Over the past 20 years, the audio industry has followed a steady path into the realm of digital production as computers are providing more power and capability per dollar than most analog gear on the market. This movement is empowering new musicians to create, but it’s also changing the sound of contemporary music. Many of today’s producers are creating music entirely “in the box,” a technique that can be efficient and powerful but sometimes leaves the end musical product with a distinct digital sound. To remedy this, many producers have recently turned to analog tape to achieve a warmer, thicker sound before publishing. But the dilemma here is that tape is expensive, hard to come by, and the process of recording to tape can be time-consuming. Wouldn’t it be easier if someone could emulate the sound of analog tape in the digital realm as well?

To remedy this situation, Slate Digital, creators of high-end boutique mastering tools, have created a new plug-in called Virtual Tape Machines (VST / AU) that aims to replace the reel-to-reel tape deck and give classic analog warmth and compression to digital recordings. To create this new plug-in, Steven Slate (an accomplished professional producer and engineer) tapped into his community of professional engineers to find the best possible reel-to-reel decks to emulate. He then worked with Slate Digital Chief Technology Officer Fabrice Gabriel to create a “comprehensive study of the physical processes that occur when recording to analog tape through a tape machine.” The end result is a program that employs advanced algorithms to recreate the warmth, presence and nuances of a 2 inch 16 track from NRG Recording, and a ½ inch 2 track machine from Howie Weinberg Mastering.

“When we created the Virtual Console Collection it was the first time that I could mix inside the box and really enjoy what I was hearing, and feel that there was no sacrifice. But once we added the virtual tape machine, that just took it to a whole new level. Printing a mix to the virtual half-inch alone just makes the music come out of the speakers in a way that I’ve never heard before in the digital domain.” - Steven Slate

In practice, VTM delivers a warm, rich, and smooth sound that gives analog tape a run for its money. While the program isn’t cheap ($199 retail), it delivers pro quality sound at a price far under that of an actual reel-to-reel, with results that are so similar that you probably wouldn’t be able to hear the difference. The plug-in can be used on individual tracks to bring presence to parts of your mix, or it can be used for your mixdown, giving the entire mix a richer sound. VTM offers two tape machine types (2″ and 1/2″) and two speeds (15 ips and 30 ips), with both virtual machines offering control of noise reduction, wow & flutter, bass alignment, bias settings, level calibration, and grouping control.

“We take modeling very seriously. It’s a no-frills approach, it’s a no-compromise approach. Either we recreate the exact sound of what these tape machines are doing, or we don’t release the plug-in. These are famous tape machines that thousands of major pro engineers have heard, and I’m not gonna insult them by trying to add extra stuff. We want to recreate the sound of these machines and what they do. Because what they do is perfect.” - Steven Slate

files/2012/11/slate4.jpg

Electronic music producer, DJ, Dubspot Instructor and Logic Pro course designer Matt Shadetek explains and demonstrates some drum programming techniques using the TR-909 kit in Logic’s EXS24 Sampler.

In this tutorial, we’ll look at how to create drum rolls like those found in southern hip hop.  This style of drum programming is inspired by producers like Lex Luger, Southside and Sunny Digital. We’ll do this by working with Logic’s division value in the piano roll to allow us to pencil in 1/32, 1/48 and 1/64 notes and create faster rolls than we could normally create otherwise. This tutorial is focused on hip hop as an example but is applicable in any style where intricate drum programming is required. In the upcoming tutorials, we’ll learn how to create the preverb and pitched down vocal effects which you’ll also hear in this tutorial.

For further exploration of the EXS24 Sampler and Logic Pro be sure to check out Dubspot’s six level Logic Pro Producer Certificate program designed by Matt Shadetek.  In the six levels of the course, both in our online school and physical classroom in New York City students will learn to create a four track EP, starting with a set of musical sketches and developing them over the course of six levels, refining their craft as they advance.

Logic Pro Producer Certificate Program

Master Logic with our complete program of courses culminating in a four track EP ready for release. In addition to achieving a complete overview of the composition process in Logic you’ll also earn the Dubspot Producer’s Certificate in Logic Pro. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, and a scored commercial to widen your scope.

