And yet it seems that MIDI is everywhere you look in music recording. We use it in ways that the original engineers never dreamed of or intended, and it looks like MIDI is here to stay. Even if you’re part of the “I don’t do MIDI sequencing – I’m a real musician” club, MIDI may still form a key part of your setup.

What makes MIDI so unique and useful?

1. MIDI lets different pieces of hardware and software work together

MIDI is the “musical instrument digital interface”. It was primarily designed to connect different pieces of hardware together. Back then you would use it to interconnect two or three keyboards and a drum machine with your Roland MC500 sequencer. It was a standard, so worked with all brand names, and seemed like magic.

MIDI is still used to connect hardware today, though you’re more likely to use a USB lead to connect your keyboard to your computer for reasons of speed and reduced latency. I still use MIDI leads to connect various digital instruments and sound modules to my controller keyboard.

And these days MIDI timing codes also allow different software programs to communicate together and work as one, allowing your recording software to start external hardware playing, as well as other software programs, for example a drum machine application. This is just one example of how the use of MIDI has been extended.

2. MIDI lets you play and record music using a wide variety of controllers

MIDI separates the sound from the instrument you are playing, allowing you to use a variety of controllers to make music. Weighted keyboards, unweighted keyboards, electronic percussion instruments, MIDI wind instruments and guitar controllers are all available. In addition, MIDI allows you to use external control surfaces with knobs and sliders to do your mixing with. The variety of controllers allow you many options for playing with different feeling and expression.

3. MIDI files are small

There was a shortage of memory and disk space when MIDI was created. The first IBM hard drives were only 5 MB, and space was at a premium. Recording audio wasn’t yet an option, either in terms of storage or processing power. In comparison, MIDI files were fast, tiny, and appropriate.

During the 90s I used MIDI extensively. My small 95 MHz Toshiba Libretto with only 16 MB of RAM was a perfect and portable MIDI sequencer. I took it with me everywhere, and sat it on top of the weighted MIDI keyboards I was playing. Despite the low specs of the computer, it never skipped a beat.

In these days of terabyte drives, the small size of a MIDI file seems like overkill, and it is certainly not as important as it once was. For many years MIDI music has been used on websites (unfortunately), game cartridges, and mobile phones, but even in these areas larger WAV and MP3 files are now acceptable. The small file size is refreshing rather than essential. While recording, source audio files can become huge, and anything that can keep the size down is welcome.

4. MIDI has been extended

One thing that has kept MIDI alive and relevant is that it keeps getting extended. In the early days of electronic keyboards, there was no standard patch mapping of instrument sounds. Sound 25 may have been piano on one keyboard, and pads on another. That made things difficult when you swapped things around – whether you sent your latest MIDI file to a friend with a different keyboard, or just replaced a keyboard or module in your rack with another. The lack of standardization often brought unexpected results.

In 1991, the MIDI standard was extended to become the General MIDI standard. The main change was to standardize 128 patches, so that the instruments on one keyboard would match those on another exactly. This made MIDI more useful – standard MIDI files could be swapped between users, and now many thousands (millions?) are available online.

In time General MIDI was extended to the GS and XG “standards” by Roland and Yamaha respectively, both of whom added additional instruments and effects to the standard.

5. MIDI sequencing

MIDI sequencing is not the same as recording sounds. A sequencer records which notes were played, how hard or fast they were hit, and how long they were held. It’s the modern equivalent of a pianola roll. To hear the music played, you need an instrument to play back what was recorded.

But even though it’s not really recording, it achieves essentially the same thing when it comes to electronic instruments, making it a good starting point for those getting into recording – especially those with old or low-spec computers. And MIDI’s extra flexibility makes it worth considering for many professional applications as well.

6. MIDI is flexible

MIDI sequencing is more flexible than recording in many ways. Here are three of them:

1. With MIDI sequencing, you don’t have to decide on the sounds before you record. After you have recorded your piece, it is very simple to change the sound to something completely different.
2. If the timing of your playing is a little sloppy, you can quantize a track or region so that it plays perfectly in time.
3. If there are minor errors in your playing, or you change your mind about the timing or pitch of one note, you can make adjustments with your mouse without having to record the track again.

7. MIDI plays soundfonts

In the old days, to play back a MIDI sequence you had to connect your computer to a multi-timbral keyboard or sound module. These days all of that can be done using software. There are thousands of soundfonts containing rich instrumental or artificial sounds, some free, and others costing many thousands of dollars. There is a universe of virtual sounds waiting for you to explore.

8. MIDI makes notation easy

Finally, because a standard MIDI file contains the pitch and duration of each note, it is relatively easy for a software program to display this as standard music notation. Many sequencing and digital recording programs are capable of displaying music in this way, or you can use a dedicated notation application if you are serious about printing sheet music professionally.

Now it’s over to you. Is MIDI dead or alive in your studio? How do you use MIDI, and are you a fan?

To learn more about what you get as part of Audio Plus, read this. To take a peek inside this tutorial, hit the jump!

“In the last tutorial we introduced mastering and a couple of its basic operations, level and frequency balance. This time we’ll cover some equally important but often overlooked elements, namely editing, spreads, and exports. Everyone but mastering engineers thinks that making a track sound better is the only job of mastering, but these other operations are mission-critical for a great product. Let’s take a look.”

If you’re not a Plus subscriber you may enjoy a recent video by Bobby on the subject of mastering. For a more advanced exploration, get the Plus tutorial.

