Podcasts about melodyne

In this episode the guys talk to vocal producer, engineer and artist Simone Torres. How did she tune Cardi B's vocals for I Like It? How do you prepare a session and make the artist comfortable? Why does Simone use Melodyne and autotune together? What advice does she give on getting opportunities in the industry? Lets find out Follow Colossal for more info➡️https://colossal.fm➡️https://www.instagram.com/colossal_app➡️https://www.tiktok.com/@colossal.app➡️https://www.youtube.com/@colossal-app➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com Please subscribe to our YouTube and rate our podcast it helps us a lot!➡️ https://linktr.ee/myaudionerdsFollow Ushttps://www.instagram.com/helpmedevvon➡️Join this channel to get access to perks:https://www.youtube.com/channel/UCGyDjbX9F9ARt_8sgv5kGDg/joinFollow The Casthttps://instagram.com/iamsimonetorresDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanHere is L.Jean channel! https://youtube.com/@SweataWeathaCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #mastering

"Even something as simple as a lava lamp can transform your creative space and unlock new ideas." - jacuzzi jeffersonThe Artist Behind the SoundMeet jacuzzi jefferson – not your average music producer.The Brooklyn-based creative force has carved a unique path where education meets sonic innovation. His distinctive blend of alternative hip-hop, electronic house, and lo-fi boom-bap hasn't just captivated listeners – it's earned him partnerships with industry giants like Harman Kardon & BMW.When he's not crafting beats, jacuzzi shapes the next generation of producers as a professor of Digital Music at Hostos Community College (CUNY). His engineering credits read like a who's who of the music industry: 50 Cent, Melanie Fiona, Juelz Santana, and Trey Songs.Crafting the Perfect Creative EnvironmentIn Part 2 of our conversation, jacuzzi opens up about the intimate details of his creative process – from his essential tools to the seemingly small touches that transform his workspace.

In this must-listen episode of Inside the Recording Studio, hosts Chris and Jody delve into the fascinating world of vocal pitch correction. Whether you're an experienced producer or just starting out, understanding how to use pitch correction software can make a world of difference in your vocal productions. Join us as we explore the techniques and tools that can help you achieve transparent, natural-sounding pitch adjustments in your mixes.   Episode Highlights: The Role of Vocal Pitch Correction: Learn why pitch correction has become an essential tool in modern music production. Chris and Jody discuss the importance of maintaining a natural vocal performance while subtly correcting pitch issues to ensure your tracks sound polished and professional. Techniques for Transparent Pitch Correction: Discover the art of making pitch corrections without compromising the authenticity of the vocal performance. The hosts share their expert tips on how to apply pitch correction subtly, avoiding the common pitfalls that can lead to robotic or unnatural-sounding vocals. Learn about techniques like formant shifting, note-by-note adjustments, and the importance of context in pitch correction. Exploring Popular Pitch Correction Plugins: Get an overview of some of the most popular pitch correction software on the market today. Chris and Jody discuss industry-standard plugins like Auto-Tune, Melodyne, and Waves Tune, comparing their features and highlighting what makes each one unique. Whether you're looking for real-time correction or detailed manual adjustments, you'll gain insights into which tool might be best suited for your workflow. Creative Uses of Pitch Correction: Beyond simple corrections, pitch correction software can be used creatively to shape your vocal sound. The hosts explore how artists and producers use pitch correction as an effect, from the iconic Auto-Tune sound to more subtle enhancements that add character and uniqueness to a vocal track.   Whether you're aiming for subtle corrections or bold, creative vocal effects, this episode offers a comprehensive guide to mastering pitch correction in your productions. Tune in now to Inside the Recording Studio and take your vocal mixing skills to new heights!   Vocal pitch correction, Pitch correction techniques, Transparent pitch adjustments, Auto-Tune, Melodyne, Waves Tune, Vocal tuning plugins, Creative vocal effects, Music production tips, Vocal mixing

Join host Justin Gammella on this episode of Producer Points as we dive deep into the world of vocal production with the extraordinary Scott Robinson, also known as Great Scott. Scott is a gold-certified, GRAMMY-nominated producer, mixer, and engineer, whose expertise has contributed to international #1 singles and over a billion combined streams. His impressive collaborations include artists such as Demi Lovato, Bebe Rexha, Fall Out Boy, and Avril Lavigne. In this episode, we explore Scott's journey from his musical beginnings to becoming a sought-after vocal producer. Scott shares invaluable insights into his vocal production techniques, including his use of Melodyne, the importance of knowing multiple tuning programs, and his approach to compression and microphone selection. This episode is a must-listen for producers looking to enhance their vocal production skills. Scott also discusses his work on standout tracks like LP's "Lost On You" and Poutyface's "Never Fucking Know," highlighting how he achieves natural-sounding vocals that perfectly fit into the mix. We wrap up with our "Plug or Unplug" segment, where Scott gives his quick takes on various gear and plugins, providing even more insights for aspiring producers. Don't miss this episode with the incredibly talented and insightful Scott Robinson, available on all major podcast platforms. Tune in to learn from one of the best in the industry and take your vocal production skills to the next level. Be sure to check out the official Producer Points playlist, featuring all the songs discussed in our episodes. Listen here. --- Support this podcast: https://podcasters.spotify.com/pod/show/producerpoints/support