Classes start in NYC July 18th!
ONLINE July 22nd!

See more dates NYC and ONLINE classes!

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

http://blog.dubspot.com/files/2012/06/shadetek-drum-programming-thumbnail-play.png

“At the moment there seems to be a craving for that lofi retro sound. Everyone is trying to get rid of the clean digital output of VST’s and digital synths by adding another VST’s to their fx-chains that simulate analog gear.. or by purchasing analog gear that costs an arm and a leg. Here is a trick that costs about 10,- euros and looks way cooler than any VST!” - Riku Annala
.

You may have noticed the increasing influence of analog sound that is happening in music production and recording. After decades of computer-based music, many producers are looking outside the box to find warmth and grit that a computer just can’t provide. Digital music has a tenancy to sound very clinical and even small additions of outside sounds, especially analog sounds, can bring depth and life to your music. Some producers use outboard mixers, pre-amps, or reel to reel tape to fatten up a mix. The medium of tape, in particular offers a unique (warm) sound and better dynamic range than most digital formats. But most of us don’t have a nice reel-to-reel sitting around to fatten up a mix. So as a creative work-around, I want to share a great technique that I recently learned by way of our friend Peter Kirn at Create Digital Music and Riku Annala, a producer/musician hailing from Helsinki, Finland. May I present – the cassette distortion / overdrive technique.

Click here to view the embedded video.

This is a great trick because it takes a minimal amount of gear, costs close to nothing, and provides a gritty, compressed effect that can liven up your beats. To create this effect you’ll need 1. an old cassette deck, and 2. a cassette to 1/8 inch adapter (the one that plugs your ipod into your tape deck). And some cables, of course.

To set up the effect: 1. Run the output of your source sound (drum machine, computer, etc) to the 1/8 inch end of the cassette adapter (I used 1/4 inch to 1/8 inch adapter to make this happen) and put the cassette adapter in the deck. 2. Connect the output of the tape deck to your mixer or speakers. 3. Press play on both your source and the tape deck, with plenty of volume coming from the source (the key here is to overdrive the signal a bit). 4. Enjoy your new analog compression / overdrive effect.

Click here to view the embedded video.

Now I must admit – I didn’t think this would work because I thought that the tape medium itself was the source of the sound/compression on tape recordings. But apparently this isn’t the case and the tape head itself will give character to your signal without the use of any tape at all. Recue.net’s Riku Annala explains:

“The results are actually surprisingly nice (depends on what you’re after). Of course the character of the sound completely depends on the components of the tape deck you use; the condition of the tape heads, connectors, mic pre’s etc. The sound is far from hi-fi, so if you’re after that, just go purchase a real reel-to-reel unit. In the case of Hitachi D-230 I use, there are a couple of different options for obtaining a different sound. The audio can be just played back through the tape, but it can also be fed through the line-in’s, “recorded” to the tape capturing it’s output. Both of the methods give actually quite a different sound. With the former method you can get a moderate crunch with a rather clean sound. With the latter, you get loads of more noise, but also A LOT more distortion and a nice pumping compression when pushed.”
.

Michael Walsh is a producer of audio/visual art and a journalist living in Southern California. Read more of his work at soundsdefygravity.com

files/2012/05/tape1.jpg

Welcome!

As the Curriculum Director of our school, I have the honor and pleasure to announce the arrival of Dubspot’s brand new three level Maschine program, designed and developed by our own Heinrich Zwahlen and Matt Cellitti. I honestly couldn’t ask for a better team to have creating this program and I am confident that it will fulfill the need and want for high quality training on Native Instruments MASCHINE’s hardware / software combination. Like many of you, I’ve been watching Cellitti’s Maschine tutorials on our YouTube channel and patiently waiting for this program to be announced and classroom-ready. The classes will be available in our school in New York City and at Dubspot Online. Start dates and information about payment plans can be found here.

Native Instruments Maschine redefines hardware and software integration for music production and creative performance. Upon completion of this program, you will have written a full original track using multiple plug-in instruments and effects, produced a remix based on rearranged source material with your own musical additions, and made recordings of yourself improvising with both projects while creating break downs, build ups, and effect manipulations.

