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You could start out with a powerful "Analog" style or FM style synth like Native Instruments' Massive or FM8. If you are really focused on additive synthesis or you'd just like something more flexible, consider the following modular environments: Linux Friendly: CSound - text mode synthesis and composition language. Extremely powerful, moderately steep ...

A voice is a very complex sound pattern. While you can manipulate a male voice to sound feminine or vice versa, getting it to sound like a particular person is probably going to be pretty difficult since the patterns of frequencies differ in complex ways. Think about it this way, think about voice synthesis and how we can't even make a computer generate a ...

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 ...

The two things that come immediately to mind are that you should look at photography and sketches of 19th century London, and you should listen to any audio material you can find from cities that are at about that level of technological development. Photography and sketches will help you determine what noise-creating objects you need to simulate. It is safe ...

The entire clip you provided is performed on a synthesizer which begins with a bowed cello like setting in the lower register accenting the first beat while a pizzicato double bass plays the next 7 beats. This repeats, so by the 3rd time the cello like instrument sounds at 0:15 a melodic element is introduced which might be best described as a combination of ...

He uses software and hardware synths - including his main one, the FM8. Some speculation on the dubstep forum that he uses Guitar Rig for some distortion effects. To be honest this is probably the best source for information: How To Sound Like Skrillex & Make Skrillex Bass - a plethora of links, tutorials and discussion.

Actually, you're mostly doing it right, that's how many of us chiptune artists learn to do it: by messing around. Another thing you may want to try is using a tracker like Famitracker (or even a sample-based tracker like Milkytracker), and just creating sound effects with notes. Then add tracker effects to the notes.

I think there are a few reasons why the NI demo material sounds so good, and it's not just because of the reverb. Let me explain: First, the demos on the NI site are very, very well produced, in every way. What you're hearing is not any one particular effect that "makes it". We're talking world-class engineers carefully producing a world-class demo for a ...

LinuxAudio.org (check "Resources" link) for links; JACKaudio.org for JACK audio docs Ardour is an excellent Linux DAW Audacity is a very popular audio editor PureData is an audio/MIDI/video Swiss Army knife (by authors of, influenced by MAX/MSP) SooperLooper is a really cool looping sampler Hydrogen is a good drum machine Rosegarden is a good ...

Go check Ubuntu Studio out. But here's the problem: the JACK Audio system used with Linux is not intuitive. The software as a whole is buggy, lagging and offer little support. I've tried producing with Linux but it's really REALLY hard. There's a very community doing it, so everything about it is rather limited. There's no 'hardcore' producing tools for ...

SuperCollider is a softsynth. CSound has a soft synth as well as a scoring system. You can also use CSound as a VST instrument or effect. I'm not aware of a VST wrapper for SuperCollider, but SC can respond to both MIDI and OSC data, so it shouldn't be too hard to hook up with your DAW.

I think you need to look at the universe of possible solutions, try some of them out, and observe how they impact your work. Then decide which solution is the most effective solution for you. Some possibilities for you to try: Create a giant project with all your samples and all your FX chains. Does this get unwieldy? Is it easy to find your way around? ...

Another point to consider is the harmonic content of the instrument that you are EQ'ing. Above (and sometimes below) the fundemental note and frequency of the instrument there will often be harmonic and distortion that make up other portions of the sound. This is the main reason that you can't just slash away everything but the fundemental. Sure you would ...

Audio effects could be considered a smaller part of audio synthesis. A quick google search got me this, which seems like a good start for recording special effects. The main problem is that there are zillions of ways of creating sound effects, it depends if you want to record or synthesize the sound. When I got started with music production SFX was my ...

The voice is produced by using reverb-freeze, or reverb on a short vocal extract with full sustain. This is then fed to a channel which is gradually faded in. The filter is first a high-pass filter gradually increasing the threshold, then cross-fades fast into the same sound but on a low-pass filter. Or as this is highly likely using automation channels the ...

It isn't simply pitch from the vocal cords that determines the 'maleness' of a voice, but also how the spectral peaks and resonances are influenced by the shape of the skull, sinuses and chest cavity. http://en.wikipedia.org/wiki/Formant has a discussion of these influences and where the different peaks live. Knowing these can help you 'tune' a vocal ...

Well, I am using the updated version (Adobe Audition) but many of these features remain in Cool Edit Pro. For this, I would use the "Stretch and Pitch" process. Select what you're trying to extend, and go to the "Effects" menu (may have a different title for you). Select "Stretch and Pitch" under the "Time and Pitch" category. There, you will have several ...

You can get this exact sound from various digital effects pedals - my Line6 HD500 and an earlier Zoom 9000 both had presets that could do this. You need a noise gate and compressor - to give you a sharp attack and then keep the signal gain at a high level until you stop the note. Once you have that envelope shaping, you can use whatever waveform you need, ...

To me, that "guitar" sound seems fairly close to a square wave - maybe a saw that has been heavily low-pass filtered with little or no resonance and then heavily distorted. The "vocoder" sound you are hearing is probably just a vowel / formant filter. If you don't have a formant filter, you can use parallel bandpass filters to accomplish the same thing. ...

In my opinion EQ'ing is an art with no strict rules. Sometimes you are working on some strings or a voice where harsh EQ cutting would make the sound unnatural or empty. However, when working with heavy electronic music I sometimes use extreme EQ'ing to create a sound that is very unique. What i'm trying to get at is that the amount you EQ is ultimately ...

Shazam (and various others) do this for entire songs. This paper describes how: Beforehand, Shazam fingerprints a comprehensive catalog of music, and stores the fingerprints in a database. A user “tags” a song they hear, which fingerprints a 10 second sample of audio. The Shazam app uploads the fingerprint to Shazam’s service, which runs a search for a ...

It's not as hard as it seems. Here's a simple setup on an old EeePC 701 (but I also run it on my PC, both with WattOS installed). The blogpost is in Dutch, but the pictures basically tell all about configuring QjackCtl, with a simple midi-keyboard. Also I use Hydrogen, Yoshimi and Hydrogen, and record it in Audacity. ...

Generally, Ardour is the go-to DAW for Linux. As for software with more specific purposes, I would just search through the software center for whatever you're looking for and see which one you like best- maybe starting with the ones with higher ratings. It is easier, with Linux, to take a more modular approach to music and sound development by using jack.

You can create 2 layers of the same PAD. PAD #1 leave as it, but route PAD #1 to a new audio track/insert which we'll call PAD #2. With PAD #2, you can use a stereo widening + reverb, while keeping PAD #1 untouched. You can then blend PAD #2 with the stereo and reverb into PAD #1 to get that extra wideness. Note, you can also change the EQ on PAD #2 and ...

If you are on Linux I recommend supercollider or pure data. There are also other modular synths on Linux, which are more turn key than PD or supercollider, which are more like programming languages. Check out this project http://alsamodular.sourceforge.net/