- published: 20 Mar 2012
- views: 108494
Gated reverb is an audio processing technique that is applied to recordings of drums (or live sound reinforcement of drums in a PA system) to make the drums sound powerful and "punchy," while keeping the overall mix clean and transparent-sounding. The gated reverb effect, which was most popular in the 1980s, is made using a combination of strong reverb and a noise gate.
Unlike many reverberation or delay effects, the gated reverb effect does not try to emulate any kind of reverb that occurs in nature.
The gated reverb effect became highly popular as part of the strongly syncopated sound of 1980s pop, rock and funk. Two early and prominent uses of the effect were associated with Peter Gabriel, Phil Collins and Hugh Padgham: first in the production of the third Peter Gabriel solo album (with drumming on a few tracks by Collins and engineering by Padgham), notably the opening track "Intruder", and half a year later on Collins' hit single "In the Air Tonight", produced by Collins and Padgham.
Philip David Charles "Phil" Collins, LVO (born 30 January 1951), is an English singer, songwriter, musician, producer, actor and author. He is best known as the drummer and lead singer in the rock band Genesis and as a solo artist. Between 1983 and 1990, Collins scored three UK and seven US number-one singles in his solo career. When his work with Genesis, his work with other artists, as well as his solo career is totalled, Collins had more US top 40 singles than any other artist during the 1980s.
Born and raised in London, Collins played drums from the age of five and completed drama school training, which secured him various roles as a child actor. He then pursued a music career, joining Genesis in 1970 as their drummer and becoming lead singer in 1975 following the departure of Peter Gabriel. Collins began a solo career in the 1980s, initially inspired by his marital breakdown and love of soul music, releasing a series of successful albums, including Face Value (1981), No Jacket Required (1985) and ...But Seriously (1989). His most successful singles include "In the Air Tonight", "Against All Odds", "Sussudio" and "Another Day in Paradise", becoming "one of the most successful pop and adult contemporary singers of the '80s and beyond". He also became known for a distinctive gated reverb drum sound on many of his recordings. After leaving Genesis in 1996, Collins pursued various solo projects before a return in 2006 for the Turn It On Again Tour. In 2011, he retired to focus on his family life, but continued to write songs. He announced his return to the music industry in 2015.
Reverberation, in psychoacoustics and acoustics, is the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture, people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude.
Reverberation is frequency dependent: the length of the decay, or reverberation time, receives special consideration in the architectural design of spaces which need to have specific reverberation times to achieve optimum performance for their intended activity. In comparison to a distinct echo that is a minimum of 50 to 100 ms after the initial sound, reverberation is the occurrence of reflections that arrive in less than approximately 50 ms. As time passes, the amplitude of the reflections is reduced until it is reduced to zero. Reverberation is not limited to indoor spaces as it exists in forests and other outdoor environments where reflection exists.
Gated Reverb (Phil Collins Snare Reverb Sound)
Creating a Gated Reverb effect on a Snaredrum
Getting Powerful '80s Drums with Gated Reverb
Ableton Gated Reverb Tutorial Enhanced Groove
Gated Reverb Effect - how to create - Creating Tracks
Gated reverb snare
Into The Lair #44 - Various Types of Reverbs
How to replicate classic '80s-style gated drum reverb in your DAW
NI Massive Tutorial - Gated Reverb Effect
Phil Collins - In The Air Tonight (Original Demo)
Mr Müller (former assistant of Stockhausen) performing on generator, radio and 3 tape machines
.:::. wELCOMe tO tHe eLECTRIc jUNGLe .:::.
sunday autumn drone - bit-rot étude #001
Constellation Matrix
Hey everyone, today I will be showing you a standard trick in that engineer's use to get that staple 80's snare sound popularized by artists such as Phil Collins using the Noise Gate plug in in Logic Pro. Download Preset Here: http://www.box.com/s/8ef255c6bae249acbbf6 Please remember to subscribe for more great videos!!
