Effects

Using an Octaver for Easy Funk - Musical Creativity 43

Alan — Mon, 07 Jul 2008 15:23:43 +0100

Mention an octaver to a musician, especially a guitarist, and you're heading for a conversation about Hendrix.

It can be used for other styles. So here's a quick trick for writing funk. Forget the bass when you start. I half-expected to get lynched, but bear with me, at least until the end.

Background

I like the old P-funk of Funkadelic and Parliament. I think what made me hear it more was the inclusion of a distorted guitar in a funk show. This was often played in sync with the bass guitar.

Setting the groove

Find a sparse drum track. You want big drums (not 80s soft rock big though). Make sure it's a tight loop. Set it to loop as your background track. Now remove the click track if you've got one. You'll play better this way.

Setting up the guitar

We'll get the distorted guitar set-up first. That'll be a distorted guitar from the 70s, maybe even a distorted DI from the 80s. Keep the speaker simulation to a minimum. We're not looking for a modern hi-gain sound here so go for a raw guitar sound.

Next add an octaver effect. I've had better results recently with it placed after the amplifier/amplifier plug-in, but normally I'd place pitch effects before the pre-amp.

Set the octaver so it adds a note one octave (12 notes) below the signal.

Roll the tape

Now play and record. Use an extended pentatonic scale (i.e. blues scale with a few additional notes) to get started. The p-funk guitars had lots of semi-tone intervals.

Fill it Out

Add a second guitar with a modulation effect, most commonly a subtle phaser playing rhythmic, strummed part-chords.

Finish it off

I've added a club-type reverb to bond the 3 instruments tracks together, aiming for a live club feel.

Make it more complex

You could add the octaver as a send instead of a insert, allowing to mix the levels better and potentially (depending on the quality of the octaver effect) retain the character of the original signal with more clarity.

Make it more authentic

Put on the star-shaped shades, pick up the bass and record the part properly. The octaver gives you an easy way gets you started in the groove, but it really should be done with a bass.

Part of a series by Award Sounds offering a selection of creative ideas to kick-start or rejuvenate a composition.

Use of Tremolo - Musical Creativity 42

Alan — Thu, 26 Jun 2008 21:27:29 +0100

I've talked about tremolo as a musical feature before, this time I want to go into more detail.

First things first, let's sort out the guitarists: I don't mean using the tremolo arm/whammy bar or whatever you want to call it ("handle" as my girlfriend called it - and no she won't be picking up my guitars for a while). The whammy bar creates a vibrato feature, not a tremolo. Vibrato alters pitch.

Amplitude

Tremolo is the act of altering the volume of a note or set of notes. For an electric instrument, the simplest to hear is by regularly turning the volume knob up and down. The notes fade in, fade out, fade in, fade out and so on.

It's a great tool for livening up a piece of music. The previous article on the subject covered some more ways of using it.

Recordings

Tremolo features on a lot of famous recordings. Three extreme examples are:

How Soon Is Now - The Smiths

Crush with Eyeliner - REM

What's the Frequency Kenneth - REM

But it's used more subtlely on many, many more recordings. Think of any country song and listen to the guitar. Many of the 1950s and 1960s guitar recordings had tremolo on them. Think Duane Eddy (although he mixed it with vibrato by using the whammy bar a lot). Lots of Elvis recordings featuring Scotty Moore had tremolo. This situation was accentuated and facilitated by the inclusion of tremolo circuits in the guitar amps, e.g. Vox

Types of effect

The common tremolo effect alters the amplitude or volume of the incoming signal apply a regularly repeating pattern before output. The most common pattern is the sine wave, although some FX units also allow square and sawtooth. The output signal increases, decreases, increases, decreases, etc.

The waveform applied changes how fast the signal reaches the extremes and how long it stays there before beginning the journey to the other extreme.

Depth

If the signal is applied completely at 100% depth, then the output will have no signal at the points when the applied FX is at its lowest point, conversely it will have the maximum volume when the FX is at its highest point.

Lowering the depth introduces a less radical effect, to the point that if the depth were at 0%, then there would theoretically be no difference between the input and output. As with most effects, the most appropriate depth is usually somewhere between the two extremes.

Symmetry

The waveform applied so far has been the same on both sides, i.e. going up and coming down. Altering the phase allows more time for the signal to climb and a quicker fall or vice versa. This is great for imparting a slower or a rushed feeling to the track.

