When dealing with recordings (either virtual instruments or live-played instruments) often the sound is not very sophisticated. Here is one little trick on how to get a better, richer and more expensive overall sound – no matter what type of instruments you are using.
This tutorial is mainly about how to make your drum track sound more punchy and present it in the mix without losing a lot of dynamics. It is not about mixing single tracks of a multi track drum recording. Assuming that your drum sound is fine but somehow it gets lost in the final mix. Apparently, one option is to increase the volume but usually this will only affect the balance of your arrangement so be aware of that.
Music genres like rock or metal consist mostly of drums, bass and guitars. This tutorial is only about guitars. We are going to show you how we record guitars for rock and metal music tracks and how we place them in the mix. Music genres like rock or metal consist mostly of drums, bass and guitars. This tutorial is only about guitars. We are going to show you how we record guitars for rock and metal music tracks and how we place them in the mix.
This tutorial will deal with how to shape your midi note by using continuous controllers (CC) or by using just midi commands. Although our goal is to come as close as possible to the sound of real instruments such as strings, brass, and woodwinds, you may use these techniques with synthesizers as well. By varying different parameters you can prevent the results from sounding static, boring, unnatural or robotic.
The guitar is often typecast in music for film/tv and other media, and called upon only when a particular sound is needed: your cowboy western needs that Ennio Morricone/Bruno Battisti D’Amario twang. Your Bond-esque spy thriller wants that Vic Flick surf-jazz feel. Your hard-boiled cop movie needs a rough, rebellious, raunchy Eric Clapton lead. While the guitar is really useful in slotting in and hitting these (and many more) on the head, I think it’s full potential is actually overlooked.
I have the impression that many composers who are looking for work actually don’t know much about the business end of it. They don’t know how to start their career, or how important some of the details are. Therefore, I would like to focus on some ideas and thoughts concerning the business side of our work.
Jason is responsible for creating the innovative, unique soundtrack for Dead Space, which has become Electronic Arts’ best-selling original title and called “the scariest game ever made.” Jason’s groundbreaking score has been hailed by critics as a “truly original soundtrack” and “the best score of the year.” I talk to Jason about writing the music for the sequel Dead Space 2.