In this tutorial we're looking how to create a gated reverb effect. A gated reverb is a Reverb with a very long reverb-tail which gets cut-off by a gate. The gate get's triggered on it's key-input by the Snare-drum, this allows us to control the length of the 'reverb tail' with use of the gate's hold and release setting. It sounds very complicated, just check out the video and you'll see what I mean. Also I experimented by sending a vocal-sound to the same reverb-channel, this gave some very interesting results.. Check it out! ----------------------------------------------------------------------------------- ...Presented by Wick for WickieMedia audio tutorials... Find us online : http://www.wickiemedia.net http://www.twitter.com/#/wickiemedia http://www.facebook.com/wickiemediatutori...
In this tutorial, I discuss gated reverb: an audio processing technique made popular in the 80s by the likes of Phil Collins which adds power and punch to snares, kicks and toms. I explain the theory behind the concept, and also demonstrate how to put it into practice using free plugins in Logic Pro X. Voxengo OldSkoolVerb: http://www.voxengo.com/product/oldskoolverb/ Thanks for watching, feel free to subscribe and drop your comments below. Tell me what you’d like to see next and/or ask me anything. Stay classy, Killstarr. https://soundcloud.com/killstarr http://killstarr.bandcamp.com http://www.facebook.com/killstarr http://www.twitter.com/killstarr_
This Ableton Reverb Tutorial shows you how to use Gated Reverb to thicken out drums such as claps, snares, toms and other percussion. This sound design tutorial works perfectly for all underground dance music genres including Deep House, Tech House and Techno. Ableton Live 9 contains a new gate effect with a display that makes setting the threshold a breeze. Using this device we can easily tailor our reverb so it sits perfectly with the track and enhances our drum patterns and grooves. At Quantize Courses we focus on how to use Ableton Live creatively and effectively to finish more music. If you're a music producer who uses Ableton to create your tracks, we'd love to have you subscribe and join us! 1:28 chuck a gate device after the reverb. 2:51 set your release on your gate now 3:39 be...
This quick pro tip will show you how to easily create your very own gated reverb effects in a matter of seconds! You hear it in many forms of modern music, especially in electronic dance and post rock genres that features hypnotic and immersive instrumentation. It's called a gated reverb effect and it's incredibly simple to set up all on your own! This video tutorial shares how to do in in a few quick steps and you can use it on just about any sound or instrument you can imagine, including vocals. To pull this one off successfully you need to pay attention to the small details. Get the timing right and definitely make sure to eliminate any unnecessary frequencies in that reverb tail so it doesn't compete with the music itself. The gated reverb effect is a perfect way to not only add more...
In the 44th "Into The Lair", Dave Pensado discusses how he uses various different types of reverb effects in various applications.
How to get retro, beefed-up drum sounds using plug-ins
Get more Massive tutorials http://www.massivesynth.com In this tutorial, Echo Sound Works shows you how to get a little more out of the stock reverb in Massive by using modulation to create a gated reverb style effect. Now this technique doesn't actually use a noise gate, but the sound and overall result can be similar. Al you have to do is modulate the Dry/Wet with an envelope. The key is to modulate in a negative, or left direction, and make sure you not only turn up the attack a little on the envelope, but also the delay. You need to turn up the delay because that is what lets some of the dry sound through first and then the wet, processed sound. This is a great technique for leads and basses that need to fill a lot of space in drops and chorus sections.
From the P.C fanclub. This seems to be the demo of the final stages before publishing, even though it misses the Collins trademark, gated drum sound.
Mr Müller (former assistant of Karl Heinz Stockhausen) performing on sine wave generator, fm radio and 3 tape machines - one used to gate the sound input and 2 used to make echo and reverb and overdub. At the reconstructed original WDR studio für electronische Musik in Cologne Germany thanks to Hubert Steins part of Opekta residency and Boutique events
LIVE MODULAR TRACK RECORDED IN ONE TAKE WITHOUT OVERDUBBING! Musical Elements: "B-Boy Flange Hats" Mungo dDS noise channel activated via trigger in modification. Flanging effect via Yamaha AD-202 Analog Delay. "Conga Heart Beat" MFB Drum-06 Tom Tom module into Analogue Systems RS-100 Low Pass Filter. The tom interchanges as a fill with the kick drum via alternating switching by using VCAs with an Intellijel Flip Flop. "Snappy Chorus Claps" Sound of a Pittsburgh Modular Generator frequency modulated by itself and white noise. The internal VCA of the Generator is controlled by an Analogue Systems RS-60 Envelope. It then goes into a Doepfer A-136 Distortion/Waveshaper and on into a Flight of Harmony Sound of Shadows delay. "Rubber Bass Kicks" MFB Drum-04 Bass Drum module Sequenced by ...