Phase

For a stereo tremolo, the default set-up is to have the signal applied equally, but alternately to each channel. Changing the phase control alters the timing displacement of the second channel compared to the first, which can be used to create panning echoes or dotted note rhythms.

No Depth?

I'd usually use a tremolo inline with the signal, either at the recording stage (e.g. between guitar and amp) or at the mixing stage (as an insert). If there's no depth control, then patch the tremolo into a send and emulate the depth by the relative values of the signal and send faders.

For guitarists, if there's no depth control, then you maybe able to use it in the amp's FX loop if you've got a variable dry/wet mix. This may not work well, since the FX would be placed after the pre-amp. Depends what equipment you're using.

Playing with fingers

A classical guitar tremolo technique involves repeatedly plucking the same string with the first, second and third fingers. This is often a bass and/or melody note plucked with the thumb followed by the three fingers or sometimes a fourth is employed but the fingering changes.

The most famous example is probably Recuerdos De La Alhambra by Francisco Tárrega, although I think Agustin Barrios Mangore's Una Limosna por el Amor de Dios (Alms for the Peace of God) shows the technique more.

Various forms of flamenco use a similar technique, sometimes using the thumb plus four finger notes (not necessarily four fingers, often three fingers with one repeated) to get a 5-tuplet pattern.

Pick

For electric guitar, rapidly repeated picking of the same note gives a tremolo effect that can be used in solos. Do it too often and you'll sound you can't move your fret-hand fingers. Best to intersperse it with other techniques. Check out the Ozzy Osbourne recordings with Randy Rhoads, e.g. Tribute, to get an idea of how to fit it into a solo. He doesn't use it that often, but when he does, it works well. Nowadays, watch Matt Bellamy of Muse. There are plenty of others, but they're not coming to mind right now.

In other forms of music, e.g. drag, it can be the main feature. This is more likely to happen on the lower strings of the guitar, with a springy/slap-back reverb. Think Dick Dale. Although perhaps not part of drag, Miserlou (as featured in Pulp Fiction) is a great example of how a simple riff can lead the track. The repeated picking comes from his experience with an oud (or ud).

Part of a series by Award Sounds offering a selection of creative ideas to kick-start or rejuvenate a composition.

Use random notes - Musical Creativity 38

Alan — Sun, 01 Jun 2008 16:28:37 +0100

Create a random part and modify it until it becomes musical. I'll describe a few options for taking a random parts and the processes I use for making them more musical.

1. Creating the randomness

I set Logic on a 4 bar cycle and hit keys at random on my keyboard. I chose a clean electric piano sound since they highlight any dissonance. It's not truly random because it's difficult to unlearn how to play, but after cycling through the 4 bars a few times it did become a mess of notes.

I could have used the humaniser function of Logic with the notes set at random (oddly, to de-humanise the part) . Didn't think of this until afterwards.

The glue part was because I was recording twice. I had to glue the parts together. There was no need to hae done this, it was just because of where I'd started and stopped recording and what I'd wanted to include.

2. Lengthen the notes

I changed the notes to half-time, doubling the length of each note. I expanded the region and the cycle region to account for this. So now I've 8 bars instead of 4.

3. Deduplicate overlapping repeating notes

If an event has a closely following event of the same pitch overlapping, this will turn them into two events, but the first will finish just before the second starts instead of overlapping.

4. Quantize

The placement of the events was a mess, they were all over the place with no real rhythm. I played with the grid, visually assessing which grid seemed to fit best. This was purely a quick estimation. I also changed the quantize value a few times and I settled on 24ths (triplet semi quavers). I also liked 12ths (triplet quavers) but it seemed to rigid, especially for having come from random notes.

5. Process length for overlapping notes

I did this, then decided to undo it. I liked both, but decided to keep the longer notes ringing. This option means that Logic will identify chords and ensure that the events are the same length. Without it, some notes in a chord may ring more than others.

6. Humanise Velocity.

I processed the midi, running it through the humanise function focussing solely on velocity. There wasn't a major change here, just slight enough to add some odd stress patterns. Maybe a groove template or similar would have been a better feature. Not sure.

7. Effects

These are in the order I added them (they're in a different order in the signal chain)

7a) It was crying out for a rotary cabinet emulator. Didn't need much, just something to take the edge of the louder, higher pitch notes.