Does music theory belong in the mixing engineer's toolbox? In this rapid-fire episode, Ben and Carl explore the surprising ways a solid grasp of music theory can elevate your mixes from amateur to awesome. Discover how to wield the power of harmony, melody, and chord progressions to troubleshoot tricky mix issues, enhance arrangements, and take your productions to the next level!Topics we discuss:The #1 mix element that most often requires music theory interventionHow to use your theory chops to create complimentary arrangements that solve masking and clutterThe simple music theory move that can add instant harmonic interest and sophistication to basic progressionsWhy experimenting with keys and tempos is a critical (but often overlooked) part of the production processHow to leverage your knowledge of scales and intervals to melodically Melodyne your way out of any mix disasterConnect with us:Secret Sonics - https://www.instagram.com/secretsonicsBen - https://www.instagram.com/benwallickmusic/Carl - https://www.instagram.com/carlbahner/Thanks to our sponsors!Progressions with Travis Ference - https://www.progressionspodcast.com/listenLearn more:https://www.benwallick.com/https://www.carlbahner.com/370 Social Media Ideas for Studio Pros - https://branding.carlbahner.com/free-social-media-promptsThis episode with edited by Gavi Kutliroff - https://www.instagram.com/pleasant_peasant_music/

Today's episode celebrates the culmination of a years-long project with Matthew Sheeran, widely celebrated composer, orchestrator, and arranger. The album we've been working on is called “Acoustic Microtonal,” and it is a recording of Easley Blackwood's Twelve Microtonal Etudes using acoustic instruments, playing monophonic lines in isolation and then being re-tuned using Melodyne. Matthew commissioned the Budapest Scoring Orchestra to achieve this huge compositional feat. Check out our episode here for the largest dive into the notes and chords behind the music, and be sure to check out the full album in all its glory!   The album: https://cedillerecords.lnk.to/3019   Episode music: Intro: Blackwood – 23 notes (Matthew Sheeran version) Blackwood – 16 notes (Stephen Weigel version) Blackwood – 16 notes (Hesangasang score) Blackwood – 16 notes (original) Blackwood – 16 notes (Stephen Weigel version) Blackwood – 17 notes (12-TET scordatura) Blackwood – 16 notes (Stephen Weigel version) Vicentino – Madonna il poco dolce (Jonathan Wilde version) Blackwood – 13 notes (original) Blackwood – 13 notes (12-TET version with diminished 3rd) Blackwood – 14 notes (original) Poulenc – Sextet for piano and winds Blackwood – 14 notes (original) Blackwood – 14 notes (12-TET version) Blackwood – 14 notes (original) Blackwood – 14 notes (Stephen Malinowski video clip) Blackwood – 14 notes (12-TET version) Blackwood – 15 notes (Matthew Sheeran version) Blackwood – Suite for 15 tone guitar Stephen Weigel – open guitar chords in 15 video clip Blackwood – 15 notes (Stephen Weigel version) Stephen Weigel – What if we played EB's 15 note etude in 12 video clip Blackwood – 16 notes (Matthew Sheeran version) Blackwood – 16 notes (Matthew Sheeran version) Blackwood – 17 notes (original) Blackwood – 18 notes (Matthew Sheeran version) Blackwood – 18 notes (isolated flute in Matthew Sheeran version) Stravinsky – The Firebird Suite (Dance of King Kaschei) Blackwood – 18 notes (original) Blackwood – 19 notes (Matthew Sheeran version) Blackwood – 19 notes (original) Blackwood – 20 notes (original) Henri Duparc – La vie antérieure Blackwood – 20 notes (original) Blackwood – 21 notes (Matthew Sheeran version) Blackwood – 21 notes (12-TET version with Hendrix chord) Blackwood – 21 notes (Matthew Sheeran version) Blackwood – 22 notes (Matthew Sheeran version) Blackwood – 23 notes (original) Blackwood – 23 notes (Matthew Sheeran Kontakt arrangement – different orchestration) Blackwood – 23 notes (isolated harp in Matthew Sheeran version) Blackwood – 14 notes (12-TET version) Blackwood – 14 notes (Matthew Sheeran version – comparing 12 and 14) Blackwood – 23 notes (12-TET version) Blackwood – 23 notes (Matthew Sheeran version – comparing 12 and 23) Blackwood – 19 notes (Matthew Sheeran version cello ending) Blackwood – 24 notes (original) Blackwood – 24 notes (Matthew Sheeran version) Stephen Weigel – 11 notes (original) Stephen Weigel  – 11 notes (Matthew Sheeran version) Stephen Weigel – 7 notes (Matthew Sheeran Kontakt arrangement) Blackwood – 15 notes (Stephen Weigel version) Stephen Weigel – keyboard fingering for 11-TET Stephen Weigel  – 11 notes (Matthew Sheeran version) Stephen Weigel – 7 notes (original) Stephen Weigel – 7 notes (Matthew Sheeran Kontakt arrangement) Blackwood – 18 notes (original) Stephen Weigel – Zones of Lasting Novelty (9-TET) Ben Johnston – String quartet  No. 7 (guide tracks only) Blackwood – Gulliver's Travels (23-TET) Matthew Sheeran – Lyres of Ur (7-TET) Outro: Blackwood – 17 notes (Matthew Sheeran version)   Matthew's stuff: https://www.imdb.com/name/nm7401095/ https://www.youtube.com/@matthewsheeran1989/videos https://soundcloud.com/user698273169 https://smatalent.com/matt-sheeran/   Microtonal Etudes and Macrotonal Etudes: https://www.cedillerecords.org/albums/easley-blackwood-microtonal/ https://stephenweigel.bandcamp.com/album/six-macrotonal-etudes-for-electronic-music-media   Support us on Patreon! (If we get 60 patrons, episodes will be released regularly instead of sporadically) https://www.patreon.com/nowandxen Follow http://nowandxen.libsyn.com https://twitter.com/now_xen https://www.facebook.com/nowxen/   Subscribe RSS: http://nowandxen.libsyn.com/rss iTunes: https://itunes.apple.com/us/podcast/n… Spotify: https://open.spotify.com/show/1mhnGsH… Stitcher: https://www.stitcher.com/podcast/nowxen Twitter: https://twitter.com/now_xen Facebook: https://www.facebook.com/nowxen/ YouTube: https://www.youtube.com/channel/UCnmYNMpemAIq8DnK5HJ9gsA