Exploration of bit-rot* on a Sunday in November. The two outputs of the Harvestman's Hertz Donut dual oscillator are combined with bit-rot and processed in parallel by two Make Noise QMMG channels - one in lowpass gate mode and one in lowpass filter mode. Reverb and stereo spread added by Jomox T-Resonator. * a collection of 8 voltage-controlled waveform-combination and bit-manipulation effects github.com/segoh/bit-rot
A patch utilizing the WMD Sequential Switch Matrix as a routing switch for incoming gates. Gate sources are four channels of the 4ms SCM which are routed to the Cylonix Shapeshifter, TipTop BD808, Mutable Instruments Braids and Harvestman Hertz Donut MKII. Another output of the 4ms SCM is sequencing through the matrixes via the SSM step/gate input which results in complex and evolving percussion patterns. Ambient melody is an original piano recording played back via the Qu-bit Electronix Nebulae in loop mode with various time and pitch manipulation, This is then fed through the Serge Resonant Equalizer and Modcan Dual Delay for further modulation. Additional accent melody coming from the Synthesis Technology E350 though the Flame FX6 reverb and Modcan Phaser with an envelope being trigg...
Modular track I recorded late last night. Everything clocked from one intellijel Dixie to a Doepfer A-160,161, MakeNoise Brains, Pressure Points X 2. Clock division gates sent out from the 4ms SCM, and RCD. Beats courtesy of the CycleBox II and TipTop BD808 kick. Make noise phonogene processing the cwejman S1 analogue percussion zaps. String layer and and lead created with a Cwejman VM-1 and VCO2RM with the help of a intellijel uScale quantizer/MMF-1/ washed through a bit of reverb from the Eventide Space, and Tiptop Z-DSP, Z-5000. finally the Op-1doing light sine tone sprinkles... Get the full download of the track on the digi-release of RiSP Note: No drum machines or computers used in this video.
First little jam using the Intellijel Metropolis sequencer into the Shapeshifter. Everything is clocked from the Metropolis "CLK"output. Pitch multiple outputs into the pitch input 1 on Shapeshifter. The gate outputs running into a clock input and chaos input on the MakeNoise Wogglebug. The random burst gate output is then taken out into the sync input on the Shapeshifter, in conjunction with another gate output (stack able cable) from the Metropolis sequencer. I was trying an experiment to see how the Shapeshifter would work as a wavetable indexing oscillator. I choose wavetables 2 through 64 and selected random sequence mode. The combination of both clock signals created a shifty like sequencing arrangement. The cluster sine based shepard tones are courtesy of the synthesis technology/mo...
Third patch outtake from the Creature series. This patch was contrived completely using only these MakeNoise modules, Pressure Points, Rene, Optomix, Moddemix, Wooglebug, Maths, DPO (Dual Prismatic Oscillator), Echophon, and Phonogene. The patch was clocked using the Wooglebug as the main tempo, and then sent to 4 different sources. Trills courtesy of the Maths output then triggering sporadically the strike inputs on the Optomix. Rene CV plots the pitch inputs on the DPO and fluttering CV/Gate data to the Phonogene. Woogle stepped out controlling various parameters on Echophon, and Phonogene for extra animation. Reverb splashes by the Eventide Space pedal which was used on the Echophon feedback output and return. One output on pressure points to toggle on and off the freeze function on Ech...
This is a patch I created using my new Doepfer modular synthesizer. Basically, the LFO (A143-3) I'm tweaking goes into the clock divider (A160) and clock sequencer(A161), giving me the gates to trig the quad ADSR (A143-2). I'm using three filters, one set to resonate (making the tinkly sound) and another resonating swept very low for the kick. The source is white noise. Hope you like it! (By the way, although the Doepfer is going through a Nanoverb, it's bypassed. The reverb you hear is the A199 Doepfer Spring Reverb.)