What’s Included:

• MASCHINE Level 1: Programming and Beat Making Basics
• MASCHINE Level 2: Sampling, Slicing and Composing
• MASCHINE Level 3: Advanced Production and Performance Techniques

Level 1: MIDI Programming and Beat Making Basics

Learn all basic functions of Maschine’s hardware and software while exploring the different methods of beat making. Merging performance with composition, we practice how to program MIDI drums in an improvisational manner. Getting to know the Library and how to load sounds quickly is key for a good workflow as well as the ability to write automation in a fluid and hands on way while looping patterns. We show how to use the sampler controls for basic sound shaping and add some of the main effects such as delays, reverbs and various saturation/distortion types while creating simple drum tracks.

• Class1: Overview, Navigation and Improvising with the Library

• Class2: Creating Beats and Kits from Scratch

• Class3: Shaping Sounds with the Sampler, Writing Automation and Adding Effects

• Class4: Adding Bass and Mixing with Aux Effects

Level 2: Sampling, Slicing and Composing with Sampler Instruments, Effects and Plug-Ins

In this level we will first focus on the sampling section of Maschine, starting out with some old school loop-slicing so we can map individual hits of a loop to the pads in the fastest and easiest way. We discuss the different options of mapping to pads or across the keyboard while loading samples from disk and various sound libraries. Then we proceed to record into Maschine, first from within the computer and then from external sources. Sampling can also be used as a production tool when we resample Maschine’s own output from the master, group or sound level. As we learn more about using and creating instruments we move from recording drums and bass to creating some additional musical parts while using new sound design tools and effects. The addition of plug-ins will take Maschine in a totally new direction as a synth controller and sequencer. On this level, Maschine becomes much more of a musical Instrument suitable for the real time creation of any type of MIDI based composition.

• Class1: Editing Audio, Slicing Loops, Recording and Sampling

• Class2: Creating Multi Sampled Instruments and Composing with the Library

• Class3: Sound Design with Effects

• Class4: Using Plug-in Instruments and Mixing in Maschine

Level 3: Programming Plug-ins, Advanced Production, Performance Techniques and DAW Integration

First we revisit the free Komplete Elements and use also TAL Juno to introduce a classic subtractive synth. We are focusing on the new sound parameters and controls to give students full use of the instruments while giving them an introduction to a wider world of synthesis. This level is also teaching more advanced production techniques and showing different drum styles and how to work with less standard time signatures. In the same lesson we are also showing some simple methods for arranging a track out of a loop and creating DJ friendly tracks. For sound design and mixing we are creating more complex effects chains and racks as well as showing alternate routing options. On the performance side, we give some practical advice for seamless live playing and sequencing, along with some live remixing techniques. Integrating Maschine in the workflow of a DAW is of big interest even for many experienced producers so we will give the definitive guide explaining all the options in Class 3. We conclude the course by showing how to use and customize the included Controller Editor to use Maschine as a MIDI controller with Ableton, Logic or to control Synths in standalone mode or as plug-ins in the DAW.

• Class1: Sound Design with Komplete Elements: Programming Synthesizers and Effects

• Class2: Additional Production Techniques in Standalone Mode

• Class3: Performance Tips&Strategies and Live Remixing

• Class4: DAW Integration, Using Maschine as FX and Midi Controller

The buzz around the school is growing louder everyday about this new program, and that’s coming from students, teachers and staff alike. I, for one, am thrilled to really learn the ins and outs of Maschine and, furthermore, to learn from experienced and equally excited teachers. But most of all, I’m happy that you will soon be able to have the same experience. Until then, keep watching the Maschine tutorials already posted on our blog and look out for the stellar ones soon to come.

Sincerely,

Pat Cupo, Curriculum Development

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

files/2012/05/Maschine_Class_Thumbnail2_play.jpg

In this two-part episode of The Petti Test, Chris answers a popular request and tackles a particularly difficult area of sound design for up and coming producers. Chris Petti shows  you how to create that infamous squelchy, mid-range, talking bass sound  you often hear in songs by producers like Skrillex, Kill the Noise, and Rustie. In a step by step process, Chris Petti further explains and demonstrates what FM Synthesis is and uses Propellerhead’s Thor synthesizer to create the mid-range, FM Bass sounds.

