Learn To Make Hip Hop

...Learn to make hip hop music. become a true beatmaker today.

Zero-G Total Bass Drums & Sensual Grooves Review

Written by Site Update on May 22nd, 2015

zero-g-review

Today’s audio sample pack review is featuring two of Zero-G’s latest releases. One is Total Bass Drum (exclusively kick samples) and the other is Sensual Grooves (R&B construction kits). These two packs are on very different ends of the sample pack spectrum considering content, but are united in imminent musical usability. Bass Drums is for the micro variation level of sound design, featuring 10,750 different single-hit drum samples. Sensual Grooves is all about the macro creativity: the real power from this pack comes from the included 35 construction kits.

Total Bass Drums
Total_Bass_DrumsLARGE

Wait: What? is that correct? 10,750 different single-hit kick drum samples sounds like 100 times more kick samples than what comes in a standard kick drum pack. Well yes, it is correct. There is a heck of a lot of kick samples, and all of the samples I previewed were well-crafted kick drums! Zero-G provides copies in either .wav and .aiff files with the added bonus of providing instrument presets for REX2, Kontakt (requires 5.4.2+), EXS24, HALion, NNXT; the main reason for using a sampling instrument in this context is for using piano roll/midi keyboard for quickly auditioning and sculpting kicks to suit the sound you are looking for. If you already use those instruments, great, but these are raw audio files so no sampling instrument is necessary when the browser in your DAW previews the files. The raw audio files are organized by genre, which is, I think the best way to describe a kick sound and therefore the best way to organize kicks (or any sample/preset for that matter). Let’s look at the what this sample pack contains, by genre:

500 kicks each, in the following folders.

Club, Dance, Electro, Dub[step]
Analog, Deep, Punchy & Deep, House, Tech House(just 250 kicks)
Pop, Trance
Hip Hop, Real [acoustic]
Hard

…Plus a mega grab bag of layered and varied kicks labeled as ‘Mixed Kicks,’ 500 each from A-H. (A, B, C, D, E, F, G, H) Because they are unlabeled, they don’t carry a stigma of a certain genre and therefore can be a spark of inspiration for those occasions when a producer is low on ideas and just needs to rummage around in a random collection of good sounds. These Mixed Kicks folders contain everything from minimal clicks to long trap kicks to ‘acousticy’ (‘acoustich?’), or even fx kicks.

Ok, so that’s a lot of content, but how is the quality of the samples? The kicks within a genre type have a similar pitchdrop and amp profile. So, they are both sorted appropriately and are usable in modern dance music. The samples showed their differences when I plugged in my SubPac and gave attention to the bass and sub bass frequencies. I found that kicks that had sounded nearly identical in the click and nock regions could be really different when sub bass is taken into account. I felt that the sub-bass for the kick samples correctly matched the genre types: the club type kicks were short and abrasive, the house style kicks were smooth.

Experienced producers will be correct in thinking that many options (10 000 kicks) is too many many options to effectively make music. The solution, in my opinion, is to frame a purchase of something like this, as an asset with a long life: you don’t need to use all those kicks right away. So instead, after downloading and going through some previews of the different folders you are going to select just 100 kicks to use in your productions, and archiving the rest. Take a random block of 60 from your primary genre, a random block of 20 from your secondary genre, and a random block of 20 from one of the Mixed Kicks folders. Archive the remaining files, and focus on learning and organizing the 100 kicks you have available. Once you have a good handle on that, dig into those archives and pull out another 100 kicks.

Although I often prefer the tweak and tunability of soft-synth kick instruments, sample packs like this one from Zero-G contain kicks that I would not ever make. This is how most modern producers collaborate and jam with other creative minds:..Although the author may be anonymous and the work is not directed to a specific project, accessing quality sample packs is a great way to use creative ideas from other producers. On that note, the samples contained in this pack are varied enough that it is evident that there were several minds creating content on this product: It does not sound like all the samples were made by the same person. This is a good thing.

Price
£27

Available for download here.

 

Sensual Grooves

This is a RnB sample pack of drums and instrumentation but without vocals. I have never had as much fun playing with construction kits as the ones contained in this product. They sound good and it’s fast and easy to get jams together. This sample pack is suitable for any vocalist, instrumentalist, or producer interested in creating or learning about R&B. Listening to the construction kits in Sensual Grooves gives the impression that the producers at Zero-G carefully referenced contemporary R&B with the intention of making engaging full-length tracks before refining them into a this simple and easy-to-use format.