This patch focused on using the 4ms Quad clocking distributor (QCD) module as the main brain to trigger the drums and musical sequences. The source clocking generator was the delptronics triggerman running in pattern mode. I set up 8 stored sequences that had slightly different shifted gate positions, and then outputted these assignments to the 4 channels on the 4ms OCD, and then took those outputs into separate gate triggers for the drum/snare/high-hats. The Modcan QLFO was also being clocked from the delptronics trigger man. Running from LFO output 1 in random stepped mode causing ever changing CV changes to the CV Clock Divider/Multiplier inputs, which gave the sequencing this interesting pace. I kept the sound sources very simple and limited. Using just 3 different intellijel dixies as...
A modified patch/experiment from the Brain Seed Chronicles Page 10 "Funky Rhythm Generation" This patch was a experiment to see how the Brain Seed could be used as an interesting random rhythm generator. The patch was clocked from one intellijel dixie then sent to the seed cycle input. The main analog percussion is being generated by using the "Seed" output going into the 1/volt CV inputs on a MakeNoise DPO, which is then running into one Optomix for fast attacks triggers. There is a second patch cable running into a MakeNoise Brains and two Pressure Points triggering the delay time/offset on a Synthesis Technology E580 Resampling mini-delay (BBD Mode). Feed back clocked/control from the K4815 Pattern Generator. Trigger out from the Brain Seed is running into a 4ms SCM with breakout V2....
Hey everyone, today I will be showing you a standard trick in that engineer's use to get that staple 80's snare sound popularized by artists such as Phil Collins using the Noise Gate plug in in Logic Pro. Download Preset Here: http://www.box.com/s/8ef255c6bae249acbbf6 Please remember to subscribe for more great videos!!
In this tutorial we're looking how to create a gated reverb effect. A gated reverb is a Reverb with a very long reverb-tail which gets cut-off by a gate. The gate get's triggered on it's key-input by the Snare-drum, this allows us to control the length of the 'reverb tail' with use of the gate's hold and release setting. It sounds very complicated, just check out the video and you'll see what I mean. Also I experimented by sending a vocal-sound to the same reverb-channel, this gave some very interesting results.. Check it out! ----------------------------------------------------------------------------------- ...Presented by Wick for WickieMedia audio tutorials... Find us online : http://www.wickiemedia.net http://www.twitter.com/#/wickiemedia http://www.facebook.com/wickiemediatutori...
In this tutorial, I discuss gated reverb: an audio processing technique made popular in the 80s by the likes of Phil Collins which adds power and punch to snares, kicks and toms. I explain the theory behind the concept, and also demonstrate how to put it into practice using free plugins in Logic Pro X. Voxengo OldSkoolVerb: http://www.voxengo.com/product/oldskoolverb/ Thanks for watching, feel free to subscribe and drop your comments below. Tell me what you’d like to see next and/or ask me anything. Stay classy, Killstarr. https://soundcloud.com/killstarr http://killstarr.bandcamp.com http://www.facebook.com/killstarr http://www.twitter.com/killstarr_
This Ableton Reverb Tutorial shows you how to use Gated Reverb to thicken out drums such as claps, snares, toms and other percussion. This sound design tutorial works perfectly for all underground dance music genres including Deep House, Tech House and Techno. Ableton Live 9 contains a new gate effect with a display that makes setting the threshold a breeze. Using this device we can easily tailor our reverb so it sits perfectly with the track and enhances our drum patterns and grooves. At Quantize Courses we focus on how to use Ableton Live creatively and effectively to finish more music. If you're a music producer who uses Ableton to create your tracks, we'd love to have you subscribe and join us! 1:28 chuck a gate device after the reverb. 2:51 set your release on your gate now 3:39 be...
This quick pro tip will show you how to easily create your very own gated reverb effects in a matter of seconds! You hear it in many forms of modern music, especially in electronic dance and post rock genres that features hypnotic and immersive instrumentation. It's called a gated reverb effect and it's incredibly simple to set up all on your own! This video tutorial shares how to do in in a few quick steps and you can use it on just about any sound or instrument you can imagine, including vocals. To pull this one off successfully you need to pay attention to the small details. Get the timing right and definitely make sure to eliminate any unnecessary frequencies in that reverb tail so it doesn't compete with the music itself. The gated reverb effect is a perfect way to not only add more...
