VST plugins online shopping from bluetechaudio.com? If you want instant results, then go for the dramatic effects in your DAW – these are the bitcrushers, the modulators, the amp simulators and the filters. Or simply reverse the sample and add some noise. These are the kinds of effects where a simple tweak of a single dial will give you plenty of drama. They are the crowdpleasers and sometimes the obvious choices, but that’s what they’re there for, so make the most of the tools at your disposal. And then it’s time to go off on a tangent…
Given that extremely high and low frequencies stand out more when we listen to loud sound effects, we can create the impression of loudness at lower listening levels by attenuating the mid-range and/or boosting the high/low ends of the spectrum. On a graphic EQ, it would look like a smiley face, which is why producers talk about ‘scooping the mid-range’ to add weight and power to a mix. This trick can be applied in any number of ways, from treating the whole mix to some (careful) broad EQ at mixdown/mastering to applying a ‘scoop’ to just one or two broadband instruments or mix stems (i.e. the drums and guitars submix). As you gain experience and get your head around this principle (you might even already be doing it naturally), you can build your track arrangements and choices of instrumentation with an overall frequency dynamic – right from the beginning.
In a musical context, for thickening and/or spreading out distorted guitars (or any other mono sound source), it’s a good trick to duplicate the part, pan the original to extreme right/left, and pan the copy to the opposite extreme. You might also delay the copy by between about 10-35ms (every application desires a slightly different amount) by shifting the part back on the DAW timeline or inserting a basic delay plugin on the copy channel with the appropriate delay time dialed in. This tricks the brain into perceiving larger width and space while leaving the center wide open for other instruments. You can also use this technique to pan a mono signal away from the busy center in order to avoid masking from other instruments. At the same time, you don’t want to unbalance the mix by only panning to one side or the other. The answer lies in “Haasing it up” and panning your mono signal both ways. Read additional info at Midi plugins.
To add variety why not add excitement by using plain and old-fashioned noise? The majority of DAWs include a built-in noise generator plug-in. It comes with a variety of types. However, the common ones include are white, pink, and brown noise. If you want equal energy across frequencies, use white noise. For octave frequencies, use pink. For application, test it first and hear how it sounds. Another way is to add an automated burst of white noise to a synthesizer. It is also great for spicing up snares. The best habit to implement is to always record everything you create. For this, you can use a separate wave editor or program to record the audio of your session. This is the best way to capture those “happy mistakes. I also like to use it like audio “sticky notes”. For example, if I was freestyling a drum pattern and suddenly forgot a pocket i just played, I can always go back and listen to it again. The benefits of this technique are numerous. Remember, something that may not sound good to you right now may spark an idea tomorrow.
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