Included for each of the 35 construction kits is a ‘Full Mix,’ which is essentially an instrumental mix that serves double-duty as a 30-45 second sample of the sounds contained in the kit (a real time-saver, trust me) and a loopable backing track. I enjoyed the ‘Full Mix’(s) enough to just let them loop for awhile and I can see how they might be a great starting point vocalists, or instrumentalists to riff over the track. Later, when it’s time to flush out your song, use the construction kit to get the exact parts you want for your track.

So what kinda R&B are we talking here? I feel like this pack focuses on the most timeless types of contemporary R&B: 70’s and 90’s soulful styles but with production techniques that are fully modernized to 2015 audio clarity standards. Besides drums, the main instrumentation comes from electric piano and guitar recordings, which sound like they were recorded by R&B specialists because all the nuances seem to be right on the money. I don’t know which electric piano(s) was used in making this sample pack, but it sure does sound good! I noted that the instrumentation is full-sounding and well layered, but there is still plenty of room to EQ in any voice over the mix (the samples are robust, but flexible). So…

Got an ‘I love you,’ song you wanna make? How about an ‘I love you but it hurts,’ or an ‘I’m gonna lay you down,’ or ‘Ooo when I lay you down,’ ‘ I think he/she’s the one’? Maybe even ‘You did me wrong,’ or even ‘Things are good today’? then there is construction kit for you in this sample pack.

Sensual Grooves Demo

http://audionewsroom.net/wp-content/uploads/2015/05/SENSG-322_1427115519_Zero-G-Sensual-Grooves-Download-Time-Space-Virtual-Instr.mp3

Price
£64
Available here.

AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

Cool Things Chrome Can Do Now, Thanks to Hardware MIDI

Written by Site Update on May 22nd, 2015

heisenberg

Plugging a keyboard or drum pads into your Web browser is now a thing.

One month ago, we first saw hardware MIDI support in Chrome. That was a beta; this week, Google pushed it out to all Chrome users.

So, what can you actually do with this stuff? Well, you can open a Web tab and play a synth on actual hardware, which is pretty nifty.

Support is still a little dicey, but the available examples are growing fast. Here are some of the coolest, in addition to the MIDI example and demo code we saw last month.

The examples are certainly promising, but you may want to temper expectations. Users of browser-based solutions built on Flash will find some of this old news. Audiotool, for one, has already had a really sophisticated (semi-modular, even) production tool running for some years. (It’s relevant here that Audiotool is coming to the HTML5/MIDI support, but it isn’t here yet.) And while open standards are supposed to mean more compatibility, in practice, they are presently meaning far less. Even though Safari and Chrome are pretty close to one another in rendering pages, I couldn’t get any of these examples working properly in any browser other than Chrome. And while I could get pretty low-latency functionality, none of this is anywhere near as solid in terms of sound performance as any standalone music software.

So, that leaves two challenges. One, the implementation is going to have to improve if non-developers are going to start to use this. And two, if this stuff is going to see the light of day beyond music hackathons, it’ll need some applications. That said, I could imagine educational applications, demos of apps, collaborative possibilities, and more – and those expand if the tech improves. And, of course, this also gets really interesting on inexpensive Chromebooks – which it seems are selling in some numbers these days.

But that’s the future. Here are some of the things you can do right now:

audiotool

Audiotool is coming to HTML5, and Heisenberg is here now. Heisenberg is I think the coolest option yet – more than just a tech demo, you can plug in a MIDI keyboard and it’s a really fun, free browser synth. Given the amount of pleasure we’ve gotten out of the odd Web time-waster, this is serious business.

But that’s just the appetizer. The team behind Audiotool are working on porting it to HTML5. That should be an excellent test of just how mature this technology is. Audiotool is great and – Flash or not – it’s worth having a play with if you are the kind of person who gets some inspiration from new software toys. (And if you’re reading this far, I suspect you are.)

http://www.audiotool.com/product/device/heisenberg/

http://www.audiotool.com/app [Flash for now, including screenshot above]

js106

Revisit Roland. Steven Goldberg’s 106.js reimagines the classic Roland Juno-106 in JavaScript. And it’s just added MIDI support. Plus you can check the code out, free.

http://resistorsings.com/106/

GitHub

yamahaclone

Play a 60s Yamaha combo organ. The oddest of this bunch is also my favorite sonically, just because it’s so quirky. The Foo YC20 is an emulation of Yamaha’s 1969 organ, the YC-20 combo – “features and flaws” all included. And now it feels more like an organ, since you can connect a MIDI keyboard.

