Lately we’ve been writing some tutorials for the guys at producerspot.com There are more tutorials to come yet, so, here’s the link for you to read all our tutorials: link. Also, you might wanna bookmark that link cause there are plenty more tutorials to come!! Stay tuned! Love!
Today we bring you a very interesting tutorial, specially for those who use CoreMidi apps in your iPads, iPhones or iPods touch.
It’s about sending and receiving MIDI between Mac OSX and iOS apps in order to integrate your iDevice into your DAW, and even use an external MIDI controller.
1-First step: Be sure your Mac and your iDevice are on the same WiFi Network; if you happen to be somewhere where’s no WiFi network available, you can always create one on your Mac. To do that: Airport-> Create network
2- Once we’ve got both devices on the same network, we should open in our iDevice the app we wish to use.
3- Then, back to the mac, we need to open AudioMidi Setup. To do so: Applications-> Utilities-> AudioMidi Setup
5-Once opened, it will show us every MIDI connections we’ve got. As we see in the picture next, besides all synths, interfaces, controllers, etc, it should appear a Network item. We will double-click that icon and get to the next step.
6- A new pop-up window should be opened. First, we’ll go to My Sessions, and create a new session, with the + button right under de dialog box. The Bonjour name on the right, should be the name of our Mac (this is done automatically by default)
Our iDevice should be appearing on Directory and a connect button below the box that we need to connect, and there we are! BTW, it’s pretty important that we give permission to Anyone or Computers on my Network on the menu below.
*Note: if we don’t have any CoreMidi app running on our iDevice, this won’t connect. You must open the app before connecting.
In some DAWs like Ableton, we can also sync tempo over WiFi.
Try it at home, and have fun!!
How could noise (by definition undesirable sound) be something that’s deliberately included in the audio signal path in most synthesizers or be a crucial tool for mostly every sound designer and audio engineer?
Well in this post, i’m going to show some great stuff that can be achieved with the use of noise.
First of all… what exactly are we calling noise?
basically it’s a random signal with inharmonic content. What does that mean? it means
that unlike a musical note, it has no fundamental pitch or partials. Actually, white noise (which draws its name from white light) has the same equal amount of energy within a fixed bandwidth at any center frequency.
Leaving Physics aside, here are some useful stuff that can be done with noise:
1. Synthesize an explosion: the easiest way of designing an explosion sound effect is
to get close to an explosion with a portable recorder a mic and a pair of headphones… synthesize it. For that matter, noise will be the sound source, then we’ll need to filter it, apply envelopes and some kind of distortion (if you are using a synth with an external input and feedback, there you go). Results are really good and experimenting with different parameters will give you different kind of explosions. Our Explosions + more sound effects collection was designed using noise.
2. Synthesize snare drums, shakers and hi hats: as snare drums, shakers and hi hats got lots of inharmonic content, the best way to synthesize them is to use noise as source. For any of the three sounds, we need filters, low pass and high pass. The cutoff point will vary depending of the instrument, especially with the high pass; shakers will have a pretty high cutoff point in the HPF* while snare drums, will have a much lower cutoff point for the HPF- We will also need envelope generators to shape the noise; a simple three stage EG** (attack, decay, sustain), will work. In our Piggy Ni Massive presets collection Snare, hi hat and shaker sounds are included using this technique.
3. Fatten up snare drums: as mentioned before, acoustic snare drums got lots of inharmonic content and one great way to fatten them up is with noise. Imagine you got an acoustic snare drum track and you want to fatten it up, all you need to do is add noise track and insert a gate processor with side-chain capabilities. You will side-chain the gate to the acoustic snare track output, so, every time the snare plays, it will open the gate inserted in the noise track. This is also possible and useful for live situations using ableton live or any other DAW.
4. Synthesize wind or seashore sound effects: noise is a great sound source for these kind of sound design, apply a low pass resonant filter to a noise oscillator, and that’s all you will need. For wind sounds, you will need to add some resonance (or peak) for sibilance and just manually (or with an LFO) vary the cutoff point of the LPF***; for seashore, no resonance is needed but, cutoff point variation, should be slower. Our SCI-FI & Drones sound effect collection includes a wind sound effect designed using this technique.
Mostly everyone of us has two ears, left and right. In the middle between them, most of us got our head… Well, if you don’t have a head between your ears, you might be in trouble… so, why am I writing this? what does it have to do with stereo recording techniques? Well, just everything.
When we perform a stereo recording, somehow, we are using microphones to imitate left and right ears with a head just in the middle. So, positioning two mics one next to the other, both facing front, it is not a stereo recording technique, but, positioning them with their capsules facing each other forming a 90 degrees angles, it is, and that’s called X/Y technique.
In the picture we can see two cardiod small diaphragm mics placed in X/Y so, right mic is capturing what’s in the middle and to the left of the stereo image and left is capturing what’s in the middle and to the right of the image. This technique, has a really big pro and one con. Pro: no phase issues! so, when you play it Mono, you will have no phase problems. Con: the stereo image is not as wide as with other techniques.
On the other hand we’ve got A/B or wide stereo technique. As it name suggests, it produces a wider stereo image than X/Y technique.
As we can see in the image, we have two cardiod small diaphragm condenser mics both facing front and with a separation of 50 to 60 cms. Somehow, this imitates how our ears work. Two matched ears= two matched mics; a head between ears= 50 to 60 cms separation between mics.
This technique has an obvious pro, and that’s a wide stereo image, much wider than X/Y. In the other hand, you can have many phase issues using this technique and you may experience big problems when reproducing in Mono.
Maybe the oldest and more intriguing stereo recording technique is M/S or Mid-Side invented by Alan Blumlein. Belive it or not, this is the oldest recording technique.
As we can see in the image, we’ve got two microphones one on top of the other. One of the mics should have a cardiod or omnidirectional polar pattern, and must be facing the sound source, the other mic, must be a figure of 8 or bidirectional, and must be capturing the sides, so, one facing front and the other facing sides. you will need to duplicate the figure of 8 mic track and invert it’s phase (as explained in the figure below), and that’s it, stereo image in three tracks. Cardiod/omni mic giving you the Mid and bidirectional mic giving you the sides! Another way to get M/S is to use an M/S decoder plugin, so you don’t have to duplicate the S track and invert it’s phase.
Another technique is ORTF (Office de Radiodiffusion Télévision Française). And is quite similar to A/B technique.
As we can see in the picture, it also consist of two cardiod mics, but in an angle of 110 degrees and with a separation of 17 cms. This technique provides a really nice stereo image and has very few phase issues when played Mono.
Alan Blumlein did not only invented the M/S technique, he also invented another technique that still is named after him Blumlein pair, which consist, as we can see in the picture, of two bidirectional mics positioned 90 degrees from each other. It’s like X/Y technique, but using two bidirectional (8 figure) mics. It picks up a very interesting stereo image and room ambience. Unlike M/S technique, you won’t need decoding or inverting phases. In general, you won’t experience any phase issues with this technique, and personally I think it’s great to capture ambience in recording electric guitars, pianos or drums.
Below, you can listen to our comparison. A little piano pice recorded with all this techniques, all at the same distance (about 1.5 mts from source). No processing or effects applied.