7b) Guitar Amp emulator. I like using guitar amp emulators on non-guitar instruments. It's rare they need the full-on, high-gain distortion models, but mostly, just a clean or slightly overdriven blues amp can make a massive difference to a sound. For this one, I went with a clean amp.

7c) Overdrive - to have more control over the tone of the overdrive than provided with the guitar amp emulator, I went with a separate overdrive effect. Again most of the effect was dialled out to avoid losing the music in the distortion.

7d) Compressor - again to take the edge off and make the sound shine through more.

Some other ideas?

To be honest, add any effect and see what the result is. I tried a few that didn't work out in this case.

Delays can work well at creating rhythm out of random notes, especially if only on some of the notes
Use the random notes to trigger an arpeggio or other sequence (either directly into a virtual instrument or using the arpeggiator in the environment)
Pitch change processors - ideally you need a polyphonic processor. I tried running it through Logic's Pitch changer with variable results, not expecting much. Mainly I knocked out a few notes from the scale, but I wasn't happy with the sound
Use the midi filters to process some of the events but not all. For instance, you can select just the highest or lowest notes and split them out to a different channel and/or instrument. Then quanitise them differently to the rest of the events.
Most of the modulators will muddy the sound, reducing the sharpness of any dissonance from the original notes.
A tremolo will work similar to the modulators by reducing the sharpness of any dissonance but also provide a rhythm. Can be used on all notes or focussed on range.
Trigger the notes via another method, e.g. use a gate or a compressor with a sidechain to create a stuttering or pulsating effect. At least you can then bring the notes in line with the rest of the rhythm.

Gallery of Screenshots for each part of the process.

Want to do better?

I've attached the midi file so you can try for yourself. Let me know how you get on.

Part of a series by Award Sounds offering a selection of creative ideas to kick-start or rejuvenate a composition.

Arranging Multiple Parts for a Guitar - Musical Creativity 37

Alan — Mon, 28 Apr 2008 19:49:34 +0100

As well as composing and recording, I play guitar in a band, playing a mixture of covers and our own originals. We don't stick too closely to the originals when we cover them, realising that we only have four members (guitar, bass, drums and vocals) so many songs have to be stripped down to work.

Going from a song that has many parts to a cover version with only four instruments can leave you feeling a bit naked when playing live. It doesn't help that as guitarist, I often have to play several parts at the same time.

It's just arranging

You've got 6 strings. So if you're adding in a piano part and a guitar part, then it's time to pick the most important notes. After all, you can only play a maximum of 6 at a time.

Listen

Listen to the music and pick out what makes the tune. A lot of notes are filler. The music sounds different without it, but that's ok.

Listen to other listeners

Not only listen to the track yourself, but ask the other band members what elements of the song stick out to them. Singers pick out different notes to bass players and so on. So there's me as a guitarist saying that some notes are missing from our arrangement, but no-one else has noticed. And it happens the other way around, where one of the other members will ask where a certain part is.

Who's the arranger?

If you are, then don't be afraid to ask the other musicians to try playing parts that they wouldn't have considered. I'm fortunate to be in a band with an accomplished and adventurous bassist. That's good because it allows us to swap when it comes to supporting the melody or the rhythm. The drummer's also open to new ideas. They, in turn, ask me to play other parts I hadn't considered.

The tone of the guitar

For notes played at the same time (e.g. chords), we've a limited tonal range. Each note in the chord has to be nearly the same tone and volume. There's some flexibility if you pluck with your fingers, but it's still pretty restricted.

If you look across the length of the song, then guitarists have access to a massive range of tone since we can vary it as we go along. The trick there is to tie the tone to a musical part, e.g. the piano lead.

Two at once

The guitarist can support the rhythm by striking staccato chords, but then there's an empty space for pads to ring. My way around this is to play the ringing chord and then play the rhythm on the low 6th string, sometimes with the 5th depending on what the chords are and how much I need to reinforce the rhythm. This works well clean or crunch sounds, not quite as well with hi-gain tone, but it can still work. Just depends on the chords being played and the rhythm that it needs to fit into.

Swapping between instruments on the same tone

To differentiate between two instrument parts, I've used upstrokes on one and downstrokes on another. Swapping between primarily plucked and primarily legato/glissando can help differentiate.

Try alternate strokes.

Similar to the ringing chords plus staccato rhythm above, the root notes can be played on the downstroke, then the ringing chords on the upstroke. Even more useful is the downstroke on the root, then several staccato chords using upstrokes. Not exactly special, but can be very useful for syncopated rhythms.