The Petti Test Ep.3 Pt. 1 – Using FM Synthesis to Create Mid-Range Bass – Skrillex, Kill the Noise

The Petti Test Ep.3 Pt. 2 – Using FM Synthesis to Create Mid-Range Bass – Skrillex, Kill the Noise

Related Dubspot Courses:

Master Reason & Record with our complete program of courses culminating in a four track EP ready for release.  In addition to achieving a complete overview of the composition process in Reason & Record you’ll also earn the Dubspot Producer’s Certificate in Reason & Record. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, a Refill ready to share, and the Dubspot Producer’s Certificate in Reason & Record.

• Reason Level 1: Sketches, Beats, and Remixes
• Reason Level 2: Dissect and Reconstruct
• Reason Level 3: Sound Design
• Reason Level 4: Advanced Sound Design
• Reason Level 5: Recording and Mixing
• Reason Level 6: Beyond the Rack

This program is about learning Reason by going through the entire process of being an artist, from developing your sound through a series of sketches while getting familiar with the application to creating a fully-fleshed out four song EP. You will create a remix and submit it to an active remix contest, create a refill, and learn valuable insider tips and techniques.

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
  
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

files/2012/04/pettitest3_4_thumb.jpg

In this tutorial, electronic music producer, DJ, Dubspot Instructor and Logic Pro course designer Matt Shadetek shows you how to create 808-style, sub-heavy kick drums which is a familiar kick you’ll hear in everything from hip hop & R&B (more specifically southern rap and Miami bass) to various forms of electronic dance music such as drum and bass, dubstep, electro, and even some house. In a straight forward step by step process, Matt explains and demonstrates using Logic’s ES2 synthesizer default settings and adjusting the parameters (changing the waveform from saw to sine wave and adding pitch decay.) Matt went even further by adding explaining more advanced modulation techniques using envelopes to affect pitch, adding distortion, and high and mid-range frequencies to create some dynamism to the sound.

Logic Pro Producer Certificate Program

Master Logic with our complete program of courses culminating in a four track EP ready for release. In addition to achieving a complete overview of the composition process in Logic you’ll also earn the Dubspot Producer’s Certificate in Logic Pro. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, and a scored commercial to widen your scope.

Classes start in NYC January 18th!
ONLINE July 22nd!

See more dates NYC and ONLINE classes!

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

files/2012/04/logic-pro-es2-808-sub-kick1-thumbnail.jpg

The first order of business is to create a loop that you want to resample. For this first one, I recommend something melodic that is around 2 or 4 bars long. In the video, Ableton Live is being used to render (or ‘rinse’) the sequence to audio, and bring it into Kontakt. Any DAW will be fine for this technique, however the exporting functions will vary.

To bring the audio into Kontakt, create a new instrument, and go under the hood by clicking on the wrench. Then, open the Mapping Editor, and drop the audio file over one key. The Mapping Editor is where Kontakt lets you handle samples and their mapping to key and velocity zones. The Wave Editor will let us customize and edit individual samples (sometimes called ‘zones’).

Once you’ve opened the Wave Editor, head on over to the Sync/Slice tab. This is where we handle beat syncing, as well as loop slicing. The idea here is to use a slicing function to cut the loop into multiple pieces, each of which will be assigned to an individual key. Using the Grid, we can set markers to tell Kontakt where exactly we’d like it to make slices in the loop. When your markers are in place, hit the Drag MIDI to Host button, and away we go.

Now that the loop is sliced up, the fun can really begin. Kontakt has a sophisticated organizational system based on the use of groups. Each group can have its own set of effects and modulation functions. What we’ll do is make it so that each slice is in its own group, and process each individually, which is a fun way to get a complex, glitchy sound. Spend a little time customizing each individual slice, and you can end up with some very expressive sounds, from the beautiful to the turbulent, to the Kafkaesque.