EPISODE 9 BABY!!!! I had the absolute honor to speak to one of my new favorite artists, Skylar from his project Huachua Aerostat. We talk about the incredible new record he put out Whipper & Hornet which you all need to listen to immediately. We play an amazing song at the end called MORE THAN A MACHINE and you will fall in love. We also dive into bro country, lydian modes, and whole lot of stuff. Is Skylar an actual robot? Maybe! Is country wrestling? Maybe!!!!!!! Here is the show notes created by Headliner's Eddy: ---------------------------------------------------------------- Skylar from Huachuca Aerostat joins Kristy for a fascinating discussion on the intricacies of songwriting, from finding inspiration in difficult transitions to honing the blend of synth, guitar, and autotune. With mentions of Built to Spill, melodyne pitch correction, and relating to albums in unlikely ways, their conversation delves deep into the creative process.

  Jon Hopkins pays attention. He has a ear for the smallest details and a deft touch both as a pianist and a producer.  I feel this interview is very timely as the rise of psychedelic therapy has caught the imagination of so many. Jon has made music that is so perfect for those wishing to go deeper with their experiences in that hugely rewarding domain.  His is the mindset that wants to expand and to meditate instead of flex and win the popularity contests in the game of music. Very refreshing.  We get into his beginnings in the classical world, his lack of patience with distracting factors and on to his success story and on to his musings on the current state of being a musician releasing music in this arguably confusing time.   ____________ The nitty returns ! I was fortunate enough to get an early copy of Andrew Huang's first plugin :) It's a collaboration with Baby Audio called “Transit” It really inspired me to get my hands dirty and to explore it's outer ways.  I stacked up about 30 or so instances to pull off a tonal transition that is rather epic ! I learned from an older me on this one. In EP 58 I explored a related idea in Melodyne. Here's that show  ****** **** ** * SPECIAL DEAL !!   I'm happy to be able to offer listeners to the show a 10 % discount on TRANSIT when using the code BABYHOWA at check out Here's the plugin!! Check it :) https://babyaud.io/transit Also.. Here's the Ableton session called “The Bends” that I made to demo this  (sadly I forgot it's the 11.3.10b5 Beta version of Ableton you'll need to run this .. oops!)  _____________   Big ups to Catechism and REZN for their music on this show.  It's from an album called “Infected Ambient Works” Here's the link to it https://rezzzn.bandcamp.com/album/infected-ambient-works _____________   A massive shout to show sponsor Soundtoys! At the start of this episode I add the New SUPER PLATE and the classic PHASE MISTRESS plugins to a tape jam that's fresh from my new studio and it just enters into a whole Different dimension.  These are Shockingly good plugins! Some of the very best you can find.  That's why I'm so chuffed to work with these legends !  Check their masterful work here  https://www.soundtoys.com   ____________ If you want to directly help support me in the pod work please consider joining my  Patreon  https://www.patreon.com/HOWA All sounds from this episode will go to those on the upper tier !        

If you are looking for music production and mixing tips on topics like how to mix bass guitar, bass guitar EQ and compression, and how to parallel compress bass guitar. Then check out EP 95 of the Inside The Mix podcast.Ever wondered how to achieve that perfect bass sound for your music productions? Join me as I reveal my secrets for mixing the bass guitar in my upcoming track 'Let You Go', which will feature on the EP 'Lost and Found'. With special thanks to Aisle9 and Neon Highway for their valuable feedback, let's dive into the process and techniques I used!Throughout this episode, I'll walk you through my experience using Melodyne for pitch control, managing dynamic range with a compressor, and experimenting with various plugins like the virtual mix rack, virtual channel, London Saturation module, TUH Slate, Infinity EQ, and Sound Toys Decapitator. Together, we'll explore how adjusting the high pass and low pass filters, shelves, and auxiliary sends can create a powerful bass sound. Plus, get a sneak peek at the second verse and first chorus of 'Let You Go', showcasing the incredible vocal talents of my previous collaborator, Indigo! Don't miss out on this chance to level up your music production skills and create bass lines that will leave listeners wanting more. Support the showContact Inside The Mix Send a DM through IG @insidethemicpodcastEmail me at insidethemixpodcast@gmail.comSubscribe to the podcast today: https://www.buzzsprout.com/1639201/supporters/new*******Download the 5 Essential Free Mastering Plugins guide and immediately take your music mastering to lofty new heights. Download for free at: https://mailchi.mp/synthmusicmastering/5-essential-free-mastering-pluginsThanks for listening & happy producing!*******Start your own podcast today with the fantastic Riverside.fm platform and benefit from its AI integration, it has revolutionised podcast production at Inside The Mix. Click here, to find out more: Riverside.fm

Idag tar vi tag i två lyssnarfrågor! Den första om hur man kan spela in sång hemma, lite tips och tricks, både hårda och mjuka. Den andra frågan handlar om att hantera familjeliv och kreativitet, hur gör man egentligen det?Länklista:1.) Polygon Legion - https://open.spotify.com/album/4N04Lb3MF0dh6PuQgLMXWn?si=PLHtRID_RPKP4knhcB2gtg2.) Melodyne - https://www.celemony.com/en/melodyne/what-is-melodyne3.) Universal Poplab - https://open.spotify.com/artist/55LH7awpWfXkAP6jRQ16IU?si=6bmb95NIT1yCnSORXwwxyQ Hosted on Acast. See acast.com/privacy for more information.