In the 44th "Into The Lair", Dave Pensado discusses how he uses various different types of reverb effects in various applications.
How to get retro, beefed-up drum sounds using plug-ins
Get more Massive tutorials http://www.massivesynth.com In this tutorial, Echo Sound Works shows you how to get a little more out of the stock reverb in Massive by using modulation to create a gated reverb style effect. Now this technique doesn't actually use a noise gate, but the sound and overall result can be similar. Al you have to do is modulate the Dry/Wet with an envelope. The key is to modulate in a negative, or left direction, and make sure you not only turn up the attack a little on the envelope, but also the delay. You need to turn up the delay because that is what lets some of the dry sound through first and then the wet, processed sound. This is a great technique for leads and basses that need to fill a lot of space in drops and chorus sections.
From the P.C fanclub. This seems to be the demo of the final stages before publishing, even though it misses the Collins trademark, gated drum sound.
Mr Müller (former assistant of Karl Heinz Stockhausen) performing on sine wave generator, fm radio and 3 tape machines - one used to gate the sound input and 2 used to make echo and reverb and overdub. At the reconstructed original WDR studio für electronische Musik in Cologne Germany thanks to Hubert Steins part of Opekta residency and Boutique events
LIVE MODULAR TRACK RECORDED IN ONE TAKE WITHOUT OVERDUBBING! Musical Elements: "B-Boy Flange Hats" Mungo dDS noise channel activated via trigger in modification. Flanging effect via Yamaha AD-202 Analog Delay. "Conga Heart Beat" MFB Drum-06 Tom Tom module into Analogue Systems RS-100 Low Pass Filter. The tom interchanges as a fill with the kick drum via alternating switching by using VCAs with an Intellijel Flip Flop. "Snappy Chorus Claps" Sound of a Pittsburgh Modular Generator frequency modulated by itself and white noise. The internal VCA of the Generator is controlled by an Analogue Systems RS-60 Envelope. It then goes into a Doepfer A-136 Distortion/Waveshaper and on into a Flight of Harmony Sound of Shadows delay. "Rubber Bass Kicks" MFB Drum-04 Bass Drum module Sequenced by ...
Exploration of bit-rot* on a Sunday in November. The two outputs of the Harvestman's Hertz Donut dual oscillator are combined with bit-rot and processed in parallel by two Make Noise QMMG channels - one in lowpass gate mode and one in lowpass filter mode. Reverb and stereo spread added by Jomox T-Resonator. * a collection of 8 voltage-controlled waveform-combination and bit-manipulation effects github.com/segoh/bit-rot
A patch utilizing the WMD Sequential Switch Matrix as a routing switch for incoming gates. Gate sources are four channels of the 4ms SCM which are routed to the Cylonix Shapeshifter, TipTop BD808, Mutable Instruments Braids and Harvestman Hertz Donut MKII. Another output of the 4ms SCM is sequencing through the matrixes via the SSM step/gate input which results in complex and evolving percussion patterns. Ambient melody is an original piano recording played back via the Qu-bit Electronix Nebulae in loop mode with various time and pitch manipulation, This is then fed through the Serge Resonant Equalizer and Modcan Dual Delay for further modulation. Additional accent melody coming from the Synthesis Technology E350 though the Flame FX6 reverb and Modcan Phaser with an envelope being trigg...
Modular track I recorded late last night. Everything clocked from one intellijel Dixie to a Doepfer A-160,161, MakeNoise Brains, Pressure Points X 2. Clock division gates sent out from the 4ms SCM, and RCD. Beats courtesy of the CycleBox II and TipTop BD808 kick. Make noise phonogene processing the cwejman S1 analogue percussion zaps. String layer and and lead created with a Cwejman VM-1 and VCO2RM with the help of a intellijel uScale quantizer/MMF-1/ washed through a bit of reverb from the Eventide Space, and Tiptop Z-DSP, Z-5000. finally the Op-1doing light sine tone sprinkles... Get the full download of the track on the digi-release of RiSP Note: No drum machines or computers used in this video.