- Dubspot Instructor Evan Sutton

Evan Sutton is an electronic music producer, sound designer, and audio engineer. He is an instructor of Electronic Music Production and Sound Design, as well as a Curriculum Designer and Developer of the Sound Design Program at Dubspot. You can hear music, and find more about him at his outfit, Astrolith.net and SoundCloud.com/Astrolith.

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
  
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

files/2012/03/kontakt-astrolith-resampling-thumbnail1.jpg

Propellerhead Reason 6 Workshop with Hank Shocklee & Falty DL

Propellerhead Software’s Reason audio production platform made a massive leap in 2011. Reason 6 brought features such as the integration of Record (the acclaimed recording and mixing software), new instruments, new effects, a new mixer, and a sexy new audio interface called Balance. Add to this list a pay-what-you-want upgrade option for owners of Reason and Record and you’ve got an impressive music production platform that hit many best of 2011 lists in recent weeks. Reason 6 is a totally new beast.

To help you understand the depth and possibilities of this new production platform we are pleased to preset a special Reason 6 workshop at Dubspot NYC on Monday January 30th from 7-9pm EST. The event will feature production luminary Hank Shocklee (Bomb Squad, Public Enemy, Def Jam), dubstep / bass producer FaltyDL, and vocalist Cody Geil. Dubspot’s Chris Petti and Propellerheads’ James Bernard will host a series of discussions and demonstrations that will introduce you to new workflow and features in Reason 6 using the Balance Controller (read more on Balance below). James Bernard and Hank Shocklee will kick off the event with a short discussion on effecient production methods with Reason and they will quickly segue into producing a track from scratch in front of the audience. If you’d like to join us for this discussion and workshop, please RSVP on our Facebook page. In addition, we will be streaming the workshop live on out site, so bookmark this page if you’d like to catch the workshop online!

About Hank Shocklee

Hank Shocklee is one of the godfathers of hip hop and modern music production. Through his early work as a DJ on Adelphi University’s 90.3 FM radio station and as a nightclub manager, Shocklee started to meet the individuals who would later be transformed into the groundbreaking group Public Enemy. As Shocklee’s work with Public Enemy started to gain momentum and airplay, a then lesser-known Russell Simmons summoned Shocklee to work on remixes for artists on his Def Jam roster. It was Shocklee’s creative vision and energy that landed him a position with Def Jam Recordings where he served as Vice President of A&R and staff producer from 1986-1988, while he was still developing the Public Enemy Concept. Shocklee also eventually became the Publicity and Marketing point person for Rush Artist Management and handled touring projects for artists such as Run DMC, Beastie Boys, LL Cool J, and Jazzy Jeff and the Fresh Prince. With the signing of Public Enemy to Def Jam Recordings and the group’s rise to stardom, Shocklee’s efforts shifted to full time studio work. He served as Producer and Executive Producer for the group and led them to the success of 1 Double Platinum, 4 Platinum and 2 Gold Albums. Shocklee also managed Public Enemy along with Russell Simmons and Public Enemy soon became Def Jam’s biggest global act and went on the road for a series of successful world tours.

About FaltyDL

Drew Lustman’s releases as FaltyDL encompass IDM, drum’n’bass, hardcore techno, house, garage, and dubstep. Full of abstractions and abrupt changes, the majority of his output was nonetheless intended for active dancefloors. The New York-based producer debuted “FaltyDL” in 2007 but gained serious traction in 2009 with a pair of singles on Ramp, as well as an EP and an album — titled Love Is a Liability — for Planet Mu. More short-form releases on Rush Hour, Planet Mu, Ramp, and Swamp81 were issued across 2010 and 2011. You Stand Uncertain, a second album, was also released on Planet Mu in March of 2011.

