Stereo Field                                        [#2]

(You're going to love this one and I dedicate the efforts to shaantanu Mogh and that Deadmau5)

In this tutorial, I will show you how to get some stereo or surround sound quality... maybe... but here we go. It's going to be a huge post this time... I think.

So I have here the song recreated by user [shaantanu Mogh]. The song I will use as the model is called "DeadMau5 - The Veldt" because Minecraft... it seriously makes sense now... but since I watched and listened to the music video it is more like Limbo.<3 Ok I have to prepare pictures for this tutorial so I'll continue soon.

[END OF SONG] http://s1130.photobucket.com/user/JEDURAN1/media/104.png.html?sort=3&o=2
[MIXER 1] http://s1130.photobucket.com/user/JEDURAN1/media/Screenshot220.png.html?sort=3&o=0
[MIXER 2] http://s1130.photobucket.com/user/JEDURAN1/media/Screenshot221.png.html?sort=3&o=1
[MASTER EQUALIZER] http://s1130.photobucket.com/user/JEDURAN1/media/EqualizerDeadmau5-TheVeldt.png.html?sort=3&o=3
[MASTER DELAY] http://s1130.photobucket.com/user/JEDURAN1/media/DelayDeadmau5-TheVeldt.png.html?sort=3&o=4

I have to do the set up again because load errors, but the file is up and I will still add more to this post so don't leave me.

[EXPLANATION]:

1. First we have the end of the song's image. What happens there is a high open hat, but theres more to it than just being called high. The hat is composed of high frequencies and medium frequencies and also low frequencies. As an example of an instrument I chose the hat because fedora lol jk, but seriously it's the first instrument that strikes in the beginning. This hat mixed with the crash1 is covered by the crash of crash1 and let's say they are together now in this Deadmau5 song.
2. Onto the mixers we go... So you have the image of Mixer 1 & 2. Here is how to get a good flat stereophonic mix or maybe just a tasty mix. In one sentence: Bass uses a small width, Mids use a width around the central width and Highs use a larger width. The logic in this is that if you would imagine that you are in the veldt out there with the open land and air, then you have an atmosphere. Yes the veldt ;D ... But this is just a mix of a calm and serene landscape ok. If you really want to get more precise with feeling, then you probably will separate a few of the instruments into their own instrument slots and maybe combine in the beatbox similar frequency sounds such as two hats that are alike. You have to use your ears to decide where you want to place your instruments from the bottom or the top. I think the width is an "hourglass shape in reality". Being thinner in the middle width as it goes closer to the center.
3. This third designation goes to explaining more on the "width and frequency". Take instrument slot 1 for example. It is a modular. This modular has a frequency I can hear as medium low with a soft high frequency. There are two sides in width to choose from. I chose the right side because this song isn't a deep enough song that goes underwater lol. It is outside in a haze intentionally, but you can switch to the left if you like the underwater vast sea/ocean. :D So anyway... Divide the knob into 4 parts, but use the left top \ in this directional area to be for deep sounding stuff when using mid sounds because it is going to the ground. Use the feeling in your head to choose widths and frequencies and good luck.
4. The master equalizer has been tweaked. All I wanted to point out here is that area I marked with a duo-square. I want to say that if you look closely there is a curved pixel lineation and that one little curve made this atmosphere more deep and open and less flat...BASS! Ok hehe, enough with the master equalizer.
5. Finally we have the Master Delay. See the delay panning? Well that was to make the hats/crashing with delay make more sense than be at the center. The panning matters very much and so choose wisely it changes the flatness of the song. Keep it close or automate or something to whatever you want for delayed anything. Turn that wet of the delay to soften up. Lastly, do you see I put a square on the damp filter and the knob? Well because this song is openly high and not deep it is using High Frequency dampening. This is the softener on the sharpness of the delay going left and right through or around your ears. The dampening knob is turned to the left so there is mid and probably bass frequency in the hat/crash whatever. It makes the crash have the metal feel.

END OF TUTORIAL

Now go enjoy this veldt and don't jump off the cliff there at high altitude.