Let the bass play

If the bassist is playing the root notes, then the guitarist doesn't need to. Frees the guitarist up to play other parts.

Too much to do

Guitarists only use one pick at a time, but can use several fingers. So think about whether some finger picking would help. In addition, I use a combination, playing some notes with pick, then treble notes with fingers, often alternating, but sometimes together. Works well at emulating piano parts.

It's also the only way I've found to keeping the strength of the normal guitar notes while playing a melody on the higher strings. It takes practice but is well worth it since it opens up a whole new area of complexity.

Stretch

Bassists usually only play one note at a time. That's an overstatement, but stretch your bass player. For instance, if they play chords or at least octaves, they can free up the guitarist from chordal duties. Also the bass is a great instrument for filling in string parts. It doesn't sound like a string section, but fits in a live mix well enough, especially when played around the 5-9th frets on the A and D strings.

Composing

Why is this in the composition section? The more techniques a player has, then less restricted the music will be. By thinking how to deconstruct a song to a minimum of instruments, then you get to realise how much of a a song is superfluous. Look on youtube and you can watch any number of acoustic covers of songs, not all good mind you. The better versions have been arranged by musicians who have thought about which notes matter most and have fitted them into the composition.

Any other ideas

I'm interested to hear of other ideas or your experiences with this.

Part of a series by Award Sounds offering a selection of creative ideas to kick-start or rejuvenate a composition.

My Home-Grown Mastering Process

Alan — Thu, 06 Mar 2008 15:47:42 +0000

Introduction

When I master tracks myself, I do it within Logic Pro. I do not delude myself into thinking that the results of my efforts will be better than that of a professional mastering engineer. My view is that that there are times when mastering tracks yourself is the pragmatic choice. In this article, I provide details of my mastering process. This builds on the article about why process mapping is relevant to music and audio.

Process Map

Click the process icon to see the larger, more detailed process map.

The Individual Tracks

After mixing and applying eq for the track itself, I check the stereo-image (especially mono-compatibility), then export the track without dynamic compression at 96Khz/24bit and type 1 dithering, just to handle dithering from Logic's internal bit-depth down to 24bits. There's a lot of debate about whether dithering at this stage is necessary. I'd usually say that if I can't hear the difference, then I don't do make the change, but for some reason, dithering at this stage is one step that I do perform. By exporting at that stage, I receive the clearest version of the source file that I can have.

Putting the Tracks Together

I then import the track into another, empty, Logic Pro Song that I use just for mastering CDs. This is where I'll look at the mix of tracks and applying effects across the CD. I'll apply any eq to even out the tone across the whole CD, automate the fade-in-out levels and pass the mix through a compressor if appropriate.

Once I'm happy with the mastered sound, I export that to the destination format. Assuming it's a CD, then 44.1kHz/16-bit with type 3 dithering (or noise shaping). At the same time, I'll export an mp3, complete with mp3 ID tags.

Burning the CD

I load the CD tracks into Waveburner and burn the CD from there. This involves setting the gap between tracks to 0 seconds since the fade-ins and fade-outs have already been rendered as part of the "mastered" mix from Logic in the previous steps.

Convoluted?

I think my process is too convoluted. I would use Waveburner earlier in the process instead of loading the tracks into the empty Logic Pro track. I did try that route but I was never comfortable with its stability. It just crashed at odd times and I'd have to start again. I found the safest way was to use Logic Pro a second time for arranging all of the tracks together.

Caveat

I'm not advocating that we all should master our own tracks. Mastering engineers have a role to play for finishing your CD or other production.

Why am I publishing this?

I've never seen the process described well enough that it makes any sense. I understand the principles well-enough, I've no problem with that side of things. It's putting those principles into use using the software applications at hand that causes the issues. I've seen snippets of information but they never fully answer when you should dither or not and how, when to compress, etc. I want to encourage debate about the processes we use and I'm volunteering some of mine to get the ball rolling.

Ideally I'd like some of the processes to start tackling the main questions I see on recording forums. Hometracked.com has a list of 7 popular questions which align very closely with what I see as well.

Talk

The process diagram is a bit simplistic, but it should be enough to get the debate started. I can add in the extra detail as conversations progress. Want to share your own processes, let me know.

For more background on process mapping, I've started an online book on the Fundamentals of Process Mapping.