Table of Contents

• Editing
• Fades
• Fade-Ins
• Fade-Outs
• Other Edits
• Spreads
• Export
• Multiple Masters
• Master Verification
• MP3 Encoding
• MP3 Encoding Tips
• The Encoder
• Bit Rate
• Bit Rate Settings
• Constant vs. Average vs. Variable Bit Rate
• Other Settings
• Exporting for iTunes

Existing Plus members can log-in and download. Not a Plus member? Join now.

Introduction

Several months ago, I published Your Guide to Getting Started with Synthesis in Reason. Since then, many readers have been asking for a more ‘hands-on’ article to using Thor, one of Reason’s polyphonic synthesizers, so today, that’s what we’re going to cover.

For this tutorial, we’re going to need the following:

• Reason 4.0, as we need access to the Thor synthesizer.
• Reason Refill Packer

It is also highly recommended that you read Your Guide To Getting Started with Synthesis in Reason before attempting this tutorial, as that article contains much needed background information about synthesis and, in particular, the components of the Thor synthesizer.

Step 1

The first thing that we need to do is install the Reason Refill Packer. This is available as a free download for registered Reason owners from the following download link: Reason Refill Packer. Download the installer, and install it into your Propellerheads Reason directory.

Running the program should reveal the window as seen above, which we will come back to after we’ve built the synthesizers.

Step 2 - Synth Piano

The first synthesizer that we will be building today is a synthesized piano, with a sort of “outer space” feel to it. This particular synth would be something you might see in various electronic genres.

The first thing we need to do is open Reason, create a Mixer 14:2, and then create a Thor synthesizer. Note that “Epic Poly” is the default synthesizer patch, so we need to reinitialize the patch before we start building. Right click on the Thor synthesizer, and select “Initialize Patch”. Now we have an essentially blank synthesizer to work with.

Click on “Show Programmer”. We can see that the default is a single analog oscillator, with a low pass ladder filter. If you play a few notes, you notice that it’s a standard analog synthesizer sound.

Download audio file (1.mp3)

Let’s start seeing what we can toy with. Click on the down arrow next to Low Pass Ladder filter, and change it to a Comb Filter.

Download audio file (2.mp3)

If you’re listening, you probably noticed that the synth now has a “grainer” sound to it. Okay, now let’s move to Filter 2 and Filter 3’s empty spots, and let’s choose a State Variable Filter for both of them. You probably won’t notice a real difference in the sound, maybe just a faint whisper sound in the background.

Okay, now we’ve got the essential base for our synth piano. Doesn’t really sound like a piano, does it? That’s because we haven’t touched some of the essential components of the Thor synthesizer yet. Turn the shaper on, and set the mode to “Saturate”. Again, not a big difference, right?

Here comes the really fun part. Turn both Delay and Chorus on.

Download audio file (3.mp3)

Big difference there. The delay and the chorus are both taking our oscillator sound that is run the filter, and adding to it.

Time to modify some settings to get a better sound here. Set the following values:

Analog Oscillator:

• OCT: 3
• PW: 93

Download audio file (4.mp3)

Comb Filter:

• FREQ: 2.69 kHz
• RES: 93
• ENV: 59
• VEL: 47
• KBD: 6

LFO 1:

• RATE: 3.80
• DELAY: 220 ms
• WAVEFORM: #1 - Triangle

Mod Env:

• DELAY: 0
• ATTACK: 0
• DECAY: 122 ms
• RELEASE: 3.82 s

Shaper:

• Drive: 25

State Variable Filter #1 (Filter #2 Slot):

• FREQ: 9.30 kHz
• RES: 0
• ENV: 0
• VEL: 0
• KBD: 0

Amp:

• VEL: 24
• GAIN: 0

Delay:

• TIME: 4/16
• FBACK: 74
• RATE: 0.59 Hz
• AMT: 39
• D/WET: 35

Chorus:

• DELAY: 13.6 ms
• FBACK: 13
• RATE: 0.76 Hz
• AMT: 46
• D/WET: 18

State Variable Filter #2 (Filter #3 Slot):

• DRIVE: 103
• FREQ: 39.4
• RES: 79
• ENV: 0
• VEL: 0
• KBD: 0
• SELF OSC: ON
• LP/HP: PEAK - 66

Filter Env:

• ATTACK: 0
• DECAY: 3.82 s
• SUSTAIN: -00
• RELEASE: 29.6 s

Amp Env:

• ATTACK: 0
• DECAY: 705 ms
• SUSTAIN: -5.2 dB
• RELEASE: 1.6 s

Global Env:

• DELAY: 0
• ATTACK: 0
• HOLD: 0
• DECAY: 1.24
• SUSTAIN: -21.8
• RELEASE: 1.24 s

Now, flip the arrow on the Shaper > State Variable Filter > Amp. Previously, the shaper was heading straight to the amp, but now we’re routing it through the State Variable Filter first. However, for this patch, we’ll keep the Osc1-Filter2 button turned off, if we turn it on, it will act as an amplifier for the sound.

Now, as a bonus, we can create a synth run pattern. Turn the “Run” button on, choose “Repeat” as the mode, “Pendulum 1″ as the style, 1/8 as the rate, and then program this pattern: G4-G3-D4-G4–G2-G4-C5-D#4–C3-G2-D4-G4–G3-F3-C5-F4.

Download audio file (5.mp3)

You should hear a nice synthesizer pattern that you can use in your music.