Balance Audio Interface

• 2-in by 2-out audio interface
• USB 2.0 – bus powered
• Hi-end pre-amplifiers
• Hi-end 24-bit ADC/DACs, 44.1 to 96kHz
• Low latency design
• Clip Safe —  “built-in recording engineer” automatically heals any clipped recordings.
• Mac OS class compliant (no driver on Mac OS).
• ASIO drivers for Windows.
• Built-in Propellerhead Ignition Key
• Direct monitoring (for stand-alone or DAW use)
• Two XLR microphone inputs w. 48V phantom power
• Two 1/4″ guitar inputs with padding
• Four 1/4″ line inputs (two stereo pairs)
• One 1/4” headphone output
• Two 1/4″ TRS balanced main outputs
• Hardware input source selection
• Input level control
• Separate output and headphone level control
• Output muting

Links : Balance and Reason – Propellerhead – Balance and Reason Essentials
Balance Design and Features – Propellerhead – Balance – Design and Features

Master Reason & Record with our complete program of courses culminating in a four track EP ready for release.  In addition to achieving a complete overview of the composition process in Reason & Record you’ll also earn the Dubspot Producer’s Certificate in Reason & Record. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, a Refill ready to share, and the Dubspot Producer’s Certificate in Reason & Record.

• Reason Level 1: Sketches, Beats, and Remixes
• Reason Level 2: Dissect and Reconstruct
• Reason Level 3: Sound Design
• Reason Level 4: Advanced Sound Design
• Reason Level 5: Recording and Mixing
• Reason Level 6: Beyond the Rack

This program is about learning Reason by going through the entire process of being an artist, from developing your sound through a series of sketches while getting familiar with the application to creating a fully-fleshed out four song EP. You will create a remix and submit it to an active remix contest, create a refill, and learn valuable insider tips and techniques.

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

files/2012/01/SHOCKLEE_thumb.jpg

Native Instruments Massive Tutorial Pt 1: Talking Bass Synthesis

Native Instruments FM8 Tutorial: Creating Unique Basslines Using FM Synthesis

Logic Pro Tutorial: Ultrabeat – Drum Synthesis

Sound Design Video Tutorial: Using Native Instruments’ Reaktor To Build Virtual Instruments

Maschine Video Tutorial: Sound Design w/ Vocal Samples / Create Sampled Instruments

.

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete 7 as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
  
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

http://blog.dubspot.com/files/2011/12/dubspot-reaktor-tutorial-thumbnail4.jpg

An Overview of Audio Effects

This week we’re taking a step back to the basics in order to give our beginner students and readers an overview on audio effects and how they work. If you’re just starting out on your audio production journey, you’ve most likely come across effects in your gear or software. These might be delay, reverb, distortion, compression, phase, flange, pitch-shift, ring modulators or filters. This article aims to get you familiar with these terms and what these devices do. In future installments of this series we will get a bit deeper on specific types of effects (as some subjects such as reverb require an article of their own.) For now we begin at the beginning…

What are Audio Effects?

Audio effects are devices (analog or digital) that are used to intentionally alter how a musical instrument or other audio source sounds. Effects can be subtle or extreme and they can be used in live or recording situations. A good example of audio effects are the “stomp-boxes” that many electric guitarists use to realize their desired sound. By chaining together many different types of effects units a musician can sculpt a unique tone. Almost all popular music benefits from creative use of effects, the only exception being an all-acoustic show (and even then there are usually effects involved). All commercial music is enhanced with effects and electronic music makes liberal use of these devices. With proper use they can really enhance your sound and take the listener to new sonic spaces.

A Brief History of Audio Effects

Modern day effects are all a result of the evolution of technology and the advent of recorded sound. Around the Mid 1940’s recording engineers started to use reel to reel tape machines to create delays, echos and sound effects. In addition to tape, microphone placement and movement were found to create sounds that had not previously been recorded. In 1948 Harry DeArmond, creator of the first guitar pickup, created the first stand-alone effects processor called the Trem-Trol by running the electric current of the signal through liquid to create a tremolo sound. This device was used by Bo Diddley and  led to more development in the guitar industry of the 1940’s and 50’s where guitar amplifiers started to introduce vibrato and reverb effects. Reverb was initially created by driving an electrical signal into a metal plate or spring to create multiple echos or reflections of a sound.

Back in the studio, recording engineers started to use echo chambers to create echo effects or a unique tone to their recordings. Echo chambers were usually long, low rectangular spaces made from sound-reflective materials such as concrete. They were fitted with a loudspeaker at one end and a microphone at the other to create an echo effect that was used on many recordings to enhance vocals. As they were often custom-made, these echo chambers became the sound signature of a given studio at that time. As technology developed, many reverb devices allowed for electronic re-creation of the echo chamber effect. Equalizers and compressors arrived in the studio in the 1950’s and 60’s with the Pultec equalizer which defined the sound of many recordings of that era.

add.