First little jam using the Intellijel Metropolis sequencer into the Shapeshifter. Everything is clocked from the Metropolis "CLK"output. Pitch multiple outputs into the pitch input 1 on Shapeshifter. The gate outputs running into a clock input and chaos input on the MakeNoise Wogglebug. The random burst gate output is then taken out into the sync input on the Shapeshifter, in conjunction with another gate output (stack able cable) from the Metropolis sequencer. I was trying an experiment to see how the Shapeshifter would work as a wavetable indexing oscillator. I choose wavetables 2 through 64 and selected random sequence mode. The combination of both clock signals created a shifty like sequencing arrangement. The cluster sine based shepard tones are courtesy of the synthesis technology/mo...
Third patch outtake from the Creature series. This patch was contrived completely using only these MakeNoise modules, Pressure Points, Rene, Optomix, Moddemix, Wooglebug, Maths, DPO (Dual Prismatic Oscillator), Echophon, and Phonogene. The patch was clocked using the Wooglebug as the main tempo, and then sent to 4 different sources. Trills courtesy of the Maths output then triggering sporadically the strike inputs on the Optomix. Rene CV plots the pitch inputs on the DPO and fluttering CV/Gate data to the Phonogene. Woogle stepped out controlling various parameters on Echophon, and Phonogene for extra animation. Reverb splashes by the Eventide Space pedal which was used on the Echophon feedback output and return. One output on pressure points to toggle on and off the freeze function on Ech...
This is a patch I created using my new Doepfer modular synthesizer. Basically, the LFO (A143-3) I'm tweaking goes into the clock divider (A160) and clock sequencer(A161), giving me the gates to trig the quad ADSR (A143-2). I'm using three filters, one set to resonate (making the tinkly sound) and another resonating swept very low for the kick. The source is white noise. Hope you like it! (By the way, although the Doepfer is going through a Nanoverb, it's bypassed. The reverb you hear is the A199 Doepfer Spring Reverb.)
This patch focused on using the 4ms Quad clocking distributor (QCD) module as the main brain to trigger the drums and musical sequences. The source clocking generator was the delptronics triggerman running in pattern mode. I set up 8 stored sequences that had slightly different shifted gate positions, and then outputted these assignments to the 4 channels on the 4ms OCD, and then took those outputs into separate gate triggers for the drum/snare/high-hats. The Modcan QLFO was also being clocked from the delptronics trigger man. Running from LFO output 1 in random stepped mode causing ever changing CV changes to the CV Clock Divider/Multiplier inputs, which gave the sequencing this interesting pace. I kept the sound sources very simple and limited. Using just 3 different intellijel dixies as...
A modified patch/experiment from the Brain Seed Chronicles Page 10 "Funky Rhythm Generation" This patch was a experiment to see how the Brain Seed could be used as an interesting random rhythm generator. The patch was clocked from one intellijel dixie then sent to the seed cycle input. The main analog percussion is being generated by using the "Seed" output going into the 1/volt CV inputs on a MakeNoise DPO, which is then running into one Optomix for fast attacks triggers. There is a second patch cable running into a MakeNoise Brains and two Pressure Points triggering the delay time/offset on a Synthesis Technology E580 Resampling mini-delay (BBD Mode). Feed back clocked/control from the K4815 Pattern Generator. Trigger out from the Brain Seed is running into a 4ms SCM with breakout V2....
Mixing a Song. Professional audio engineer checks a project of his student in real time. How to use plugins. How to EQ. How to use a compressor. How to mix drums. How to mix an acoustic guitar. How to mix vocals. Parallel compression. How to eq a snare. overheads. Music Production. Music writing. Audio Mixing. Audio Production. Mastering. Professional Mixing Course. Gibson J45. AKG C12. SSL Super Analogue. U87. AMS Neve 1073. Best approach in mixing. Chris Lord-Alge. Andrew Zeleno. How to prepare a project for mixing. Theory of a Deadman. Santa Monica. How to record drums. how to get decent snare. Waves. SSL Channel. 1176. CLA-76. REQ6. Renaissance EQ. How to gate drums. muddiness. Sharpness. Upper Mid range. Low Mid frequency. High frequencies. Boost. Gain. AKG c1000. Presonus Faderport. ...