Step 3 - Lead Synth

The other synthesizer that we will be building for this tutorial is a lead synth to accompany our synth piano. Again, start by creating a new Thor synthesizer, and reinitializing the patch by right clicking and choosing “Initialize Patch”. For this synthesizer, we’ll be using 3 analog oscillators, a low pass ladder filter, a formant filter, and a state variable filter.

Start by choosing “Analog Osc” from the drop down list for Oscillator 2 and Oscillator 3 on the Thor synthesizer.

Next, choose a formant filter for Filter 2.

Lastly, choose a state variable filter for Filter 3.

Let’s take a listen to what this ‘default’ setup gets us.

Download audio file (6.mp3)

Curious, it sounds just like our other synthesizer. Let’s try to see why. Look at the buttons next to “Low Pass Ladder Filter” and “Formant Filter” that are 1-2-3. Notice that only 1 is lit. What happens if we turn on all 3?

Download audio file (7.mp3)

It sounds louder, but still the same. Let’s turn on the Formant Filter for just #3, and let’s also toggle the arrow so the Formant Filter is routed through the amp.

Download audio file (8.mp3)

Now we’re getting somewhere. If you listen carefully, you can detect a ‘metallic’ sound to the synthesizer now. If you were paying attention to the last synth we built, you’ll probably remember that most of the magic occurs when we turn on Delay and Chorus. Let’s see if it happens again. Turn on Delay and Chorus.

Download audio file (9.mp3)

Sounds different, a bit more like a lead style synth, however, it doesn’t sound all that good at the moment. Let’s fine tune our synth by setting the following values:

Time to modify some settings to get a better sound here. Set the following values:

Analog Oscillator #1:

• KBD: 127
• OCT: 3
• TUNE: 17
• PW: 93

Analog Oscillator #2:

• KBD: 127
• OCT: 3
• TUNE: -17
• PW: 93

Analog Oscillator #3:

• KBD: 127
• OCT: 4
• TUNE: 0
• PW: 127

Download audio file (10.mp3)

Low Pass Ladder Filter:

• DRIVE: 64
• FREQ: 41.4 Hz
• RES: 8
• ENV: 79
• VEL: 47
• KBD: 16

Download audio file (11.mp3)

Mixer:

• OSC 1 and 2 BAL: 64
• OSC 1 and 2 LEVEL: -0.9
• OSC 3 LEVEL: -7.6

Download audio file (12.mp3)

Mod Env:

• DELAY: 0
• ATTACK: 0
• DECAY: 4.35 s
• RELEASE: 4.35 s

Filter Env:

• ATTACK: 0
• DECAY: 105 ms
• SUSTAIN: -00
• RELEASE: 29.6 s

Amp Env:

• ATTACK: 0.4
• DECAY: 423 ms
• SUSTAIN: -0.0 dB
• RELEASE: 705 ms

Global Env:

• DELAY: 0
• ATTACK: 0
• HOLD: 0
• DECAY: 1.24
• SUSTAIN: -21.8
• RELEASE: 1.24 s

Download audio file (13.mp3)

Formant Filter:

• DRIVE: 67
• GENDER: 38
• INV: ON
• ENV: 33
• VEL: 47
• KBD: 0
• X-Y: 78, 67

Download audio file (14.mp3)

For the above audio clip, the sample audio was raised an octave.

Amp:

• VEL: 24
• GAIN: -4.2

Delay:

• TEMPO SYNC: ON
• TIME: 3/16
• FBACK: 72
• RATE: 0.5 Hz
• AMT: 31
• D/WET: 38

Chorus:

• DELAY: 17.6 ms
• FBACK: 31
• RATE: 0.66 Hz
• AMT: 34
• D/WET: 40

State Variable Filter:

• DRIVE: 104
• FREQ: 39.4 Hz
• RES: 77
• ENV: 0
• VEL: 0
• KBD: 0
• SELF OSC: ON
• LP/HP: PEAK - 66

Download audio file (15.mp3)

Okay, now that’s done, but it still doesn’t sound exactly how I was thinking. The Formant Filter section sounds pretty good, but something doesn’t sound right about the sound from the Low Pass Ladder filter.

To fix this, we’re going to manually program some values into our source/destination programmer.

Refer to the image below and set the values accordingly. I would list them out, but in this case, images speak far better than words.

Essentially, the image above is a routing table, that defines routing of various Thor components. For example, the first two things we routed (the Key Velocity and the Mod Wheel), correspond to the components on your MIDI controller. We also programmed the rotary wheels and the buttons on the Thor, and did some other routing as well. Let’s have a listen to our finished product.

Download audio file (16.mp3)

Now, let’s program something into the sequencer like we did for our piano. Let’s try the following pattern: C4-G3-D#3-C3–C4-G4-D#4-C5–C4-G3-D#3-C3–D#4-G#3-C4-F3. Set the sequencer mode to “Repeat” the style to “Random”, and the rate to “1/8″. Also, let’s go back to our piano synth, and set the rate to 1/8 there as well, so they are in the same time.

Download audio file (17.mp3)

Now if we play the two synthesizers at the same time, we get something like this.

Download audio file (18.mp3)

Pretty cool, not exactly the prettiest composition, but each of these synthesizers would work perfectly in an electronic or atmospheric song, or a space-themed soundtrack.

