaks at the output
NastyVCS contains a phase alignment tool which can be used for coloring purposes as well – use that in combination with the input stage or the compressor or both

preFIX – getting those alignments done

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What it does

preFIX is a pre-mixing and audio alignment tool which typically takes place upfront the mixing process. It provides a clever tool set to clean-up, fix and align audio tracks (typically taken from recordings) concerning overall frequency correction, phase alignment, spatial stereo field corrections and routing. It contains a complete gate/expander solution with a dedicated and comprehensive sidechain filtering path as well.
Tips & tricks
Improving the stereo field perception

Beside the stereo field rotation option in the scope section the phase alignment is the ticket. Just apply this alignments to just channel 1 (or 2) with the switch on the top. Dial in some subtle phase alterations and check stereo field behavior visually with the scope. Check for mono compatibility with the mono routing option. Works great with vocal groups or rhythm guitar sections!
Focusing the spectrum and tonality of all tracks

Applying high- and low-cuts to each and every track is a well known rule of thumb before starting mixing. Though, this should be considered with care especially for acoustic recordings. Some audio lowend content might actually be the frequency body of an instrument and the HF typically contains the overtone structure. So, choose all cuts with care. preFIX provides two filters dedicated for this task in the first EQ section.
Dealing with gate release tail distortions

Might be a difficult task if the audio content is sensible to distortion artifacts, e.g. as with release tails of toms. Utilize the HOLD timing option of the gate in this case or tweak the sidechain EQ to better focus the detector for the gate. Soft knee is also a good option.
Dealing with fast gate attack timings and distortions

If fast attack timings are needed but attack transition becomes a problem try to utilize the pre-open feature of the gate to move the gates opening upfront the audio event itself.
If the track needs some “balls”

Then the EQ is the ticket: Use highpass and shelving filter altogether to boost the LF department while cutting the very lows the same time.
If the track needs some “air” or “shimmer”

Just dial in the pristine sounding Baxandall HF shelving filter – you can’t go wrong.
Align stacked recordings

The phase section is the right place to look: Just apply this alignments to just channel 1 (or 2) with the switch on the top of the section.
Getting those tight (electronic) drum tracks

Use the gate, Luke! Use it on the kick, the snare, the hi-hats, on everything. Use it on single tracks and the drum sub-groups. Set each tracks focus with the main EQ filter section on top. Always check for mono compatibility.
Mixing a stereo track into mono

Check out the mono* option for this task which gives you the opportunity to adjust each channels mixing level before everything is converted to a mono signal.
Workflow: separate track alignment from mixing

Start first to check all tracks and if mixing is feasible with them. Some might not match the quality and needs to replaced. Some just need some basic alignments. Do all creative decisions and treatments later during the mixing process. Mixing is always context dependent.
Alignment does not mean restoration!

If you prepare a track and something like “where is my damn 64dB/octave brickwall filter?” comes to your mind then this might be because your are not upfront any mixing process but are working on audio restoration instead. Or the sources just might be crap. Always remember: garbage in, garbage out.

FerricTDS – Tape dynamics simulator

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What it does

This device simulates some dynamic effects as can be obtained with some high quality tape gear.
Tips & tricks

works great on VA synths to add some slight crunch and presence
use it in the chain for electric guitar: Subtle compression (Density II) > Fender style ampsim > FerricTDS {Dynamics high, Saturation low, SC high, rest to taste} > optional FX
with slightly different settings it works for crunch amps, too.
suddenly ampsims come alive and “feel real” – what a breakthrough !
(Tip by susiwong)

TesslaSE – Transformer saturation simulator

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What it does

TesslaSE adds some gentle and pleasant saturation effects to the incoming audio.
Tips & tricks

don’t use this in a single instance on just a bus or master but use it here and there in the mix channel inserts – the subtle effects sum up to obtain a more consistent mix
use the SBE switch to obtain a deeper low-end impression

TesslaPRO – Transient aware signal saturator

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What it does

TesslaPro is a signal saturator with added transient control. It works entirely oversampled and provides smoothest saturation effects.
Tips & tricks

engaging the BOOST switch increases the input level +12 dB – this is useful if more obvious distortion is wanted or the incoming audio has a low signal level
dial the TRANSIENTS switch to let the audios transient information intact – use this to obtain some subtle but natural widening effects on stereo program material

Rescue – Analog style modelled signal designer

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What it does

The Rescue plug-in is a gadget which offers envelope dependend signal amplification and saturation in a mid/side configuration. In ANALOG mode it offers some addtional signal alterations similar to hardware. It comes in two versions: Rescue and RescueAE (anniversary edition) – the latter one performs interanl oversampling and adds an output limiter function.
Tips & tricks

use the WIDTH knob to obtain some subtle but natural widening effects on stereo program material

NastyDLA – A classic chorus echo device with tape-delay simulation

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What it does

classic chorus and echo effects
authentic signal path coloration
tape-delay style feedback and saturation

Tips & tricks

use this device as an audio insert effect to take advantage of the input stage saturation and coloring for the whole signal and not only the wet portion
if more straight saturation from the delay feedback loop is desired then switch the ducking mode on. This turns the internal compressors sidechain straight to the plug-ins input and so it does not react anymore on the feedback loops signal. Now the saturator has to do the job on its own …

epicVerb – Digital reverberation simulator

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What it does

The “epicVerb” reverberation device aims at both: Tight small room and ambience effect simulation well suited to modern drum and vocal productions up to large “epic” halls as known from high quality outboard gear.
Tips & tricks

instead of using full reverbaration try the AMBIENCE mode when smaller room impressions are needed – this offers just the early reflections and this is sometimes enough and better for a cleaner mix.
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Re: USEFUL LINKS FOR THE MPC ADDICT PT II

By Lampdog Sat Dec 17, 2011 7:44 pm
This last set I posted (wordpress) may very well dethrone my current fave simple setup of go to plugins, KVR Classic series.