Users should like it: if you’re not fond of running it in your browser, you can also run it as a VST plug-in for Mac or Windows or standalone or as an LV2 plug-in on Linux.

Developers will like it, too: apart from some surprisingly authentic open source recreations, it’s all coded in the Faust programming language, a functional language for DSP.

http://foo-yc20.codeforcode.com

hyaio

Run a full modular DAW. No need to wait on Audiotool: app.hya.io is already a full-featured semi-modular DAW built in HTML5 with MIDI support (and audio input). It’s got a full assortment of instruments and effects, too – and some interesting ones, so it complements Audiotool.

http://app.hya.io/

websynths

Run a bunch of microtonal synths. Mitch Wells’ Web Synths is a deep microtonal instrument, capable of some unique sound designs, and perhaps the richest actual synth of this bunch. Patch sharing shows one powerful feature of putting browsers on the Web – the ability to share with others.

http://www.websynths.com/

vult

Live-code your own synth. Maybe this is the application that makes the most sense. While it’s tough for the other proof-of-concept toys to compete with your desktop instruments, it’s kind of tough to beat the ability to live-code with Web tech in a browser.

And by “code,” you hardly have to be a hard-core coder. The coding is radically simplified here, spitting out JavaScript from basic commands – fun for even the most entry-level hacker to play around with.

Vult by Leonardo Laguna Ruiz was built at MIDIHACK, the hackathon I was part of here in Berlin this month.

http://modlfo.github.io/vult/demo.html

synthy

Play a synth – with colored lights and more. Synthy.io is a three-oscillator synth with some interesting extras. There’s a tracker-sequencer built in, and you can play a “live” mode with color output.

The nerdy stuff behind the scenes demonstrates some potential for other projects. Apart from the new MIDI mode, the server mode offers up other possibilities. (socket.io, Node.js, live server, NeDB database holding patterns, if you’re curious.)

What does that mean in practice? Developer Filip Hnízdo writes in comments:

“One of the features I’m most proud of is the live websocket server so any pattern that gets pushed to it is played live to a page where anyone can hear what anyone else has created in realtime. Especially fun with MIDI routed into soft synths or hardware. If enough people pushed patterns in you could just leave it on in your bedroom and constantly hear new music as it arrives. The patterns are all encoded as URLS too so easy to share.”

Having just read a history of the first networked, first first-person shooter in the 70s, it’s worth saying: this stuff can lead to unexpected places. And Filip is looking for collaborators.

http://synthy.io/

Got more for us? Let us know in comments.

And if you have any tips on audio performance or how this is developing (since I complained about that), or likely applications (since I mused about that), we’d love to hear that, too.

The post Cool Things Chrome Can Do Now, Thanks to Hardware MIDI appeared first on Create Digital Music.


AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

Xenobioz announces Lynx – Free Unison Synth VSTi for Windows

Written by Site Update on May 22nd, 2015

Xenobioz has announced Lynx, a subtractive synth VST instrument plugin for Windows with a powerful wave editor, drawable waveforms and two stacked unison oscillators. It is meant to have a limited [Read More]
AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

1GB Free Music Mixed by Function Will Take Your Brain to Berghain

Written by Site Update on May 22nd, 2015

function

Techno right now has a problem. It’s kind of a nice problem to have. There’s some music that’s just terrifically well-produced in the spotlight, so much so that it’s tough to say no to it. It’s a bit like having the number to a Chinese takeout place and knowing every time they deliver it’s going to be delicious. Yeah, tonight you should really cook a nice, heal– oh, come on, though, sesame chicken.

What I mean is nicely summed up by the latest mix from Function. This is about as perfect a snapshot you’ll find of a particular mode in techno. It isn’t, in any real sense, really experimental or progressive. It’s the classical chamber music of the dance floor, drawing a line between a scene in the 90s to one that flourishes today, after years of careful gardening.