Step 4 - Build the Refill

We now have two pretty awesome synthesizer patches. Let’s build a refill using them, allowing these sounds to be distributed around the internet. Run the Reason Refill Packer that we installed before. In order to create a refill, we need sounds, a splash image, and an info.txt. If you navigate to where you installed Reason Refill Packer, you should notice a folder titled “Sample Folder”. Inside this folder is a splash.jpg image that has the typical Reason Refill icon as the image, and an info.txt with the following contents:

NAME=”Sample ReFill”
COPYRIGHT=”© 2001-2005 Propellerhead Software AB”
URL=”www.propellerheads.se”
COMMENTS=”Sample ReFill for ReFill Packer”

Now, create a new folder on your desktop, and title it “The New World”. Open Reason again if you closed it, and hit save for any sounds you want in the refill, and save them into our new folder.

Copy the info.txt and splash.jpg into the new folder as well. You should now have 2 sounds, info.txt, and splash.jpg in the folder. Open info.txt and edit the contents to the following:

NAME=”The New World”
COPYRIGHT=”© 2009 AudioTUTS+/Envato”
URL=”http://audio.tutsplus.com/”
COMMENTS=”The New World Refill by Eric Shafer”

Now, click the browse icon next to the “input folder” textbox, and choose “The New World” as the directory.

Alright, we’re ready to go, so click “Create Refill”.

Congratulations, that’s all there is to it. You’re now the proud owner of your own Reason refill!

The files associated with this tutorial are downloadable from the Play Pack, including the Reason refill with the two sound patches. They are yours to use, but if you create anything awesome with them, at least leave a link to it so we can all hear it. Enjoy, thanks for reading, and hopefully you learned something. If you have any questions, I am always willing to answer them in the comments section.

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  Illustrate a Sensitive Subject Using Poser, Cinema 4D, and Photoshop - Psd Plus Tutorial

  We have another Psd Plus tutorial exclusively available to Plus members today. If you want to take your illustrative skills to the next dimension, then we have an exciting tutorial for you. Discover how to use Multiple 3D programs to create a composed render, then use Photoshop to add texture, polish, and refinement!

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  Creating a Spy Fly Photo Manipulation

  Welcome to a new Photoshop based tutorial. This time I’ll try to describe the main steps in creating a dead robot fly. Before we get started, I would like to thank Hortensiu Milstein (Personal Portfolio) for the great collaboration. We decided to make this tutorial a year ago, but the lack of time postponed the realization of this tut. This piece was actually created for a contest and off course the first prize was the result. The concept of this illustration was to take a picture and be creative, use parts of that image and create something unique. So, let’s get to it!

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  How to Create a Moka Express Icon

  The staple of every Italian breakfast is home espresso coffee, brewed with the iconic ‘Moka Express’ pot. In this tutorial, we’ll create a Moka entirely from scratch using shapes, layer effects and a bunch of productivity-enhancing tips. We will then proceed to turn our design into a Leopard and Vista-ready professional icon. So get your coffee mugs ready and let’s start brewing!

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Vectortuts+ - Vector & Illustrator

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  How to Create a Rocketing, Vector Aircraft Shuttle

  In this tutorial, we’ll be creating a illustration of a speeding aircraft shuttle. It’s going to be all vector, but along the way we’ll use blends, and other techniques that give this rocketing aircraft an interesting look. Let’s get to it!

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  How to Create a Stinking Zombie Flesh-Eater in Illustrator

  In this tutorial, I will show you how to create a cartoon zombie in Illustrator. Starting by creating a fresh corpse, we will then ‘yuck’ it up using a number of techniques. Let’s ‘rip’ this one apart!

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  How to Create a Smokin’ Western Type Treatment in Illustrator

  In this easy tutorial, I will show you how to create a western type treatment primary using Illustrator’s Effects. Using the effects from this tutorial, you can easily apply them to other type treatment and logos. Let’s get started!

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  How to Design a Custom Newspaper Icon - Vector Plus Tutorial

  We have another great Vector Plus tutorial available exclusively for Plus members today. If you want to learn how to craft a custom newspaper icon in Illustrator, then we have an awesome tutorial for you. In this tutorial, Jonathan takes us through the process of using Illustrator’s tools to construct this icon. Learn more about this tutorial at the jump!

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  How to Create a Fun, Illustrated Skateboard Design

  Today we are going to be making a skateboard design. I will show you how I turned a funky looking character into the skateboard you see. The great thing about skateboard designs is that there are no limitations whatsoever. You can make a skateboard design about anything you want and let’s learn how!

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Step 1 - What is field recording?

Put simply, field recording is the process of capturing sounds from the real world, for future use in analysis, archiving, sound design, foley, or composition work. The process of recording these sounds can range from simple to covert to extremely complex. Additionally, the material you wish to capture may be staged (e.g. recording weapons), or spontaneous (e.g. recording crowds in a public place) or some combination of both.

The important thing for beginners to recognize is that field recording can be as simple or as complex as you wish to make it. Don’t allow yourself to be discouraged by the possibilities, but rather start by taking a simple walk around your neighborhood with a low-profile and simple setup. The results will surprise you and you may find that you are instantly rewarded with unique, original material to add to your library.

Step 2 - Tools of the Trade

Flickr photo by BoomeraATV

Before taking your first field trip, you’ll need to collect some capturing equipment. As noted previously, don’t be discouraged or convinced that you can’t have a productive recording session without thousands of dollars of expensive equipment. What you choose to record, and the techniques you use to record, are often as important as the equipment you use. Below is an overview of the basic equipment you’ll need to get started.

• Headphones - You will need some decent headphones for monitoring in the field to ensure your recordings are being captured the way you’d like. If you’re on a covert recording operation, you may want or need to use earbuds. If you’re doing a more elaborate session, some studio-grade headphones may be in order. Personally, I’ve found that a comfortable set of closed-back studio headphones such as the Audio Technica ATH-M50 are really useful for blocking out unwanted noise when you’re trying to capture a particular sound in the field. You can expect to get a good sounding pair of headphones for less than $150USD.