Hardware and Software Effects

Today audio effects devices come in both physical and digital form. Audio signals in electrical format are processed with physical (analog) hardware whereas audio signals in binary format (digital) are processed mathematically by software. Both methods can achieve similar results. In the physical world, effects are usually rack-mounted devices that have cables running to and from a mixing board or they can be something like guitar effect pedals which receive signal from the instrument and alter the signal as it flows to a mixer. On the digital side you can find effects in most music recording software packages. DAWs such as Ableton, Logic, Cubase and ProTools all come with audio effects built-in. Other software packages like Reason, Maschine, Traktor, Audacity, Peak, and Soundforge also come with audio effects. Audio effects are often simple devices that do one specific thing to a sound, although multi-effects processors are also popular for those who want many different effects in one package. It is also worth noting that many instruments (especially synthesizers) come with effects built-in to the machine.

Examples of Audio Effects

For each of the following types of effects we have provided an audio example to hear what the effect sounds like. This beat was made in Maschine and run through various effects in Ableton Live. The original (un-altered) beat comes first and each audio example after that is effected.

Original “Dry” Beat

Dynamics

Dynamic effects (aka amplitude effects) modify the volume of an instrument. These effects include compressors (which increase the loudness of a signal or stabilize volume), limiters (which limit the volume), and noise gates (which aim to eliminate artifacts like hum, hiss and vocal pops.) Dynamic effects can greatly enhance your mix but they are sensitive devices that require attention to detail. Compressors are widely used today in commercial music and sound louder for television and radio use.

Compressed Beat

Distortion

Distortion effects can create a harmonic (warm) or inharmonic (gritty) sound by amplifying an audio signal until it clips (gets too loud and cuts the shape of the waveform.) By changing this waveform shape the distortion effect creates overtones which color the sound. This is a popular effect/sound in rock music and it’s become widely-used in modern electronic music as well. Distorted signals tend to cut through a mix and bring warmth or grit to a tone.

Distorted Beat

Time Based

Time based effects alter the timing of a signal which can create short or long bursts of sound. These effects include reverb, delay and echo. These are among the most popular effects in electronic music with reverb and delay used liberally on most recordings. Reverb effects sometimes aim to re-create the sound of an acoustic space and they are sometimes based on “plate reverb” or “spring reverb” effects – which we will discuss further in an upcoming article.

Delayed Beat

Filter

Filter effects alter the frequency content of an audio signal. This is achieved by boosting or cutting specific frequencies in that signal. Popular filter effects include the Wah Wah pedal (used often in funk, ska, and psychedelic music) and equalizers (found on many devices from mixers to your car stereo.) Low-pass or Hi-pass filters appear on some synthesizers and audio mixers.

Filtered Beat

Modulation

Modulation effects create unique tonal properties by multiplying and altering a signal. Some of these effects use a “carrier wave” as a modulator to change an audio signal. Others will multiply your audio signal and then alter one of those versions to create unique tone. Modulation effects include chorus, flanger, phaser, ring modulator, tremolo, and vibrato. The ring modulator in particular is a unique sounding device which was used to create the “imperial code” in Star Wars: The Empire Strikes Back.

Ring Modulated Beat

Phase Beat

Pitch / Frequency

Pitch and Frequency effects include pitch shifters and harmonizers. These effects modify the pitch of a sound by adding new frequencies to a signal or by simply altering the pitch. Pitch-shifters transpose (raise or lower) the note that is played at certain intervals. A harmonizer is a pitch-shifter that adds more notes to create harmony.