Don’t be overly put off by the fact that this is Berghain techno or that the photo of Function makes it look like he’s feeling a bit down as he wanders a car park late at night. (Caption: “$ (#&*. Someone just keyed my rental car.”) The mix is something many of you (not all of you, but many of you) I think will thoroughly enjoy hearing.

And for his part, Function is upfront about what his intentions are. Part of what he can do is take you into his musical world. Since you can’t take photos inside Berghain (and a picture doesn’t really capture music, anyway), this is a way in from wherever you are using your mind. But notice the connection to 90s Manhattan, too:

“The mix is about Berghain, an approximation of the way I play there and the relationship I have with the club. That relationship is similar to the one I had with my first home, Limelight, in New York City from the early 90s onwards.”

That sense of careful historicism isn’t incidental. And I suspect that’s why Ostgut is quietly putting out this mix (as an uncompressed WAV file, no less). This is their marketing. This sound and the people who really believe in it are what draw people, what create this center. (I was joking about the Chinese takeout, maybe because it’s just before lunch. A better metaphor is actually foodies following a chef, people who do care about what they’re consuming. No MSG, for sure.)

Function’s selections and mixing here, though, are first-rate – perhaps aware that unlike a lot of mixes and podcasts, the Ostgut ones will get careful listens, dissections. And the quality here might be deceptively easy to copy. You could easily mix together something with these artists and some related people, but that might miss the point. The relationships between artists here and the way they’re assembled is significant. So, there’s some caution that people drawn to the success and appeal of the Ostgut crew don’t just ape the list of artists, but the actual missing.

Or, maybe, that they go a different direction entirely. With this sense of historical stability and the audience now built around it, there ought to be new opportunities for experimentation around the fringe. With some knowledge of the way this music works, the next few years could be about people who warp and extend the meaning of techno around this, and who draw necessary connections with experimental and ambient music (among other things).

In the meantime, though, let’s have a nice night out with that “classical” form, because it’s a terrific mix – and the recent output of many of these artists as producers and DJs has in my experience been exceptional. For all the criticisms that the form is dry or cold, here there’s a consistent thread of groove – understated, maybe, but maintained by a DJ who doesn’t let the dance floor slip off for a beer. Cassegrain & Tin Man, Carl Craig, Silent Servant, Rrose, DVS1, and Function I’ve all heard recently and they’ve been terrific. And I hope these folks experiment, too, with some of that success – Cassegrain & Tin Man play delicious live sets. I heard Ed Davenport last night play what he claimed was his first live set ever on a bunch of hardware (Waldorf Streichfett, Roland TR-8 front and center), and it was terrific. History, classical techno, and some risks, and I think anyone complaining is probably just off their gourd.

Now, here’s your free lunch – well, really, your free dinner. Get some takeout, and you’ve got a cheap date for yourself.

Tracklist…

Tracklist
1 Tadeo Reqiuem [00:00]
2 Post Scriptum Constant Acceleration Drive [01:33]
3 Rødhåd Kinder der Ringwelt [05:01]
4 Christian Wünsch Auger Electrons [08:24]
5 DVS1 Electric [12:26]
6 Mark Broom Satellite [14:24]
7 Rrose Signs [18:45]
8 Teste The Wipe [21:37]
9 CJ Bolland Horsepower [26:38]
10 Cleric Concrete [31:39]
11 Blue Hour Common Ground [33:24]
12 Peter Van Hoesen Objects From The Past (Neel Remix) [36:00]
13 Psykofuk Psykofuk [37:55]
14 Steve Bicknell Transcendence #3 [41:54]
15 Post Scriptum Human Timescales [42:31]
16 Steve Bicknell Odyssey #1 [46:42]
17 Steve Bicknell Odyssey #2 [46:46]
18 Planetary Assault Systems Arc [47:15]
19 Allen Kepler [48:59]
20 Cassegrain & Tin Man Oxide [51:07]
21 Inland Sca Fell [53:25]
22 Truncate 86 [56:20]
23 L.B. Dub Corp Roller feat. Function (Len Faki Interpretation) [59:17]
24 Function Golden Dawn feat. Stefanie Parnow (Live Version) [1:02:36]
25 Carl Craig Twilight [1:05:40]
26 L.B. Dub Corp So Much [1:07:50]
27 Blue Hour Parallels [1:13:31]
28 Abdulla Rashim A Shell Of Speed [1:15:35]
29 Silent Servant Noise Treatment I [1:18:08]
30 Sandwell District Untitled A [1:21:54]

Mixed and compiled by Function

Berghain 07: Function

The post 1GB Free Music Mixed by Function Will Take Your Brain to Berghain appeared first on Create Digital Music.


AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

PreSonus releases Studio One 3

Written by Site Update on May 22nd, 2015

PreSonus has announced that Studio One 3, the most significant update to its digital audio workstation, is now shipping. Available in Artist and Professional editions, version 3 adds innovations [Read More]
AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

IK releases AmpliTube 4 for iPhone/iPad with Improved Sound, Virtual Cab Room, 4-Track Looper, Dual 3D Mic Positioning, Redesigned Interface & More

Written by Site Update on May 22nd, 2015

IK Multimedia has announced the release of the latest version of AmpliTube for iPhone, iPad and iPod touch. Version 4 of the mobile guitar and bass tone studio has been completely redesigned [Read More]
AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

Pyramid Polyrhythmic Sequencer: Ready For Preorders

Written by Site Update on May 22nd, 2015

05 Pyramid zoom
I remember using hardware sequencers in the Nineties, and then ditching them for a laptop. In the early 2000s for me, using a software sequencer on a laptop looked like an ‘obvious’ choice.
But what if we could look at hardware sequencers under a different perspective now? That’s what Squarp Instruments, a new French company, is trying to do with its first product, Pyramid Polyrhythmic Sequencer. You may have heard of it some months ago, but now the company is ready to accept preorders.

Welcome Pyramid
Pyramid Polyrhythmic Sequencer breakthrough — an advanced hardware standalone sequencer running proprietary PyraOs realtime processing firmware and boasting (multiple) MIDI, USB, CV/Gate, and (Sync48- and Sync24-configurable) DIN Sync connectivity, together with a host of fanciful features belying its compact form factor (its road-ready aluminium casing merely measures 268 x 206 x 44 mm).
The workflow is based around 64 tracks. Each track can be up to 64 bars in length and acts as a loop that contains polyphonic or monophonic notes, automations and effects, plays repeatedly and controls one of the electronic musical instruments connected to the MIDI 1, MIDI 2 +sync (DIN Sync), CV, and USB outputs. Of course, those instruments could be hardware (such as drum machines, synthesizers, and modular synth systems), virtual instruments (running on a connected computer or even an iOS device), or combinations thereof. The full flexibility of CV, G (Gate), and ENV — useful for sequencing any voltage-controlled parameter, such as an envelope generator or filter — connectivity will absolutely appeal to modular synth system users.

Pyramid Polyrhythmic Sequencer’s hands-on hardware user interface includes six accurate and clickable encoders, a wide, multi-finger touchpad, and an accelerometer — all of which can easily be assigned to an effect parameter, a MIDI CC message, or even the two CV inputs! Beautifully backlit, the white LCD clearly highlights all functions, fanciful or otherwise. One particularly noteworthy mention must go to the algorithmic euclidian sequencer engine available to each track to auto-generate atypical and rich rhythmic patterns… plucky users can change the number of total steps, the number of filled steps, the step width, and rotate the pattern — again, all on the fly!

Simple or odd stuff, you decide
Pyramid Polyrhythmic Sequencer is fully polyrhythmic, meaning different and unusual time signatures can be set for each of its 64 tracks to cleverly create shifted-beat sequences — set a track to 4/4 and add other tracks to simultaneously run with it in 5/4, 6/8, 15/8, or whatever — to bring stirring new musical flavours to productions.
I found interesting what Squarp Instruments’ Tom Hurlin said about Pyramid: “We felt that we had to create a machine that you could really feel — one that could satisfy any musician from any musical background. We wanted to have nice and playful controls, such as a multipoint touchpad, which was inspired by Korg’s Kaoss Pad and Kaossilator, and to be able to go from basic four-on-the-floor house beats to very experimental rhythms. Really, the important thing is that if you go from the computer to Pyramid then you don’t feel frustrated. The machine should enable you to do exactly what you had in mind when you started working with it, but also allow for some happy accidents along the way when tweaking!”.