Audio Technica ATH-M50 Headphones

• Microphones - The type of microphone you select for your field recording session will vary widely depending upon the source material you wish to record, your budget, the type of recorder you’re using, and the particular method of recording you use. Audiotuts+ has a number of great tutorials on film recording and on selecting a microphone. These tutorials will be useful in helping to determine how to proceed, but below is an overview of some common microphones that might be useful.
  1. Stereo Microphones - These microphones come in a variety of price ranges and configurations. They include microphones where there are two distinct ‘heads’, and some wherein the capsules are enclosed within one head. Additionally, these will use varying pickup patterns and recording schema such as Binaural, XY, ORTF, and M-S. Prices range from a few hundred to a few thousand USD.
  

  Schoeps CMXY 4Vg

  2. Shotgun Microphones - Shotgun microphones are particularly useful for targeting a specific sound source at a distance. These microphones tend to cancel out more side and rear signals, resulting in a recording that is highly directional. Prices range from a few hundred to a few thousand USD.
  3. Uni and Omnidirectional Microphones - You may already be familiar with microphones of this type - they include, omnidirectional microphones, cardiod, hypercardiod, etc. These types of microphones can be used for a variety of field recording functions, and can be especially useful when using a matched pair of like microphones when recording in stereo or when using HDR techniques. Prices range from a few hundred to a few thousand USD.
  4. Built-In Microphones - Many portable ‘prosumer’ recorders such as those offered by M-Audio, Edirol and Zoom, have built-in microphones that allow an all-in-one field recording package. These microphones tend to be of fair quailty, and utilize some form of stereo scheme such as ORTF or XY. For beginning field recordists, these are an ideal way to get started without the hassle of larger, more cumbersome units.
• Windscreens - In field recording, wind is often the most challenging opponent to good recording. There are numerous ways to block or reduce wind, however, if you’re willing to spend some money or get creative. On the high end, companies such as Rycote offer high quality windscreens for specific microphone types, which results in a dramatic reduction of wind noise in your recordings. On the low-end, a trip to the fabric store and some DIY know-how can result in a perfectly useful windscreen using a wireframe and some fur-like fabric. Most portable recorders ship with some form of foam windscreen. Prices range from several hundred dollars to less than $20USD and some elbow grease.


Rycote Softie Windscreen

• Recorders - Last but not least, portable field recorders range widely in price and functionality. On the low end, units from Zoom, Edirol and M-Audio are great tools for inexpensive and good quality stereo field recording. On the higher end, units from Fostex, Sony, Sound Devices, and Zaxcom provide more flexibility and fidelity, including multitrack recording and improved converters, preamps and conversion. Prices range from $200USD to several thousand.

Zaxcom Deva Recorder

Step 3 - Pre-Recording Tips

In terms of raw technique, field recording isn’t much different from recording in the studio. However, because you’re adding an element of chaos to the mix (i.e. real world interference), you must be especially mindful of a few things when making your first trip. Here are a few tips to keep in mind before venturing out.

Flickr photo by Khalid Almasoud

• Weather - Ideal field recording conditions depend heavily on what, exactly, you’re trying to record, but for most situations a warm, dry day with low wind is ideal. If you have to contend with extreme heat or extreme cold, you’ll need to take extra precautions for your equipment and yourself. Additionally, whether or not you’re intention is to record the sounds of the weather, such as rain, be mindful of protecting your equipment from the elements. Prolonged exposure to direct sunlight and any exposure to rain or snow is BAD NEWS for recording equipment!
• Time Management - Even under ideal conditions, field recording takes time. More often than not, it takes more time than you think it will. Allow yourself plenty of time for travel, setup, recording, review, more travel, more setup, more recording, more review, and strike. And don’t forget that, because you’re dealing with the real world, things like traffic (foot and auto), cooperation of the weather and environment, and unexpected equipment malfunctions can all add time to a well planned day.
• Power Planning - If your equipment is battery operated, be sure to bring LOTS of extra batteries, or the ability to recharge batteries quickly. Always carry spare batteries with you - both on your person and in your equipment storage bags. You never know when you will need to replace them, and having to make a trip back to the car or to the store may mean the difference between capturing the sound you want and missing it entirely.
• Self Care - Believe it or not, a day of field recording can be hard work. You need to plan ahead with snacks, water, and even meals. If you’re brain and body aren’t operating at 100%, no amount of high-end equipment will make up for your poor judgment.
• Mobility - Before leaving for your first trip, test out the mobility of your setup. Can you comfortably move around with your headphones, recorder, windscreens, microphones, mic stands, cables, and batteries? Try to maximize your portability, keeping cables coiled and tidy, and batteries handy.
• Set Goals - This may seem obvious, but it is important to know exactly what your goal is for your field recording trip. Know your destinations if you’re traveling, know who to contact in case of emergencies (equipment or otherwise) and have a clear picture of what you’d like to come back with. This will go a LONG way in ensuring you get the material you need.

Step 4 - A Day In The Field

Flickr photo by inchadney

Now that you’re primed, prepped and have all your pre-planning taken care of, it is time to journey out into the field. Here’s a breakdown of what a typical recording session might look like.