This episode features Noah Wall. We listen to excerpts from his new album "Speech Patterns" ( Full album available on Chaikin Records). We talk about Oration, Melodyne, and the "truth" about bird songs.

Join Dee Kei and Lu on this episode of the Mixing Music Podcast as they delve into the world of vocal tuning. They share valuable insights and discuss essential techniques for properly tuning vocals using popular software tools like Auto-Tune and Melodyne. Whether you're a seasoned producer or just starting out, this episode provides a wealth of knowledge to help you achieve professional-sounding vocals in your mixes. Tune in to learn the tricks of the trade, refine your vocal tuning skills, and take your music production to the next level.SUBSCRIBE FOR 3X THE EPISODESDOWNLOAD FREE STUFFFOLLOW DEE KEI ON TWITCH!Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LUFind Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLuTwitter: @DeeKeiMixes @MasteredbyLuCHECK OUT OUR OTHER RESOURCESJoin the ‘Mixing Music Podcast' Group:Discord & FacebookThe Mixing Music Podcast is sponsored by Izotope, Antares (Auto Tune), Plugin Boutique, Lauten Audio, Spreaker, Filepass, & CanvaThe Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei and Lu are both professionals in the Los Angeles music industry having worked with names like Keyshia Cole, Trey Songz, Ray J, Smokepurrp, Benny the Butcher, Sueco the Child, Ari Lennox, G-Eazy, Phresher, Lucky Daye, DDG, Lil Xan, Masego, $NOT, Kanye West, Symba, Atlantic Records, Dreamville, BET, Universal Music, Interscope Records, etc.This video podcast is meant to be used for educational purposes only. This show is filmed at IN THE MIX STUDIOS located in North Hollywood, California. If you would like to sponsor the show, please email us at deekeimixes@gmail.com.Support this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

I det här avsnittet går vi igenom hur vi gör när vi tunar (stämmer) vokaler. Vi pratar om vilka pluggar och verktyg vi använder (spoiler alert Melodyne och Autotune), men det viktigaste är ju hur man tänker inför att se till så inspelad sång harmoniskt med en produktion - principer, tankar och små tricks. Sen avslutar vi med en liten övning i att identifiera frekvenser med hjälp av en app.I avsnittet: Niklas Berglöf, Magnus Lindberg, Joakim Jarl Hosted on Acast. See acast.com/privacy for more information.