Price and details

100 Pyramid Polyrhythmic Sequencers are available to preorder online for €699.00 EUR/$ 799.00 USD/£524.00 GBP (including VAT) from the Squarp Instruments Store here: http://www.squarp.net/store.html (Shipping is scheduled to start in June 2015, including free delivery to 28 European Union member states, with a second batch becoming available worldwide in early Q4 2015.)

For more in-depth info, please visit http://www.squarp.net

AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

Here’s How RX4 Can Save Your Bacon By Fixing Sound – Even on Hit TV

Written by Site Update on May 21st, 2015

izotope-rx4-denoise

It’s sometimes tough to write about audio tools precisely because they tend to bundle together a lot of features. So let’s step back and consider why they tend to do all of those things.

With audio repair, it’s a pretty easy explanation. From your perspective, your sound is $ #*$ #ed up. You want to get it un-$ #*(&ed up.

Of course, in reality, there are tons of variables. The context can change: You might be repairing sound from a recording of instruments. You might be fixing dialog. You might know what you’re doing – even on big-budget TV and film, recordings can wind up with sound problems. Or, let’s be honest, you might kind of have no clue what you’re doing and wound up with $ (&*ed up sound because you yourself $ #(*&ed it up. (Uh… yeah, been there.)

The underlying problems can be varied, too – even in a single recording. Different takes didn’t match. There’s hum. There’s noise. There are unwanted sounds.

So, all of this is to say, over the years I’ve seen a number of general purpose repair toolkits, along with specialized toolkits. Right now, the one iZotope makes is special in that it bundles all the things you might ever need to fix audio into a single toolset that can work for more or less anyone. It doesn’t entirely eliminate the utility of more specific tools here and there – some of which may already be in some form in your DAW. But the tools are unusually advanced, unusually complete, and I think at the moment there simply isn’t anything else that does as much. If this is a First Aid Kit for sound, it’s kind of also a fully-staffed Emergency Room and Operating Room. Not like a field hospital. Like Mount Sinai.

I’m going to be talking a bit about iZotope this month partly because I’ve noticed that this year, they’ve shifted focus a bit from just reeling off features to talking about what they were doing in the first place. So I had a chat with them about RX and Ozone, in particular, two of their flagships, and it led to this.

RX4 is particularly useful in TV and film production because of the likelihood those users need to fix stuff – more on that in a moment. But it is worth considering in a production environment if you ever record anything for any reason.

Among other tutorials, iZotope have produced two videos that nicely illustrate what I mean by that.

First, this tutorial is great, because rather than the typical software demo sound, it’s — well, it’s awful. Buzz and cough and bangs — I’m sure this sounds familiar. To be honest, this is the point where iZotope RX becomes necessary, because otherwise you’re probably better off just going back and re-recording. What you can see is that the toolset of RX can be a musical one.

Even more in the musical direction, another interesting video from February released by iZotope deals with how to combine multiple takes that don’t match sonically. Here, the approach is potentially as creative as it is remedial; you get the opportunity to merge takes that otherwise wouldn’t fit.

I spoke to iZotope a bit about how they find users working with their tools, and they were willing to share exclusively with CDM a brief interview they did with Christian Beneventura, a re-recording mixer and engineer. That’s a fairly specific job – though also a reminder of the range of industrial gigs available to people with a solid sound/music background. (Use those ears, in other words.) Mr. Beneventura has an amazing resume, as you’ll see on IMDB, including The Vampire Diaries, Choke, Glee, and now Daredevil and The Following. (In fact, if you haven’t at some point heard his dialogue editing, you probably haven’t switched on your TV or Netflix lately, it appears.)

And he’s worked out how to deal with sounds in New York.

This is not some sort of advertisement for the product; to me, it’s interesting to hear this stuff and see how it works on production. Interview courtesy iZotope and Sean Greenhalgh:

christian

Why do you think you’ve been successful at your chosen craft while others have burned out or faded away?

I believe I’ve been successful because I’m constantly trying to get better at it everyday. Even though I have been doing this for quite some time, it’s important not to get complacent. I’m always trying to research and try new plug ins or try different techniques to get faster and more efficient. It’s important to keep learning and evolving because the technology does so.

Daredevil seems to be a very dynamic sounding show. Was this a conscious decision?