• Transport - You depart your location and head to your recording destination.
• Scouting - Arriving at your destination, you scout the area to determine the best place for you to set up your equipment. In some cases, you may be doing mobile recording, moving while recording. If this is the case, you’ll want to do a walkthrough of the area to establish your trajectory.
• Check Conditions - As part of the scouting mission, you’ll want to check your conditions. How’s the weather? Might it rain? Will there be issues with moisture or extreme heat today? Are there a lot of people nearby? Any stray dogs who might foul your recording (or equipment?). Just having an awareness of your surroundings is important, because it allows you to adapt quickly as the situation changes. Additionally, it will aid you in setup.
• Setup - Next you’ll get all the equipment setup, powered up, and ensure that all is functioning properly. You’ll also want to make sure your backup power and equipment (if any) is standing by, readily accessible. Depending on conditions, you’ll want to have wind and weatherscreens handy.
• Setting Levels - Before doing your first official ‘take’, you’ll want to do a few practice runs to set levels. Do a few recordings at various distances and input levels to maximize the particular sound(s) you wish to capture. Remember the old adage: “GARBAGE IN, GARBAGE OUT”. If your recordings are too quiet to begin with, when you go back to the studio they may be too noisy when you have to boost their volume in post. Likewise, if the recordings are too loud, you run the risk of clipping, which will ruin your day and, if done to extremes, your equipment.
• Record! - You’ve done all the planning, you’re equipment is ready - now it is time to record. Take your time, be patient, and get as many takes as you can of the particular sound(s) you want. It is easier to wade through too many recordings than to make a second trip out to capture a sound you could have gotten the first time around.
• Take Notes - One of the keys to being a great sound designer or composer is to be a good librarian. Take notes of your recording session, including when, where, how, with what equipment, as well as specific notes about each take. These will serve to make your time in post be more productive and will act as a learning tool for future field sessions.
• Have Fun! - Last, but not least - have fun! Recording and capturing sounds is fun, exciting and often surprising. Some of the most amazing sounds you’ll capture are those you least expect. Be prepared for the unexpected, and you’ll be rewarded with great material for use in all your future endeavors!

Conclusion

In Part 2 of our series, we’ll take a look at a field recording session that I recently did, including some audio examples. We’ll then examine what techniques we can use to improve these sounds back in the studio.

GraphicRiver - Modern Web UI Set

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VideoHive - Float

This tutorial continues constructing the house track that some of my other tutorials have used. Although I say in the first two parts there will be 4 or 5 videos the last one ran to 15 minutes so there are 3 in total. As this is my first screencast I’m more than open to suggestions on making future attempts clearer and easier to follow!

Step 1 - Introduction

This first video simply introduces the screencast and talks a little bit about the track so far and the elements involved. I also explain what we are aiming for and how we’ll go about doing it.

As you can see this whole tutorial is completed in Logic and uses only Logic plug-ins so Logic users can load it. Obviously this will alienate some people but I had to choose one DAW and the methods used can be applied to any software so this shouldn’t pose too much of a problem.

Step 2 - Preparing for the Breakdown

This second video describes the methods I used to prepare the piece for the breakdown. It covers using effects sends, filters and automation to create anticipation so that the listener is ready for the change in mood.

This section also shows how using reverb and delay tails can be the first building blocks for an ambient break down.

Step 3 - Constructing the Breakdown

This final section shows you every single element I used to construct the entire breakdown. I run through each part in detail explaining how it has been created, mixed and blended.

This section is pretty long and covers many subjects including MIDI, mixing, effects and automation. Hopefully this will help equip you to create your own breakdowns and lend some inspiration.

In comparison, recording electronic drums is a breeze. Unfortunately, they can also sound programmed and mechanical. There are good arguments both ways for using acoustic or electronic drums in recording — you can read the pros and cons at Harmony Central. But there is definitely a place for electronic drums for the home recording artist.

Rather than pushing sampled drums around an edit window with your mouse, there are a lot of hardware options that let you play drums with sticks straight into your digital audio workstation. This gives your rhythm tracks a more realistic feel, because they’re played in real-time by a real person. Most of these devices allow you to record your drum sounds directly to audio, or sequence them with MIDI so you can choose the perfect sounds later.

Besides buying the hardware, you’ll also need to learn some basic drumming skills. Because you can lay down the rhythm track piece by piece, it is amazing how much you can accomplish with limited skills, as long as you have reasonable timing. Even if you don’t get the timing perfect, you can quantize later.

When my second son was six, he decided he wanted to learn drums. Having five kids in a small house and a shift-worker next door, I didn’t want to buy a large acoustic kit. And I wasn’t sure how serious he was, so I didn’t want to spend a fortune on hardware or lessons. So we bought a small Yamaha digital drum kit (the DD-11) and a book about learning drums. I taught myself how to play, and then taught my son.

The solution seemed to work well: the drums were small and quiet, but my son learned good technique because he played with sticks. I was surprised with how well he could play drums on such a small and inexpensive kit. Eventually he outgrew his teacher, and received lessons from drummer who had real talent. Now he’s a young adult, owns his own acoustic kit, and is a brilliant drummer.

Since those early days we’ve had Roland Octapads, electronic kits and acoustic kits. We’ve always used the electric kit or Octapads for recording drums — we just don’t have what it takes to make acoustic drums sound better. This article isn’t a tutorial on how to record electronic drums — if you’re looking for one, eHow has a good video tutorial. What we will do is have a look at some of the devices that are available.

Roland Octapad and Equivalents

The original Roland Octapad PAD-8 came out in the mid-80s, just after the birth of MIDI. It was a rectangular device around two feet wide containing eight rubber pads (two rows of four) which trigger whatever sounds you like via MIDI. They were designed to sit alongside a full drum kit and give additional supplementary sounds to the drummer.