Jetzt bei session kaufen: http://www.session.de/TC-ELECTRONIC-HyperGravity-Compressor.html?campaign=youtube/E-Gitarre/TC_Electronic_Hyper_Gravity http://www.session.de/TC-ELECTRONIC-Arena-Reverb.html?campaign=youtube/E-Gitarre/TC_Electronic_Arena http://www.session.de/TC-ELECTRONIC-Sentry.html?campaign=youtube/E-Gitarre/TC_Electronic_Sentry Supported by GoPro: http://www.session.de/GoPro
► INSCREVE-TE NO CANAL E ATIVA O 🔔 DAS NOTIFICAÇÕES! Ableton LIVE - 50 DICAS em Português - Iniciantes (PT/BR) Super tutorial de 1h30m. As principais dicas práticas de LIVE 9, exemplificadas e acompanhadas com o Novation Launchpad. Inscreva-se, Comente, Partilhe. Novos vídeos todas as semanas! Lista de Reprodução completa para o curso gratuito de Ableton LIVE 9 2016/2017: http://goo.gl/4rCJCd FICHA TÉCNICA Comentários, Captura e Gravação: Remagic Produção do Vídeo: Remagic Músicas no vídeo: Youtube Common Creations Host: KV Music Beats - 1º Canal de Ableton LIVE no Youtube PT Apoio: BEATZONE (http://www.beatzone.tk) ÍNDICE COMPLETO ------------------------------------------- 1 - SESSION VIEW / ARRANGEMENT VIEW ( TAB ) 2 - DUPLICATE ( CTRL + D ) 3 - CONSOLIDATE ( CTRL + J ) 4 - HELP ( SH...
Join me : http://www.all4musician.com/musicians/Quaraz Summary : [Transparency Check] 00:07 [Chorus Effects Section] 00:36 [Chorus] 00:39 Sample sound with no effects [Chorus] 01:05 Corona Cho [Chorus] 01:30 Chorus [Chorus] 01:55 Vintage CE [Chorus] 02:20 ANA 234 Cho [Chorus] 02:45 CE-Cho5 [Chorus] 03:10 Clone Chorus [Chorus] 03:35 Super Cho [Chorus] 04:00 Mirage Chorus [Chorus] 04:27 Stereo Cho (mono) [Chorus] 04:52 Corona Tri [Chorus] 05:19 Ensemble [Chorus] 05:43 Silky Chorus [Chorus] 06:08 Detune [Chorus] 06:34 Bass Chorus [Chorus] 06:58 Bass Detune [Chorus] 07:23 Bass Ensemble [Chorus] 07:48 Flanger [Chorus] 08:14 Bass Flanger [Chorus] 08:40 Vibrato [Chorus] 09:06 Phaser [Chorus] 09:37 The Vibe [Chorus] 10:02 Pitch SHIFT [Chorus] 10:47 HPS (Harmonizer) [Chorus] 11:10 Bass Pitch...
Logic Pro X - Mixing Acoustic Drums - Tutorial - Logic Pro 10 - In this video I recorded a few takes of a drumless track and then show you how to mix. I explain EQ, Compressors, Reverbs, Gates and Buses. It's important to understand I'm not a trained professional. I have learned my own ways and understanding of mixing and that's what I'm sharing with you. This is knowledge for free. To see Part 1 - Logic Pro X Tutorial - How to Record Drums - Part 1 - (Logic Pro 10) Go here: http://www.youtube.com/watch?v=i1ixUxJ4oXc http://DrummerConnection.com and on Facebook: https://www.facebook.com/pages/Drummer-Connection/79051101460?ref=hl
The TTF Vol. 20 sampler marks the 10th Anniversary of the Tunnel Club in Hamburg. Tracklist CD 1: 01 Scotty - Let's Celebrate (Club Mix) 4:35 02 Miss Shiva - Dreams 2002 (Cosmic Gate RMX) 6:04 03 Beam vs. Cyrus - Lifestyle (Megara vs. DJ Lee RMX) 4:06 04 Adrima - Can't Stop The Raving (Club Mix) 5:34 05 DJ Sammy & Yanou - Heaven (Green Court Mix) 4:46 06 Topmodelz - L'Esperanza (Extended Mix) 3:27 07 C.J. Stone - Into The Sea (Vodoo & Serano Mix) 5:25 08 Essential DJ-Team - Ong-Diggi-Dong (Essential Hard House Club Mix) 4:01 09 Talla 2XLC - Come With Me (DJ Scot Project RMX) 5:33 10 Bassraiders - Prepare To Quality (Elephant Mix) 4:01 11 Impegement Syndrom - Blue Planet 5:05 12 DJ Tiesto Feat. Kirsty Hawkshaw - Urban Train (Cosmic Gate Mix) 3:25 13 Avatar - Red Planet (Reverb's Mix) 6:05 ...