I LOVE the sound of that wordpress NastyDLA and EpicVerb, it's, well, EPIC.
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Something to ponder

By Lampdog Wed Dec 21, 2011 4:36 pm
Audio Compression Tips for Mixing

http://www.audiorecording.me/audio-comp ... ixing.html

by:
Emerson Maningo
May 18, 2008

==============================
Professional Audio Mixing is basically two steps:

EQ and Compression. Different instruments require different compression scenario. To those that do not know what is compression, it is all about controlling the peaks of recorded signal.

The easiest way to understand how compression can be useful to a mix is vocals. Vocalist even professionals have tendency to sing very loud in some portions of the song. Now without compression, this vocal track could be very annoying. Compression sets balance by automatically compressing signals when it reaches a certain level.

My major rules in compression is simple, compression takes away signals and sound quality. It is a fact, that if overdo it will drastically reduce the power of the sound.

Now let me give you my tips on compressing common instruments in audio tracks.

Compressing vocals in the mix —–I use the presets of Sony Wave hammer-Voice settings. This plugin is available in Sony Creative Sound Forge 10. If you have this installed in your computer, since this a Direct X plug-in, it can also be added to Adobe Audition or other DAW that accepts Direct X plug-in.

The characteristics of these compression settings are this:
Attack time- 5 ms
Release time- 50ms
Threshold- -10dB
Compression ratio – 5:1

Take note that attack time is very short, it is because vocals is highly transient in nature, the notes of the vocal is very short, so to capture effective compression in vocals, one must set to short attack time. The release time is a bit slow. It is because when a vocalist sings loud portions of the song, it will tend to last a longer time also. It is an odd song to have a very short loud portion of the vocals. Threshold of the compressor is the level of the signal at which compression starts. For vocals, I need it to set to -10dB because more than -10 dB in vocals is
already very dominant in mix. The compression ratio is 5:1; this means a five times reduction in the signal when it reaches -10dB or above. Now that’s a bit compression to lower the volume of the loud peaks.

Compressing guitar in the mix: For acoustic and clean electric guitars, I use Sony wave hammer Guitar presets. The compression settings are:

Threshold: -20dB
Ratio: 5.0 is to 1
Attack time: 15ms
Release time: 15ms

The threshold is lower in volume compared to the vocals, the primary reason is that guitars need to sound a bit lower than vocals in the mix or else it will dominate the vocals. Compressing at -20dB ensures that any strong level above it will be suppressed five times to control the volume and not being too loud. Guitar sounds are not sharp transients in nature unlike vocals, kick and snare. It will have a sustaining and delaying sound. So a medium set attack and release time is good.

Compressing bass guitar the mix: Bass guitar sounds needs to be compressed to provide a steady beat backbone to the song. This is very important in modern rock and pop tracks. And because of this, I use Sony wave hammer Bass guitar presets with the following settings:

Threshold= -20dB
Ratio: 6 is to 1
Attack time: 40ms
Release time: 80ms

The main concept of creating a big bass sound is slow attack and fast release. This is because since bass are not super fast transient it needs to develop it’s level first then set compressor to attack the signal and release it immediately, the effect is a loud sounding bass. Compression settings is a bit higher than guitar and vocals,
because bass needs to be more uniform in sound to provide a steady beat.

Compressing kick drum in the mix: I do not compress kick drum in the mix because I want to sound real, alive and not compressed. Compressing kick drums in my experience, takes away its deep bass sound so I do not like idea of compressing it.

Compressing snare drums – Snare drums needs compression, so to compress snare I use these settings :

Attack: 20ms
Release: 40ms
Threshold: -12dB
Compression ratio: 5:1

Snare needs to sound natural even though it is sharp transient in nature I prefer to compress snare with a slower attack time and faster release. This will give a full snare and powerful sound. Compressing with too fast attack time can flatten a sound and will make to sound dull.
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Re: USEFUL LINKS FOR THE MPC ADDICT PT II

By Lampdog Fri Dec 30, 2011 2:10 pm
Alot of people don't even search out stuff and miss this thread entirely.
I bump it up sometimes though. There are a few big threads like this that are super useful and will answer damn near every question someone has, but again, people just don't use the search button enough. Glad it could help you. :)

Re: USEFUL LINKS FOR THE MPC ADDICT PT II

By Grammofonz Fri Dec 30, 2011 8:07 pm
Lampdog wrote:Alot of people don't even search out stuff and miss this thread entirely.
I bump it up sometimes though. There are a few big threads like this that are super useful and will answer damn near every question someone has, but again, people just don't use the search button enough. Glad it could help you. :)



This stuff is like candy for my soul Lamp, we should never feel like we know EVERYTHING. Some of the peoples on this forum are walking "beatmaking bibles", but I am pretty sure not even those people know EVERYTHING.
We all probably have something to learn from the next man. The people interested in reading and learning have pretty much all the info right in front of them . . . No "quick fix", only long hours studying and learning the craft piece by piece.

Long live "the great puzzle" of beatmaking !
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Re: USEFUL LINKS FOR THE MPC ADDICT PT II

By Lampdog Fri Dec 30, 2011 9:24 pm
WELL SAID. I've never known anything and every so often I read here about new way to do things I've successfully done in the past. Some long-winded some an extreme shortcut to my normal and right there on the spot I adopt and use because it makes so much simple sense. No one knows everything and those that proclaim to, don't "follow" them on twitter. :lol: :lol: :lol: :lol: :lol:
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