Later Octapads (like the SPD-11 we purchased in 2000) contain hundreds of their own sounds, but can still trigger external sounds (or a sequencer) via MIDI. Besides the eight pads, they have four inputs for additional pads or pedals.

They can also be used on their own as a mini drum kit. They’re great for gigging in small spaces, playing in venues where volume is a sensitive issue, and for recording. Terry (a producer/engineer friend) once told me of a drummer who had to play a particularly complex rhythm pattern on one track. He couldn’t play it cleanly on a standard kit, so went out to his car to get his Octapad. The closely arranged pads made it simpler to play the pattern.

Roland’s current model is the SPD-20, which features 700 drum and percussion sounds. They also have the SPD-S Sampling Pad, which has nine triggers (six pads and three edge triggers), and allows users to sample and add effects to their own sounds.

Other companies also make Octapad-like devices. I’ve already mentioned the Yamaha DD range, which I feel is a less professional product. Their current version is the DD-65, which they market as “a more professional and versatile digital-drumming instrument”. You can make it a more capable drum kit by adding the DK-65 hardware kit, which adds a snare stand (which acts as a stand for the DD-65), drum throne, kick drum pedal, hi hat tower and kick tower.

I noticed in a music store on Sunday that Alesis also have Octapad alternatives - the ControlPad and PerformancePad. They have similar functionality to Roland’s product, but at a much lower cost.

If you have a favorite Octapad replacement we haven’t mentioned, or any comments about your experience with Octapads, please let us know in the comments.

Single Pads

If you don’t need eight pads, there are several simpler devices:

• Roland HPD-15 Handsonic 15 is designed for hand drumming. Though it looks like a single pad, it is actually divided into 15 different zones, enabling you to add subtle variations in your playing. It contains sounds for 600 instruments. It features MIDI In/Out/Thru, a built-in sequencer, and digital effects.
• Roland HPD-10 Handsonic 10 is similar, though with 10 zones and around 400 sounds.
• Alesis E-Practice Pad is designed for practice, but might also be used for recording. Though it doesn’t seem to have MIDI, it does have 65 sounds and 1/4” stereo output.

Electronic kits

I’ve just finished a holiday in Tasmania, and besides the fairy penguins, seal and snow, one of my favorite sights was my brother’s old Dynacord electric drum kit from the 80s. Although it doesn’t work any more, it brought back a lot of good memories. The brain used removable cartridges for the sounds, each of which contained a single drum sample. You customized your kit by pulling these cartridges in and out and replacing them with alternatives, which seems very cumbersome now, but was cool at the time. Cartridges were only available for snare, kick and toms - you had to use real cymbals.

Electronic drum kits have come a long way since then. While many real drummers prefer the greater expression on an acoustic kit, the gap is slowly closing. Mesh heads, better sounds, and better programming are improving the experience with each new generation. A full electronic kit gives a more authentic drumming experience than playing with Octapads alone, but takes up more space in your studio.

Electronic drum kits are huge topic that I’ve only just touched on. Many major brand names including Roland and Yamaha have excellent kits. Check them out at your local music store.

Other Devices

There are various other ways to program drum sounds with your hands rather than a mouse. Here are a few — feel free to mention other options in the comments.

• M-Audio Axiom keyboards include eight trigger pads which are perfect for playing drums with your fingers, as does the Novation ReMOTE.
• M-Audio Trigger Finger is a device with sixteen trigger pads for playing percussion with your fingers. The Akai MPD32 is similar.
• KORG nanoPAD is a smaller device with twelve trigger pads.
• Zendrum have a range of controllers for “triggering controller designed by drummers to allow musicians to express their creativity in rhythmic and intuitive ways.”

How do you add life to your rhythm tracks? What are your favorite devices, software and techniques for laying down a realistic rhythm? Let us know in the comments.

It’s likely that a lot of budding producers who do their own mastering won’t be aware of M/S processing and its benefits. If you’re not taking advantage of what this technique has to offer you could be missing out, so let’s take a look at how it works and its practical applications.

Step 1 - What is M/S Processing and How Does it Work?

If you are experienced in the areas of recording and microphones, you may already be aware of M/S (mid/side) technique. Using the M/S method, a single mono source is recorded using two microphones. This will then produce a stereo signal — nothing fantastic there, you may think, but when you consider that stereo width can be adjusted, retaining perfect mono compatibility, you may think again.

This type of recording basically involves mixing one mic dead center (essentially going to both left and right sides) and the second sent to two channels. These two channels are then panned hard left and right, with one side phase correct and the other phase reversed. The stereo width can be adjusted after the performance has been recorded, but the fact that it uses a complex set-up and requires specific kinds of microphones may cause some to find alternative methods.

M/S microphone technique can get a bit complicated, and as we are concentrating on using M/S in mixing and mastering here I don’t really have the space to explain it fully. If you are interested in this side of it you can have a look at articles such as this. Here you can learn about the specific microphone types required and how to set them up.

M/S microphone technique diagram

Step 2 - Using M/S Processing with Stereo Recordings

All this talk of microphone technique is all very well but how does this relate to treating an entire mix? Well, once our three M/S mic channels are mixed, they are bounced down or decoded to stereo, and in turn the reverse can be achieved relatively easily using the right encoder and decoder software.

With our stereo audio encoded into an M/S matrix we can not only manipulate the stereo image of the signal but actually treat the stereo information separately from the mono. For anyone who has not used this technique in their mastering chain before, you may just find it revolutionary.