This is The Ember Studios Podcast #2 with Mike Brown and we go over the specific baseline gear you need to start editing your podcast. Find more at - www.emberstudioscreative.com/podcast Contact me at michael@emberstudioscreative.com   A.I. Generated Transcription: This is Ember Studios, podcast number two. The gear, you need to edit your show. What's going on everybody. I hope you're having a great day. I am fired up right now to work on this show and I hope you are fired up to work on. So today, we're just going to talk a little bit about the gear. You need to edit your show. So we're not going to really be talking about microphones and stuff like that. Cause that's not really editing, right? That's that's tracking, that's recording and really you could be editing somebody else's show you don't need a microphone to edit somebody else's show. So we're just of going to break down the gear. You need to edit. A podcast, hardware, software, everything. This episode's probably going to be kind of on the shorter side, because you really don't need as much as you might think for real. Like I could get you editing a show for less than $150. I think probably it's really not expensive to break into it. Well, of course that's not including, you know, the computer and stuff, but we're going to go over the computer. So let's just break into it to do podcast, audio editing. Your computer really does not need to be anything special. For example, I'm looking at the minimum system requirements for studio one, which I use, and they're pretty low, I guess we could say. So the latest version of the operating system, windows 10 is a given right now. I mean, Windows 10 has been out for, I don't know how many years, but it's nice and stable. Whereas noting that it needs to be 64 bit for studio one, it's not really a good reason as far as I know, to be running a 32 bit operating system right now, unless your computer is literally ancient. So probably. The processor and Intel core I three or an AMD, a 10 processor or better. If your computer has a processor, it's less than like 10 years old, it's probably as good as, or better than the recommended processors here. Minimum four gigabytes of Ram. Again, this is absolute bare minimum. Four gigabytes of Ram I think is the lowest. Amount you can get right now. I don't think they make Ram sticks with less than two gigabytes of Ram. And so, you know, dual channel memory, it turns out to be four gigs. It says recommended eight gigs or more, again, this is absolute minimum. Most computers you buy right now, we're going to have eight gigs of Ram. Maybe a laptop might have four gigs. Eight gigs of Ram is so inexpensive right now at the end of this, I'll put together like a bare bones windows system and tell you guys what the price is. I guarantee you it's less than you think for an audio editing PC. Then it goes on to say, you need an internet connection, which I think is a little obvious just for installation and activation. Even if you just kind of. Install, everything, activate everything and then move it. You're good to go. Minimum monitor resolution 1366 by 7 68. That's the lowest resolution monitor. I think you'll find anywhere right now. So basically these programs are being. With specs that any functional computer right now is going to meet these specifications. You know, if you've got an ancient computer that's running on like windows XP, maybe it's not going to work. Probably still has four gigs of Ram, but it might not be a 64 bit operating system. You know, these specs are very minimal and they're really functional at that level. This isn't like video editing where you need so much Ram or gaming where you need like a high graphics card. It's just, you just need a bare bones. No again, that's for editing and some light mixing. If you're thinking you want to rig, that's going to scale with you and you're going to do music and maybe you're going to have like 13 instances of Melodyne on a track or something like that. Some more intensive stuff is going to require some higher power components, but you're, I mean, a minimal system is just fine for voiceover editing. If you're just editing your podcast. So that's step one. That's just a machine. To do what you want now, what do you want? You're going to do audio editing and to do that, you're going to need to hear what you are doing. And so there's pretty much two ways that you can hear. You can either use speakers or headphones. If you're on a laptop, I'm not going to lie. Your built-in laptop. Speakers are going to be okay. They are going to get the simple job done. If you're not looking to go all out or any. You'll be fine. If you're on a desktop, it's a little different, you're going to have to purchase some speakers. If you want to just use some, you know, again, $10 Amazon speakers. When you're mixing a podcast, unlike with music, you do mix with your eyes. I rely on meters more than I rely on my ears because there's all sorts of different stuff with the different frequencies affect things differently. And just because one person sounds louder to me doesn't mean. Digitally, they are louder. And so when things get shipped out to the platforms, they do stuff to them and they're not doing stuff to them based on their ears. They're doing stuff to them based on the digital sequence that's sent to them. And so I need to consider that when I'm mixing, I tell people I can mix their show without listening to it as because I've done a billion of them, but you don't need high quality speakers to mix the show. So you. Really need high quality speakers in order to edit it. However, I will suggest using headphones more than the speakers. I like to have everything right there at my ear, so I can hear every little mouth noise, every little click, every slide, breath, everything. I want to be able to hear it right in my ears so that I know exactly what I'm doing. You know, if I make a little cut and I don't hear that the person is in the middle of a breath, then when I put compression on everything, it's going to just cut right in, in the middle of that breath that I didn't hear before, because the volume was a lot lower. And so that's why sometimes you'll hear like a, like, that kind of sound because somebody cut in the middle of a breath, didn't do a fade, didn't do anything. And just kind of, kind of threw it out there. So that's why I like headphones again. They do not have to be. You've got a pair of apple ear buds. Those are fine. You don't need crazy fancy headphones for spoken word or anything. You just need to be able to hear everything. And work on it. It's not much. And there's two more pieces of hardware. Now we have an audio interface now for this kind of thing. If you're straight up just editing and you're not going to mix it, maybe you'll send it out to get mixed, or maybe you're not worried about the mixing. In my opinion, you should be worried about the maximum, but, uh, if you're not, you don't really need to get an audio interface because your CPU's onboard sound processing is going to be okay. You're going to be. 40 to 48 K. You're going to be able to listen back and edit it 48. K. If you're going to do some stuff that needs some DSP, which is digital signal processing, then you're going to need to get a little bit of a higher power sound card. So again, this is something to think of. Upfront. I mean, I guess not because you could always upgrade later. So if you think eventually you're going to be mixing, or if you plan on mixing the whole time, you're going to need an audio interface. And again, this doesn't have to be fancy. It doesn't have to have a billion inputs or anything. I bought one with a ton of inputs because I thought, oh, what if I ended up tracking drums? This was five years ago. I haven't tracked a single thing that requires more than two. Not once. So I, you know, my main recommendation right now because the PreSonus audio box USB, there's a whole bunch of different ones, but the audio box USB 96 records in up to 96. K we'll get into that another time. I think that's a little much, but yeah, it was a hundred dollars. So now you've got a computer. You've got an interface. You already had the headphones. Now you need a keyboard and a mouse. Okay. If you're on a laptop, you already have the keyboard. I will say, do not use a track pad. Do not use a track pad. You will be miserable. If you're trying to edit audio with a track pad, there's so much clicking and dragging and you have to be so precise sometimes that. The trackpad is going to be too much. Even if you have to buy a $7 mouse on Amazon, which I did, the $7 mouse on Amazon was better for editing than the most expensive track that I could have ever purchased. It's just better to have a mouse. When we get a little bit more advanced, it's sometimes better to even have a gaming mouse. Cause they have all those extra buttons. You can map them out to your macros. And this is all down the line. Once you really have a feel for what you're doing. So that's it for the hardware. That's, that's what you need. You need a computer, you need some way to hear the sound, whether it's headphones or speakers, you need an interface. If you end up mixing and you're going to be sucking up some resources and you need a mouse. Well, I guess you need a screen too, but I kind of include that in the. So that's it. Now you have that stuff. You have the hardware, you have the physical things that you need in order to edit your show. What, now you sit down, you've installed windows for the first time. Let's just say you bought this computer just for editing. You installed windows for the first time you're connected to the internet. What do you need? Really, you just need a few more things. So first we're going to talk about audacity. Now. I talked about audacity last week and a lot of people I see online are teaching about audacity editing and just in order to bare bones, edit your show, just grab audacity and edit it like this personal. Audacity is one of the least intuitive programs I've ever used. I don't like it at all. It is very good for certain things, but everything else I'm pulling my hair out and they're very short hairs. They're hard to grab onto. So it's a nightmare, really for me, audacity what I do use audacity for however. Noise reduction. The noise reduction plugin is really top notch. I've used full audio programs that don't have as robust a noise reduction. Plug-in as audacity has, honestly, it's a little crazy to me, but audacity nailed it. Nobody else is really doing it. I recommend you get audacity anyway, that way, when you're recording, you get a little bit of silence and you pull that noise out because nobody wants to hear a bunch of hissing and buzzing and a low hum of your air conditioner. When they're listening to your show. Now, obviously a noise reduction. Doesn't get everything. You're not going to get a car driving by. Cause that's not like a consistent sound. It just happens. You know, you live in Chicago or whatever, and the train goes right next to your apartment that sound's not coming out. Right. That ambient room noise, the haze, the microphone noise. If you're using a lifter because you have a dynamic microphone that adds a lot of noise to the signal, pull it right out. So yeah, audacity is, is very good for noise reduction. And for me, that's where it ends in my workflow. I open up audacity. I throw the files in there. I pull out the noise and I export them because I'm done. I don't want to use audacity for anything. Now there's another step between audacity and the editing that I do that I'm not really going to talk about much here because it's incredibly expensive and it's a little more advanced and that's what I call audio. Clean-up it's just like removing plosives and mouth noises and room tone and everything in an automated way. I use a program called isotope. And it's not cheap. So I'm just going to skip over that right now, because if you're, if you're recording episode one of your podcast, please do not buy isotope RX because you don't even know if you're going to be doing this show in three weeks, let alone several hundreds of dollars worth of software. That's useless if you're not recording your podcast or doing film work, you know? So don't worry about that right now. We are going to talk about. But right now, you're just doing the DIY thing. Don't worry about the cleanup. The next step is the actual physical editing we're here. We made it and you are going to need a D a w. And I'm going to just say doc from now on. Cause that's how I say it. It's easier. It's not so many syllables. DAW stands for digital audio workstation. So your dog is just the program that you use to watch. On the audio now, of course there's free ones and there's paid ones. I'm going to talk about that a little bit. So the first group I'm going to talk about is the pay group. I'm not going to go too in depth because honestly it doesn't really matter that much. What matters is that you pick one and you learn it because once you learn something, you're going to be able to do whatever you need to do. Better than someone who keeps switching and having to relearn. I've been using the same program for seven years. So I know it inside and out. So just pick something and learn it, especially if you're going to pay, oh my gosh. If you're going to pay for it, just learn it. Don't, don't buy a bunch of them. You only need one, really? So here are a few of the paid ones, studio one professional. This is what I use most of the time. I know I'm contradicting myself by. I just said don't pay for more than one, but most of the time I use studio one professional. It's good. You can get it on a subscription. It's 15 bucks a month. It comes with everything. I really like it. I really liked the smart tool. I really liked the way it works. There's also, you've heard of it. Pro tools, pro tools, a lot more expensive if I'm being honest, also on a subscription basis, but I think it's like 30 bucks a month and you just get pro tools. It's the industry standard. If you walk into a studio, Right now, most likely they're going to be running pro tools. Then while I recommend studio one professional. I can't in good faith. Say you shouldn't use ProTools because if you ever think you're going to leverage these skills into a new step in your journey. If you're going to turn into music, if you're going to turn to video sound design or something pro tools, you're going to need to know it. So I can't in good faith. Tell you not to use ProTools, but I will say I still recommend studio one. There's also logic. If you have a Mac logic is like 200 bucks. It's a perfectly fine program. I don't know what the editing is like at all. Cause I don't use a Mac, but tons of pros use it. And the editing functions I'm sure are fine. I will say it's just for Mac users, PCs. It's not out on PC and it probably never will be. So I wouldn't, I wouldn't sweat logic. There's a ton of them. You got reason Ableton, Cubase, FL studio. Garage band Harrison mix bus between studio. All of these are just Dawes that you can use. And because you're just doing basic editing, it's not, it doesn't matter which one you pick. So just pick one that's. If you're going to buy one, pick one in this, the right price and pick one that you think you're going to stick with because you don't want to jump around. It's just cost too much. There are free ones. Personally, if this is what you're doing, you're just doing podcasts editing for now. I'd go with a free one. Why are you going to spend a ton of money when you can get everything you need from the free version of something? And so there's studio one prime, which is just a stripped down free version of studio one. It's got all the editing features and that's it. That's all you need. You can edit and export and mix very basically inside studio, one prime for free. There's also pro tools first. It's a stripped down free version of pro tools. I don't know exactly how stripped down it is, but I'm almost positive. It has a lot of the same editing features. And again, you're not trying to recreate the sound of a dragon breathing fire in New York city. You're just trying to cut out a breath between a few words. Pro tools versus fine. There's also Reaper. Reaper's a fully featured program. That's just free. There's a trial. You can use it infinitely. You just refresh the trial. When you're done, the developers have come out and said, that's fine. You know, if you're making a ton of money, you should buy a license. Um, it's like 60 bucks, but if you're just DIY in your own show, get Reaper, do it for free. No reason. Not to. We are in a time where the tools hardly matter, because your message is what's important. Right? And so you just got to get the bare minimum truly to put out a good podcast, the bare minimum, just spend a little bit of time working on it. Cause I know if you're making a podcast, that's already about something you love. So it's a labor. You're not making any money. It's a labor of love. So you're going to take it and you're going to work on it, make it sound the way you want it to sound with the basic editing tools that these things have, because that's all you need. I'm getting very fired up right now. I didn't think I would be, but we live in an amazing time for podcasting, for audio in general, but podcasting, because anyone can do it. Anyone can do it for almost no money. The last thing is kind of hardly editing, but it's just something that I think is important. Let's say hypothetically, you're editing for someone. You're going to need a file sharing platform, media, fire, Dropbox, Google drive, any anything personally, I prefer Dropbox. It's very easy to send and receive large files and to collaborate Google drive. A lot of people use I've found it's it's a lot clunkier when it comes to large files. Like if I'm downloading the media for, you know, an hour long interview, they included the video for some reason. And it's like a gig. Google drive doesn't handle that so well, I'm not really sure why, but it breaks the downloads up and puts them into multiple files. And I feel like their bandwidth isn't great. I get slower. Download speeds on them. So Dropbox, I just have my Dropbox sync to my computer. So when somebody throws something in a folder, it just sinks. They just tell me they put it there. And then I look and it's already on my computer. So I really liked Dropbox for that reason, but that was just kind of an extra thing for now. That's just, that's kind of step one. One in terms of the stuff you need to edit. So you now know what you need. I bet you have most of it already if you're planning on making a podcast, so, awesome. Good on you. And if you didn't, I hope this helped. And if you need anything else, email me at Michael at Ember studios, creative.com. Thanks for listening to the Emory studios podcast by.