Behringer Deepmind 12 effects demo. In this video I cycle through all the effects and tweak them as I go. This includes reverbs, delays, the compressor, phasers, choruses, a flanger, rotary simulator, noise gate, etc. I only use one effect at a time because the focus here is to cover the individual effects rather than the routing. I'm using the Deepmind 12 iPad app to control the synth here but you can access all these controls from the synth directly as well. The Deepmind 12 is an analog polyphonic synthesizer. ~~~ SOCIAL MEDIA ~~~ I'm @onceuponasynth on all socials. http://bit.ly/onceuponasynth_FACEBOOK http://bit.ly/onceuponasynth_INSTAGRAM http://bit.ly/onceuponasynth_TWITTER http://bit.ly/onceuponasynth_PERISCOPE ~~~ MY MUSIC ~~~ Electronic: https://citizenpark.bandcamp.com Indie: h...
Dans ce tutoriel nous allons apprendre une technique précieuse et attendue : Le MIXAGE avec des plugins WAVE (valable pour tous les séquenceurs / DAW) Lien vers le tutoriel : http://www.tutoriels-mao.com/index.php/mixage/233-mixage-avec-des-plugins-wave Quelque soit votre séquenceur cette technique peut s'appliquer à tous. Nous allons utiliser pour se faire une suite de plugins : Des plugins Wave sélecionnés sur le volet ! Avec ces plugins, il est facile d'obtenir un résultat pro type "grosse prod". Il suffit simplement de les connaître. J'ai choisi des plugins utilisés dans beaucoup de grands studios avec lesquels j'ai pu travailler et étudié d'autres plugins plus récents. Au programme nous apprendrons donc à utiliser les plugins suivants pour optimiser le mixage : - API-2500 ; - C...
Nesse longo vídeo eu faço um detalhado tour pela mix da bateria de "Sai Fora (Reveja seus conceitos)", música que compus, arranjei, registrei, e agora estou em processo de masterização, após sua gravação e mixagem. No próximo vídeo pretendo falar da mix dos demais instrumentos. Erratas: 1º) Aos(40:23), o plugin da Waves que simula a SSL não está indicando clipagem, cliparia se o meter de volume ascendesse seu led vermelho, não aquele que indica a redução do volume. 2º) Aos 1:02:40, as mandadas de caixa e bumbo como sinais de entrada do gate do reverb, na verdade, não estavam surtindo efeito algum, ao contrário do gate presente no reverb dos OHs. Acho que eu tinha tentado algo, mas depois desisti e esqueci o plugin lá! NOTA: Não copiem minhas configurações simplesmente, pensando que as...
VLK and I played an improvised melodic techno live-set with our Eurorack Modular Synthesizers at the PLATINE FESTIVAL 2015 in Cologne's Artheater Lounge. Here's the whole thing :) Thanks a lot to the PLATINE and Artheater crew for a great night! Read more below ... Audio track on SoundCloud: https://soundcloud.com/flixxx/modular-synth-live-improvisation-w-vlk-platine-2015-cologne PLATINE Website: http://platine-cologne.de/ PLATINE - Festival focuses on electronic media, covering the realm from art statements up to alternative gaming forms. Developers and artists from all over Germany, as well as guests from six other countries, use PLATINE as a daring and unique platform to present their ideas and visions to the public. Artheater: http://artheater.info/ VLK on YouTube: https://www...