High quality audio plugins online shopping? Take a recorder everywhere you go – a sound recorder, not a rudimentary woodwind insturment – or get a decent app for your phone. You never know when weather, people, industry, animals, cities or nature will provide you with the best atmospheric backdrop for your tunes, so be ready to record them when they do. Tweaking a filter on a preset within a soft synth and then calling it your own is rather cheeky, but do consider storing the parameters of a great sound from a synth, initialising that same synth and then gradually restoring the stored parameters to approach the original sound.
Of course, the inverse of the closer/louder effect on the ears’ nonlinear response is also true, and equally useful for mixing purposes. To make things appear further away – instead of boosting – roll off the extreme highs and lows. This creates a sense of front-to-back depth in a mix, pushing certain supporting instruments into the imaginary distance and keeping the foreground clear for the lead elements. This (and the previous trick) works because of how our ears interpret distance from a sound source by the amount of high- and low-frequency energy present (which is relative to broader mid-range content).
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. Discover extra details 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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