Process Diagram License

This work is licensed under a
Creative Commons Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales License

Budget compressor that works way beyond expectations

Alan — Tue, 04 Mar 2008 10:39:30 +0000

Budget or not

I subscribe to the view that you almost always get what you pay for at the lower end of the market. So it's nice to come across something cheap that works well.

The compressor

I bought a compressor the other day, but not for use as a studio compressor. I bought it as an effect for my guitar rig.

I'm using it to push the preamp a little bit for a fat round sound. There are some of the standard compression knobs such as Attack and Release. There's also a Ratio switch for high or low. The Emphasis knob controls how much of the high frequency signal is passed through without compression, allowing for the rattle of strings to come through. This is a great feature if you're thinking of using it on bass.

The pedal is easy to use if you don't think of the knobs on the top row as having much to do with traditional compressors. I'm still trying to figure out the compressor knob. I know what I think it should do, but it doesn't seem to. It seems to be a mixture of ratio (relating to the hi or low levels from the switch) and threshold. One way to find out is to do record an A-B comparison and look at the audio file properties. I'm curious what it actually does do so I'll do this at some point.

The Output

The sound out of the compressor isn't crystal clear. It's not that noisy either, to the point that you can't hear any added noise when the amplifier is on a clean setting. I haven't measured it more accurately than listening by ear.

The resulting sound has a nice warm quality with the guitar's tone being slightly subdued. Feels like a more rounded tone. I guess some of the higher frequencies have been removed. For an all-purpose compressor, that's a problem. For putting in front of a guitar or bass amp, I see that as a positive. I wouldn't use it on every song either, but I can see it getting a lot of use.

With the amplifier on a high gain setting, there is more hiss and hum with the compressor switched on. That's not necessarily being introduced by the compressor other than the fact that the make-up gain is increasing the floor level.

Snake Charmer

It's the Vox Cooltron Snake Charmer Compressor pedal and I bought mine for £39, a big reduction from the RRP of £149. That's a great price for a compressor pedal and fits into the budget pedal price, undercutting a lot of more "pro" models. The Cooltron pedals are marketed as having tube technology. They do indeed have a tube inside. I have no idea if the tube is adding to the tone, to me it was just a gimmick, but I'm glad I tried the pedal despite that.

Bass

After trying this in the shop using a guitar, I couldn't wait to get it back and try on a bass. It has a nice tone on that as well, although there are some issues. Two things to bear in mind:

It's a compressor that isn't configured as a limiter, so a sudden loud signal will still get through to your amp.
I think it's designed for use with guitar frequencies, but rolling the emphasis knob to the extreme will let more of the bass' higher frequencies through.

I've found that I had to keep the attack on the left-side of 12 o'clock otherwise it outputs a click if you hit strings hard. The click isn't anything in the source and is still in the output despite the amplifier's limiter being on full. My guess is that the pedal introduces it into the signal chain. I want to check that before I confirm it. I'll see if I can get the same sound using a different bass amp, a DI and also using a guitar into the same amp. Either way, I'm a bit wary about introducing that click to any sensitive equipment until I can find out where it's coming from. The compressor pedal is still useable and a joy to play with on bass, but keep the attack knob down.

Edit - I've tried the compressor on the same settings with a (passive) electric guitar into a guitar amp. I didn't hear the click.

Vocals

I wouldn't put this in the signal chain for recording clean vocals. It's not designed for that and I really doubt whether it's clean enough although, again, I haven't measured it. From what it's done to the guitar, I can imagine it working well as a nice effect on vocals, perhaps on a send mixed in parallel with the original or on an insert for much rougher sound.

Conclusion

In all fairness, I didn't expect that much from the pedal before I tried it. I was dubious about the valve gimmick. But for using the pedal as something that cleanly adds tone, wow, it's got to be heard. It also has the bonus of having the usual compressor feature of adding sustain to notes. Great. Unlike most effects that I just use in one or two places, I'm looking forward to trying this in a variety of applications. It can never be my go-to compressor, in the end it is just a guitar effect pedal, but it definitely has a place for changing the sound of a signal in a positive way.

At this price, it's a steal. Almost a no-brainer.

If it were more expensive, I may still buy it but only if I wanted the exact sounds it produces and I couldn't get them from a more versatile compressor.

Lock the Bass in - Musical Creativity 28

Alan — Sun, 10 Feb 2008 13:53:46 +0000

Following on from the article about using gates on drums. I want to describe the main reason I use gates and that's to lock the bass into another pattern such as the kick drum.