In der 100. Episode unseres Sound&Recording-Podcasts und dem ersten Studiosofa sind die beiden Engineers und Producer Hans-Martin Buff (Scorpions, Prince) und Christoph Aßmann (Bernhard Brink, Giovanni Zarrella) zu Gast, deren vergangenen Episoden zu den meist gehörten und beliebtesten zählen. Mit Christoph sprachen wir in Episode #43 über das “Songwriting & Arrangement am Rechner”. Hans-Martin Buff war bereits drei Mal zu Gast und stand uns für die Themen “Machen Mischpulte im Studio noch Sinn” und “Musikproduktion in 3D-Audio für Kopfhörer” Rede und Antwort. Außerdem war er im aller ersten Sound&Recording-Podcast mit dem Thema “Die Anfänge der Musikproduktion in der DAW” zu hören, die damals noch nicht zu unserem wöchentlichen Format gehörte. Im Jubiläum beantworten die beiden eure Fragen, die im Vorfeld an uns geschickt habt. Viel Spaß beim Hören! ➡️ (00:00:00) - Hans-Martin Buff & Christoph Aßmann ➡️ (00:10:54) - Ideen festhalten und umsetzen ➡️ (00:17:12) - Arrangement interessant gestalten ➡️ (00:21:22) - Melodien kopieren ➡️ (00:27:33) - Erst Text und dann Musik ➡️ (00:31:37) - 3 Plug-ins für die Insel ➡️ (00:38:25) - Einsatz von Sidechaining ➡️ (00:45:25) - Einsatz von Melodyne ➡️ (00:51:45) - Einfluss durch visuelle Darstellungen ➡️ (00:55:12) - Einsatz von künstlicher Intelligenz ➡️ (00:59:00) - Musikhören über Kopfhörer oder Lautsprecher ➡️ (01:10:10) - Kopfhörer für 3D-Audio ➡️ (01:12:00) - Vinyl-Release von Prince - Emancipation ➡️ (01:18:52) - Remaster legendärer Alben ➡️ (01:22:12) - Vocal Recording mit Prince ➡️ (01:28:30) - Geschwafel zu 100 Episoden! Shownotes: ➡️ Workshop: www.soundandrecording.de/academy ➡️ Aktuelles Heft: www.soundandrecording.de/shop ➡️ Studioszene-Tickets: https://bit.ly/studioszenepc ➡️ Tonstudio-Guide: www.bitly.com/tonstudioguide ➡️ WhatsApp: https://bit.ly/3jFkmyh ➡️ LinkedIn: https://bit.ly/2RrBHzY ➡️ Facebook: https://bit.ly/3fGHgR2 ➡️ Spotify: http://bit.ly/referenztracks ➡️ Apple Podcasts: https://apple.co/31Jp5VV ➡️ YouTube: https://bit.ly/2QUlL5K