Frequency Shifted Beat

Michael Walsh is the Editor of Dubspot’s Blog, a producer of audio/visual art and a journalist living in Southern California. Read more of his work at soundsdefygravity.com

/files/2011/11/1.jpg

In this video tutorial, Dubspot Instructor Matt Cellitti offers tips and tricks for transforming and shaping ordinary sounds with Native Instruments Maschine’s high-performance sampler and  and turning them into versatile sampled instruments. Cellitti is co-designer and developer of our Maschine program, along with our very own Heinrich Zwahlen. For those looking for high quality training on Maschine’s hardware/software combination, this is the program. The classes will be available in our school in New York City and at Dubspot Online this January.

Using random audio samples and turning them into sampled instruments is nothing new in electronic music. People have been using samplers and software for many, many years to create truly unique instruments. The interesting thing I show in this video is how easy it is to do this on Maschine, while never having to use the mouse to do any editing. It is a refreshing approach that allows for more instantaneous and creative tweaking of sampled material. Maschine is so powerful as both a software and hardware that you can quickly find yourself mangling your audio using the built in sampler functions to create these personalized instruments. Take this idea to the next level by using your smartphone to capture “found sounds” out in your environment, bring them into Maschine, and voila! – you now have completely original musical instruments to give your sound a distinctive style that nobody else will have.

-Matt Cellitti

Native Instruments MASCHINE redefines hardware and software integration for music production and creative performance. Upon completion of this program, you will have written a full original track using multiple plug-in instruments and effects, produced a remix based on rearranged source material with your own musical additions, and made recordings of yourself improvising with both projects while creating break downs, build ups, and effect manipulations.

What’s Included:

• MASCHINE Level 1: Programming and Beat Making Basics
• MASCHINE Level 2: Sampling, Slicing and Composing
• MASCHINE Level 3: Advanced Production and Performance Techniques

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design program uses Native Instruments’ Komplete 7 as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
  
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

files/2011/11/dubspot-maschine-sampler-tutorial-thumbnail-video.jpg

In this tutorial Dubspot instructor and electronic musician Chris Petti takes you through three very powerful uses and applications for the versatile new Pulveriser effect processor in Propellerhead’s Reason 6.

Pulveriser brings together crunchy compression, dirty distortion, a multimode filter and flexible modulation in a single sound-crunching effect. Crush, mangle, and destroy your sounds. Apply careful parallel compression to bring out the details of a sample or recording. Use the envelope follower when recording live instruments for responsive, expressive filter effects.

First Use on Sub Bass

In the first example, the Pulveriser will be applied to an already heavy and solid Sub Bass patch. Listen as the Pulveriser brings a new level of depth and dimension to the bass thru its compressor , distortion, and parallel processing capabilities

Second Use on Synth Lead

In this second example, the Pulveriser will be applied to a lead synth patch. This example focuses on the Tremor’s spread functionality and parallel processing to add width and animation to the sound

Third Use on Synth Pad

In this final example, the Pulveriser will be applied to a synth pad sound. This example uses the Tremor and Spread functions, and shows how the Tremor’s rate can be controlled dynamically by incoming volume thru the Envelope Follower. The result is a pad/texture sound that now lives and breathes.

Here is a track that Chris Petti co-produced with up and coming producer and Dubspot staff DJ Koolis.

Chris Petti & Brian Kullas – Clocking Error by Dubspot

Reason & Record Producer Certificate Program

Starting November 29th, 2011 and April 18th, 2012 in New York

ONLINE Classes coming soon

Master Reason & Record with our complete program of courses culminating in a four track EP ready for release.  In addition to achieving a complete overview of the composition process in Reason & Record you’ll also earn the Dubspot Producer’s Certificate in Reason & Record. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, a Refill ready to share, and the Dubspot Producer’s Certificate in Reason & Record.

Learn to use Reason & Record at Dubspot with our 6-level Reason & Record Certificate Program featuring courses that include:

• Reason & Record  Level 1: Sketches, Beats, and Remixes
• Reason & Record  Level 2: Dissect and Reconstruct
• Reason & Record  Level 3: Sound Design
• Reason & Record  Level 4: Advanced Sound Design
• Reason & Record  Level 5: Recording and Mixing
• Reason & Record  Level 6: Beyond the Rack

Check out this video interview with Dubspot instructor, Chris Petti on using Reason in  the classroom:

files/2011/10/reason-pulveriser-video-thumbnail3.jpg