It's quite a common use for a gate and when set well, it's subtle and almost unnoticeable, but definitely noticeable when you turn the effect off. It's simple to set up although it does involve a few steps.

The Set-up

Let's say we start with two tracks:

Channel 1 is the drums. Most likely a stereo set from a loop/drum plug-in or a submix from acoustic drums
Channel 2 is the bass guitar. Most likely mono (although a blended mix of mics/DI etc could also be used

The channel order's completely up to you. The only reason I've mentioned track numbers here is so that it's easier to refer to them as I type.

The 1st Gate

We'll put a send on Channel 1 (drums). In Logic, let's say that we send the signal to Bus 1. I usually set it 0dB (that's n oreduction or gain on the send in Logic) most of the time and pre-fader unless I need to process the drums a lot.

Now we go to the send channel (Bus 1). If you've got the drums playing, you should see the meters for the Bus channel moving in sync with the drums. We only want the bass to be in sync with the kick drum, not the whole drum kit.

We now insert the gate on the send channel Bus 1. Set the gate so that it only triggers on the kick drum. If there's a monitor function so you can hear what the gate responds to, then use that. When you've got the setting, stop the send going to the main output or mixbuss. We don't need the sound as an output into the main mix. You should see Bus 1 channel's meters respond to the kick drum only now.

The 2nd Gate

Now go to the bass channel (Channel 1) and insert a noise gate there. You want it to trigger when there's a bass signal so set the threshold accordingly. I usually have the signal reduction set to only -2dB or -3dB. The reason for that such a small dB reduction is that the gate will always let the bass signal through, but will also let the extra 2dB through when the kick drum triggers it. To do that we put Bus 1 as the gate's sidechain.

The Result

Listen to it now and the bass should be accentuated with the kick, giving the impression of being locked-in more that it was previously.

Quick settings in Logic

Setup the gates as above and select the Isolate Kick preset in the gate. Listen to the signal with the monitor function. Actually you can do without this and use the meters instead if you can hear the kick well enough. Change the eq filter and threshold so that only the kickdrum comes through - usually this means reducing the High Cut almost to its lowest level so that it doesn't pick up the snare and bringing down the threshold until the kick triggers the gate. Turn off the monitor in the gate and change the output of the aux channel so that it has no output.

For the gate on the bass, select the Isolate Bass preset. Change the sidechain input to Bus 1. Set the threshold so that the bass always comes through and set the reduction to -2dB.

Why 2 gates?

I find it to be a lot more accurate. It's possible to route the Channel 1 (drums) to the sidechain input of the gate on Channel 2 (bass). You can then change the eq setting so that only the kick drum comes through. But I've always found that there's a little bit of leakage from other instruments doing it this way and rather than just have eq filtering out the drums, I like having the 1st noise gate isolating thekick. At least that way, I can decide whether I'd prefer to miss a few hits of the kick or have it respond to a few hits from the snare as well, depending on how tight the threshold and eq values are.

Other ideas

Vary the reduction amount to get a more dramatic accent until it quickly starts to have a detrimental effect rather than being a positive creative tool. But as always, try it, it may prove useful to you.

You could also switch the gate for a compressor (and again use the Bus 1 as the sidechain input) for the opposite effect. It might sound like it wouldn't work since it would decrease the bond between the kick and bass. I find it useful when the kick has a tone of its own that I'd like to come through. In that case, the bass and the kick together may be too much so using the compressor allows the kick to shine through.

I think you can do something similar by using a positive value in the reduction. This is where the terminology gets confusing: to increase the non-triggered volume, have a positive number for the reduction (i.e. it's not a reduction anymore). To think around this, interpret the reduction value as what the gate does to the non-triggered signal.

Part of a series by Award Sounds offering a selection of creative ideas to kick-start or rejuvenate a composition.

Learning about sound in films

Alan — Thu, 26 Jul 2007 13:52:23 +0100

I'm generally against just posting a link to a site without some useful commentary (i.e. add more than just "check this out"), but in this case the site http://www.filmsound.org is so good that it warrants a link on its own. More so, it warrants a permanent banner on the site. No matter how experienced you are (or how good you think you are), you will find something new to you on the site. Before asking questions on any site about how a sound effect was made or how the overall sound was designed for a blockbuster movie, read the articles on http://www.filmsound.org