Reaper accesible demo 17. Crear armonías con melodyne

Show your support for the Podcast and Shout me a Coffee!!https://buymeacoffee.com/emlyninthemixPLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!!I just set up an email to contact me on the Podcast!! - emlyninthemix@gmail.comP.S I love youCheck out Emlyn in the Mix on YouTube!!https://www.youtube.com/c/EmlynInTheMix

EDM Foundations → https://edmprod.com/edm-foundations Anki is a DJ/producer based in Bristol, UK known for his emotional, melodic take on electronic music, fusing elements of pop and rock into an energetic context. He's had releases on Enhanced, Dim Mak, and Seeking Blue just to name a few. His new album To Be Heard it out now. We talk collaboration, finding your sound, and how he pushes the boundaries of electronic music with his album. Links: To Be Heard → https://ffm.to/ankitbh imagiro's piano → https://imagiro.sellfy.store/p/imagiros-piano/ Reason Studios Reason → https://www.reasonstudios.com/ Melodyne → https://www.celemony.com/en/melodyne/what-is-melodyne Anki: Instagram → https://instagram.com/ankimusic Facebook → https://facebook.com/ankimusic Twitter → https://twitter.com/ankimusic Spotify → https://open.spotify.com/artist/3Ka3k9K2WStR52UJVtbJZW Soundcloud → https://soundcloud.com/ankimusic EDMProd: Website → https://edmprod.com Instagram → https://instagram.com/edmprodgram Facebook → https://www.facebook.com/EDMPsite Soundcloud → https://soundcloud.com/edmprod Spotify → https://sptfy.com/edmprod Aden Russell (Artsea): Instagram → https://instagram.com/iamartsea Facebook → https://facebook.com/iamartsea Spotify → https://sptfy.com/iamartsea Soundcloud → https://soundcloud.com/iamartsea

