Hot answers tagged effects
13
In Classical style projects, it is normal to use far more reverb than delay.
The real answer is: delay IS reverb, meaning both are linear, time-invariant filters that both do echoes (i.e. reflections in reverb terms). However, the way they are implemented is completely different from each other. Delay basically is the process of repeating the original ...
12
There are two paths you can go:
Use EQ to sculpt the two signals around each other (making room in the frequencies for each of them, so they don't 'overlap' as much).
Look into 'sidechain compression'. This means that you trigger a heavy compressor using another signal (in your case usually the kick drum), which in turn will duck (suppress the volume of) ...
9
Downsampling it to 8KHz will get you most of the way toward that telephone sound.
Here’s a demo.
Then, to get even closer, use a band pass filter to knock out everything below about 500Hz and above 2000Hz (you can find an example of using Audacity’s equalizer to do this here).
Here’s a demo with the full effect. (Same recording, I didn’t feel like making ...
8
Insert effects are isolated to the channel where the effect is inserted, while return effects can receive signal from multiple sources. So I tend to use return effects for groups of channels where I want the same effect to be applied with the exact same parameters.
If you're working with a physical mixer, the difference is very tangible -- insert effects ...
7
I find that the answer is often rather zen-like: You need to remove some of the bassy sound in order to get a more bassy sound.
Phase problems are more pronounced with low frequencies so if you have e.g. a bass and a kick drum that both have low frequencies, chances are you loose a lot of oomph when you combine the two in your mix. That's why EQ'ing or ...
7
See here:
http://en.wikipedia.org/wiki/Ducking
It is an effect that is created by using the sidechain input on a compressor.
Normally, a compressor will "turn down the volume" of its output based on increased volume at its input. But you can change that by sending a different audio signal into the sidechain input of the compressor; the compressor will ...
7
Just add a compressor on your voice-over. Set the ratio to 2:1. Set a middle long release and a bit faster attack. (Or auto if you have it.) Then you lower the threshold until it gets better. Just play with the ratio and threshold until you get it right.
What the compressor does is that if the audio gets over the threshold in volume it will wait the number ...
7
A lot's been said about compression but nothing's been said about intelligibility. If you're producing VOs, trails, bumpers, idents or jingles with vocals over a bed, EQ is also your friend here. If you critically listen to professional productions, they often lowpass AND highpass music under speech in addition to heavily compressing and EQing the vocals. ...
7
I guess you'll be able to reach the desired result by applying these effects:
EQ - Boost around 2KHz and cut everywhere else. (You can play with the frequencies and see which one suits you the best. To do that just boost one frequency and swipe it across the area).
Distortion - After setting the EQ, you could add just a bit of distortion to the signal.
...
6
There are a few scenarios that spring immediately to mind:
If the overtones (or fundamenals, really) of your guitar or bass are in the same range as a vocalist, you can use the vocal signal as the sidechain input, "ducking" those instruments out of the way during vocal passages. I tend to think this works better for more rhythmic vocals, although I don't ...
6
There is a much better way to do that. That example video is a pretty poor illusion.
It can be done "for real" with with real light. But it looks
different. It has to be dark.
You can use motion tracking to create an animation path.
You can also use manual key frames. There are lots of tutes on the intertubes about that. Here is one:
...
6
If you have a lisp, then it's a natural part of your speaking voice and you won't be able to get rid of it entirely through processing (and you shouldn't, in my opinion).
That said, the "ess" and "shh" sounds exhibit quite a lot of sibilance, which tends to show up in recordings, like you said, as a burst of volume and noise. It can be very distracting to ...
6
A graphic like this would have most likely been made using Adobe After Effects. The style of this graphic is a mix of Kinetic Typography and Infographics.
Googling around you can find tutorials on creating infographics and kinetic typographic videos. Though as a warning, generally creating a video like this takes a number of days for an experienced user.
5
When you record-enable your track you want to click on the Monitor button on the channel to enable software monitoring. Then you'll be able to hear the track, with any realtime plugins, while playing. This introduces some latency though and you may find it's unacceptably high to play well using this approach.
Here's a great YouTube video that talks about ...
5
I guess you're looking for a sound effect equivalent to a herbarium or a wine aroma dictionary.