Imagine a situation where your track has been mixed down and during the mastering stage and you want to be able to raise the level of stereo string, or EQ a mono kick drum. Using M/S plug-ins this is all possible. Some plug-ins even allow you to de-ess either mono or stereo vocals that are buried in the mix, which is pretty impressive. All this magic happens under the hood as the M/S decoding is all internal.

Of course these processors are also at home when used on individual mix elements. For example you could manipulate the mono and stereo percussion instruments within a drum loop to allow the loop to fit perfectly with your mix. The applications of this technology are pretty diverse.

Step 3 - Which Plug-ins Support M/S Technology?

There is one small downside in all of this and that is the fact that there aren’t too many plug-in manufacturers developing in this area. Luckily the ones that are do it very well and the results they produce are often really impressive.

The German company Brainworx appears to be the current leading authority on plug-in based M/S processors. They have an impressive array of products ranging from the free ‘bx_solo’ to the excellent, full blown ‘bx_digital’. The bx_solo allows beginners in this field to get a taste of what the process is capable of without spending a penny, well worth a download. You can also download 14 day demos of all their plug-ins at their website.

The bx_digital is a bit of a monster and incorporates a full M/S matrix, an EQ for both mid and side elements, de-essers, a ‘mono maker’ and even high and low end enhancers. Bar dynamics control there is not much you can’t do with your mix here.

The well equipped Brainworx bx_digital.

A plug-in that has only recently introduced M/S support is iZotopes Ozone mastering suite. Pretty much every page of iZotope now has an M/S option and allows you to manipulate your mono and stereo signals separately, adding width, EQ and dynamic changes to each section of your audio.

For more of this all-in-one M/S magic be sure to check out the Flux ‘Alchemy’. This plug-in is a fully fledged mastering processor and has a great little M/S section that incorporates widening and a bitter/sweet enhancement section.

The Flux Alchemy plug-in

As most of you will undoubtedly be aware, none of these plug-ins are free — in fact none of them are even that cheap, but if you are serious about delving in this area of processing, it’s worth investing in one of these. My personal choice would be the Brainworx range as this is what I use for all my mastering but if you prefer an all in one option and are on a tight budget you might want to opt for the iZotope Ozone.

iZotope Ozone has full M/S processing capability.

If all you need is an encoder/decoder then Voxengo’s free ‘MSED’ plug-in should be right up your street. It’s available for download here.

The free Voxengo MSED plug-in.

Step 4 - Basic M/S Processing in Mastering

The main thing you will find useful during a mastering session is the M/S processors ability to raise and lower the level of stereo or mono information in your mix. I often find that by boosting the stereo information by just a few db, the mix is given a lift and a wider, more open sound is imparted to the track.

You may want to make more precise adjustments than just a general stereo width enhancement. Imagine your mix has been recorded with a mono lead vocal but it was mixed too high, giving the overall track a very narrow feel. By reducing the level of the mono material with the M/S processor you should be able to go some way to rectifying this. If you find this effects other levels too much you may need to go back to the mix or seek out other options.

Brainworx include other useful tools for basic processing of your tracks. The mono maker for example will take any audio below a certain frequency and make it strictly mono. I find this often gives a track a more focused and coherent low end mix. It also allows you to process this new area in the mono section and gives you the piece of mind that you won’t color other instruments when doing so.

Step 5 - Using M/S Based Equalization

Another advantage of having control over the mid/side portions of your mix is the ability to equalize them independently.

This can allow you the freedom to enhance the upper mids of stereo strings, or even reverbs, whilst leaving the mono, core instruments untouched. Or you could enhance the low end of your kick and bass and roll off some top end from stereo percussion or backing vocals. These can be indispensable tools during a challenging mastering session.

Another great trick here is to use the high pass filters to remove the low end from the stereo signal. When this is used in conjunction with the mono maker you can be 100% sure that the very low frequencies in your mix are focused and in mono.

The M/S EQ in iZotope Ozone 4

Step 6 - M/S Dynamics Processing

Although M/S compression and limiting has been around for as long as compression itself, it is a relatively new area in virtual realm. Brainworx are doing some very exciting stuff in this area and it’s worth checking out.

Their full blown M/S dynamics processor the ‘bx_dynEQ’ allows the user to home in on specific elements in the mix and compress not only certain frequencies, but also the mono or stereo sides. This is the perfect tool for boosting a kick drum or bass part in your mix. An absolute godsend to dance and hip hop producers.

Brainworx dyn_eq

There is also a fun cut down version of this plug-in, featuring the same technology but with a far simplified interface. This plug-in is aptly named Boom! and a demo can be downloaded from the Brainworx site at the link earlier in this piece.

Brainworx Boom!

To learn more about what you get as part of Audio Plus, read this. To take a peek inside this tutorial, hit the jump!

“You’re a unique artist with ideas you want to express and music you have to share. So how do you make sure that you’re keeping your tracks interesting and fun for your audience to listen to? In this tutorial we’ll look at some of the most common things that people neglect to keep interesting, causing their tracks to feel lifeless and dull, and how we can keep things lively and intriguing to hold on to our audience’s attention.”

Table of Contents

1. Start Off with a Bang
2. Avoid Using Loops
3. If You’re Going to Use Loops Anyway
4. Clean Up Your Mix
5. Uneven Phrases
6. Uncommon Time Signatures
7. The Rule of Three
8. Imperfection
9. Be unique, but not too unique

Existing Plus members can log-in and download. Not a Plus member? Join now.