It was a conscious decision. From the very beginning, we knew that sound was going to play a huge part of this show. The character of Matt Murdock is blind and trying to convey how his other senses help him “see” especially sonically, is very critical to the show. I think every part of Daredevil’s soundscape was deliberate. Creating the backgrounds of Hell’s Kitchen, deciding what exactly Matt Murdock hears in the flurry of city chatter, having the rate of the heartbeats that Matt hears hit at exactly the right points. Every part of the editing and mixing process was very meticulous and we are very proud of how everything turned out.

Why do you use RX?

I use RX because it’s a life saver. There are many scenes that I have cut that would not have been possible unless I had RX Spectral Repair. RX has really changed the way I edit because I have integrated using the plug in within my editing routine. When I first began using it, I thought it was the future. “How can you not edit with this?” I said to myself and colleagues. RX is so reliable and I know what it’s going to do for me. Brake squeals or back up beeps, no problem. Lavalier mic cutting off or boom mic bump, got it covered. I use every single plug-in in RX because it’s reliable and I know it will get the job done.

What are some of the challenges of working on audio recorded in NYC?

Dealing with audio that’s been recorded in New York can be tough because of the pure fact the city is inherently noisy. Extraneous city sounds that you can hear when dialogue is being spoken is always a pain to take out. The traffic, brake squeals, people talking and shouting, music bumping from cars, New York will find a way to make a scene difficult to edit. RX spectral repair has always helped me in this bind. I could easily see brake squeals to take out over dialogue as well as people who talking who aren’t supposed to. I did work on a scene where it took place at Washington Square Park and there was a street performer drumming and singing over the dialogue and they didn’t want to ADR the actor. Sounds impossible to do but Spectral Repair and some fancy editing helped me achieve that.

Of course, to me, this is doubly interesting precisely because I’m not experienced at this stuff, nor many of the people I know. Sound we record for a video production is necessarily going to have problems because it’s not my area. And since I can’t afford someone like Christian, we have to DIY if I want to fix it. Ditto instrumental recordings. To me, the software doesn’t replace those skill sets – on the contrary, when you do have to learn this stuff yourself, you appreciate why those folks are so valuable. And, if you are willing to invest the time, you might even find a professional path you would otherwise not expect; there is huge need for people who are skilled to solve these problems.

I haven’t found anything coming close to what iZotope’s tools can do, but I would love to ask our readers – particularly any of those working in these industries – what you use. RX? Other tools? A combination? Let us know.

See also the excellent Designing Sound which covers these topics more regularly:
http://designingsound.org

While it won’t turn you into a TV sound editor overnight, if you want to take your first baby steps toward fixing the problems above, iZotope has some videos for that, too:

And for more on RX4 itself, our friends at Sonic State did a great video tour of what’s in this tool:

The post Here’s How RX4 Can Save Your Bacon By Fixing Sound – Even on Hit TV appeared first on Create Digital Music.


AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

Musicrow releases Free ‘Analog Sound Collection LE’ for Arturia Synths

Written by Site Update on May 21st, 2015

Musicrow has released Analog Sound Collection LE, a free ‘slimmed-down’ demo version of the complete ‘Analog Sound Collection’ for Arturia synthesizers. 120 sounds are included (Compared to 1200 [Read More]
AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks

2manybuttons is a Perfect Parody of Live Laptop Controllerism

Written by Site Update on May 21st, 2015

You’ve seen plenty of EDM and DJ parodies, snarky Facebook images poking fun at people who can’t use turntables, what have you.

But let me just level with you: this video could basically be a parody of CDM … of me. I…

Well, I can’t really say much more. Just watch. (Another way you can tell this is made by producers, for producers, rather than, say, by someone at Saturday Night Live who doesn’t know how this works – check the gear choices.) Also, I think I need to go to MediaMarkt to buy a new keyboard, as I may have just spit my coffee all over this one.

What you’re seeing is the work of Norwegian sketch comedy show Kollektivet. 2manybuttons sounds like a Max for Live patch, even. Pitch perfect.

Thank you to reader Stig Fostervold for posting this to our Facebook page.

More – if you speak Norwegian, anyway:
http://www.tv2.no/kollektivet

The post 2manybuttons is a Perfect Parody of Live Laptop Controllerism appeared first on Create Digital Music.


AudioProFeeds-1

Tell others about us:
  • Twitter
  • Digg
  • StumbleUpon
  • MySpace
  • Reddit
  • del.icio.us
  • Facebook
  • Mixx
  • Google Bookmarks