Limiter "Hard Effort" Usage               [#4]

(Thanks to metal guitars, I kept touching the limiter...)

Well I'm back with another trick and I thought I had a feature request... but that must have been a dream.

In this tutorial we have the limiter. As an instrument example we have a metal sounding guitar. Yeah. So you have your melody, yeah? Well check the MASTER LIMITER and on pattern mode hit the play button. Is the limit meter blank?

[EXPLANATION]:

1. If the meter is blank, then raise the pre limit. Once you get to the yellow or red mark of the limit. Start to slowly decrease the pre limit until it is below the yellow mark and you should get to the green.
2. Start to use the attack and release knobs. Turn the attack knob all the way to the right and turn the release all the way to the left. Now use your ears and turn the attack to the left until you get to the point of soft and hard punch.
3. Then turn the release knob to the right to decrease the punch and let the waves of the melody soften to sound like music.
4. Turn the post knob all the way to the right and decrease it gradually as well. Now that you're close to finishing there is one more necessary step.
5. You should just know that the limiter is the opposite of compression, but works similarly and the limiter can give some bounce too.

Here are tips too: If you have your auxiliary, then turn your device volume down to the last number it can reach... like 2 or 1. Do this to listen to the different changes you make and you might learn that the limiter is essential to audibility. If it isn't essential for you... then ok. It's not what you want. Equalizing and mixing are needed for the audibility. Maybe... Set your limit anyway.

END OF TUTORIAL

Trick: Here is an example of using the master limiter. Placing to reach the yellow region is good, because that means it's taking heavy pressure and you can destroy the mix with ... just stay under the yellow on the limiter. Yellow is for distorted music and gives an awesome dynamic effect to the hardest sounds.

Tip - A wave has peaks and some are of a high amplitude. Decrease the amplitude and the distortion will diminish.

Mixing is the answer to this...

The stereo, the pan, the limiter, the compressor...

Balancing is what this was about.

Alright Now I move on to a new topic randomly.

I just found my inner e-cat. There was this microphone story I said wayback and it was so funny. The microphone didn't make me an elf. It made me have the power of a cat and robotic experimental dubstep. Anyway it gets sent to the Phlpnes and I don't miss it because I have gotten to the point where I made a microphone like that hah. Coming soon... 

DUBSTEP and Synthetics

Here is something to make your... XD life easier.

Just speak or input or whatever and.... raise the wave amplitude to get it stronger.

The Bassline

Here is the bassline instrument added to this vocoding plus there are modulars, filter fx, and etc...

If you want a short splash of  a rappin' bass, this is something to try and make your own extractable sample.

The bass is "mid and high toned" and is a bassline you hear as high in amplitude.

If this isn't interesting enough then skip it.

~ ~~DUBSTEP TRICKS ARE GOING TO SPAWN HERE~ ~~

(I'm going to have a dubstep-only soundcloud-user account so expect sound and a mini tutorial in a posting from now on.)

Screamer

1.Select Modular
2.Uses 3 bit crushers a.k.a. distortion units
3.Uses 2 multi-filters, 2 auto-wahs, and 1 comb filter
4. Requires 1 waveform oscillator / 1 dadsr envelope / K35 lowpass filter / mini LFO

- - --- -extra hints- - -- -

Connect the waveform oscillator's (generator) output to the FM of itself.

Connect the LFO triangle wave to the cutoff of the K35 lowpass filter.

p.s. skrill...1st yr. nothing more.

Caustic Tip: Sub-Bass is hard to decide on in caustic. If there was an additional (+1) Effect Rack on instruments then there would be more control and caustic will be superb. :P

My 2 cents maybe... IDK what 2 cents means...

And also I should give this tip...

Compression Tip: The threshold should always face the right side for everything and parts/instruments with or for bounce are exceptional...

Here's a free present.

And a tip which does not comply to the present... It's just a random tip.

Modular Tip: It takes just 2 oscillators to make some decent sounds. Plug in some wiring onto OSC 1 to get a sound.

Tip - A crossfader can make the pre and post bass of the kick reduced and distorted which in turn produces a new form of sound. A fading effect can produce different results with different settings.