However, the result of an effect only means something when applied to a sound source. So whereas everybody can see what a dandelion looks like or what elder flowers smell like, the ability to understand and separate the original sound from the sound with a ...
5
Do you have your kick on a separate track? If so, there is this cool plugin that will trigger a midi note depending on the sound input. You could use that to trigger a synth, or your own sample as Robert Harvey says.
As for transforming this sound:
First thing you notice is that there is a delay in the left channel. This reduces the impact as the sound is ...
5
As well as the technical means mentioned in other answers, you should also consider "working the mic" - understand how various syllables produce air out of your mouth. Position yourself slightly off-axis from the mic so the blasts of high frequency sound and high speed exhalations don't hit the mic's diaphragm head-on. 30 or 45 degrees off-axis can produce ...
5
To make feedback a good way is to use the sends. Put on your source, for example just the default Operator, on your track. Send 100 % to Send A. Right click on the Send A wheel on the Return A channel and choose "Enable". If you increase the Send A now you will of course get feedback, but it will come instantaneously and will not output any sound. I don't ...
5
Notch filters are perfectly valid in certain key cases to deal with a particular problem with the sound. For example, when trying to deal with a single frequency buzz (like a 60hz line buzz) it is ideal to cut a very narrow band to deal with the problem. In general however, this is only true when troubleshooting a problem with the recording. For a general ...
4
Set up a compressor on the stereo track (PT's own will do). Send the vocal track through a bus(mono) into the sidechain input of the compressor. Make sure to activate the sidechain, it's the knob with the key on it in the Sidechain section of the plugin.
Experiment with the knobs in order to get it to sound smooth.
Depends on what you are working on ...
4
Without hearing the recording, I'd say EQing is your best bet. The airiness is in the high-end. You'd want to boost the mid-range as well to bring out the tone.
Tip: Work with opposites...
If there is a sound you want to get rid of, increase that frequency so that it annoys you. Then turn it down.
If there is a sound you want to boost, reduce that ...
4
I think one effect you could use for the modem effect is a ring modulator.
I created this with the first part of a song with my band and I did this in a couple of second with a preset but if you have a little more time, you can configure a lot in this plugin.
The plugin is RingModulator and it comes standard with Cubase 5 but I'm sure you can find a ...
4
One solution to the jerkiness of stop-motion animation was developed for some Star Wars sequences, termed "Go Motion".
Basically the idea is that you leave the shutter open a little longer than necessary, and move the objects a bit, to create some motion blur.
4
Creepy is my middle name.
Here are some suggestions:
Regarding noise, if you have any noise on the original tracks, it will be difficult to remove it and this gets worse if you add multiple tracks with noise.
Best to have the best recordings you can get your hands on before processing.
Also learn to adjust and mix multiple tracks before doing this so you ...
3
Have you tried simply pulling the threshold right down on the Ozone Loudness Maximiser? See my recent answer on loudness wars though for why this might not be a good idea.
3
This kind of thing doesn't generally come from applying effects, but from the right source sound in the first place. I would try many kinds of sounds from whatever origin you can think of. For kick sounds, once I miked myself slamming the sofa I was sitting on with my palm, sounded very organic. At some point you are bound to get a sound that you will ...
3
I listened to the song, and it almost sounds like the bass drum is not a bass drum at all, but more like a distorted puff of air. If I were trying to reproduce that sound from scratch, the first thing I would do is try gently blowing into a cheap microphone. I would bet you dollars to donuts that's how Radiohead created the sound originally.
3
Typically, or should that be traditionally, the insert effects are used for compressors, noise gates, specialist EQ and other processors (as opposed to FX). Aux sends and returns are used for reverbs, phasers, flangers, distortions etc.
I tend to stick to this format, especially with modern DAW's that can handle no end of Aux sends/returns and sub mixes.
...
3
There are several solutions for your problem, and they have huge price range and complexity differences. I'll cover the conceptual basics here and the issues you may come across. I am assuming that your question was literal; you are attempting to that a mic signal from a singer and send it back to her with some effects on her voice without recording her ...
3
After Effects has a frame blending mode called "Pixel Motion," which will attempt to match features in two temporally adjacent frames and smoothly blend between them. This video shows it in action, where it is used to generate filler frames for video footage that was slowed down 10x. As you can see, the results are mixed.
There is no magic bullet for ...
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