I was very happy to catch up with Erick Elliott aka Erick Arc Elliott or Erick the Architect, a Renaissance man par excellence. He's a prolific and talented musician and producer and is arguably best known for his work in his band Flatbush Zombies but as you will find out he's so much more than a musician at this point. He's not afraid to move into new and uncharted territory and I must admit it was his twitch channel (link here ) that made me an instant fan. It's so well done, his presence on the station is so infectious and the show runs like a wildly creative leap into a kaleidoscopic universe complete with tearaway videos, performances, downright silliness and you get the sense that this guy has an endless tap open on his creative stream. We get into all that. The music, the come-up, harnessing the strength of being different, how to deal with self doubt and to have the courage of your conviction. We get into his collabs with James Blake and much more. It gives me great pleasure to welcome on the show Erick the Architect. Link to his site here Nitty sees me hitting sustain on the voice and piano artificially using Melodyne. Good fun Music for the show comes from Fish Go Deep - This Bit of Earth https://fishgodeep.bandcamp.com/album/this-bit-of-earth Bonus links! I mention the excellent mylarmelodies interview with Gareth Jones and Daniel miller. Find it here Tchad Blake mix with the masters is here

Musicians/Non-musicians have many things to say about Autotune and Melodyne. In my experience a decent chunk of these people don't fully understand what these tools can and cant do. Can they make a bad singer good? No.Can they fix minor tuning issues of both good and bad singers? Yes.Do even the most legendary vocal performances have slight tuning “issues”? Yes, ... Read More

Guest Interview: Starting a small Studio (Q&A session with Henry Huynh); Plugins: Dada life Sausage Fattener, Melodyne; Things we would love to have BUT: Martin…

I overview recent Daily Goody‘s from Sep.18 - Oct. 1 (see list below). You can sign up to receive Daily Goody’s in your email every day or a weekly roundup. Sign up here. And, in this episode I switch back and forth between the Heil PR 30 and Heil PR 40 for you to be able to hear the difference, which is subtle. Michelle Levitt and I discuss the difference between these two microphones in the previous episode. *SPECIAL* Focusrite has a limited time partnership with Shure offering an SM58 along with a Scarlett 2i2 and a pair of SRH440 headphones at a discount with select dealers! Find all the details of this “Create and Cast bundle” HERE! And be sure to check out the Focusrite Scarlett series of audio interfaces -- 6 different interfaces -- works with the recording software you already use -- works with any type of XLR microphone -- new unique Air feature adds brightness and presence to your voice. Thanks to Focusrite for sponsoring this episode! Daily Goody posts that were discussed in this episode: Specializing in Producing/Editing Podcasts in a Specific Niche NEW Course Announced! “Getting New Clients at Higher Rates” What is Dynamic Range Processing? Noting Down Your Hardware Settings Where To Buy Sound Absorption Blankets and Acoustic Room Treatments? iZotope RX 8’s New Loudness Control Module Other notes: The start date for the next PES semester is January 12, 2021. VIDEO: Audio Cleanup and Processing Andrew Gelina's Voice Using Various Audio Plugins Join the Podcasters’ Lounge Facebook group If you’d like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here’s a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/ Daniel Hager did a STELLAR job revamping the PES website! He was my guest on episode 109, he's the host of Let’s Talk Re-Touching, and he's the owner of Hager Media. THANK YOU DANIEL for making the site amazing! My other podcast -- The Mystic Show (I hope to publish new episodes soon) New plugins I bought after Black Friday / Cyber Monday: EMI TG12345 Channel Strip MaxxVolume MV2 CLA-3A Compressor / Limiter Abbey Road Chambers IR1 Convolution Reverb (we discussed this type of reverb in episode 168 with Pascal Wyse) AMEK EQ 200 Trackspacer by Wavesfactory Level Magic by Flux Jünger dearVR PRO Phil's Cascade Unfiltered Audio TRIAD bx_console N channel strip Melodyne 5 assistant by Celemony Quadravox by Eventide Decapitator by Soundtoys

I overview recent Daily Goody‘s from Sep.4 - Sep. 17 (see list below). Don’t forget you can sign up to receive Daily Goody’s in your email every day or a weekly roundup. Sign up here. Be sure to check out the Focusrite Scarlett series of audio interfaces, the world’s best-selling USB interface range with over 3 million units sold worldwide. Choose from 6 different interfaces with 1, 2, 4, or 8 microphone inputs. Works with the recording software you’re already using and works with any type of XLR microphone. New unique Air feature adds brightness and presence to your voice. Thanks to Focusrite for sponsoring this episode! Daily Goody posts that were discussed in this episode: iZotope RX 8 Just Released – The Complete Audio Repair Toolkit! Zencastr Video Beta Has Launched! New in Zoom: High Fidelity Audio Mode Sonarworks’ latest ebook, Get the Most from Mixing on Headphones The Main Thing Podcast Editors Are Using Descript For: Which App Do You Use To Tag Your Final Episode MP3’s? I Use… Announcements: The start date for the next PES semester is January 12, 2021. I launched a new smaller course for independent podcast editors and producers —> Getting New Clients at Higher Rates! If you’d like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here’s a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/ New equipment and plugins I bought on Black Friday / Cyber Monday: Elgato Stream Deck AMEK EQ 200 Trackspacer by Wavesfactory Level Magic by Flux Jünger dearVR PRO Phil's Cascade Unfiltered Audio TRIAD bx_console N channel strip Melodyne 5 assistant by Celemony Quadravox by Eventide Decapitator by Soundtoys What did you learn in this episode? Let me know by commenting below. Other notes: Next week's episode features Michelle Levitt from Heil Sound, and post-production of that episode will be done by PES graduate Jesse McCune! Daniel Hager did a STELLAR job revamping the PES website! He was my guest on episode 109, he's the host of Let’s Talk Re-Touching, and he's the owner of Hager Media. THANK YOU DANIEL for making the site amazing! Podcasters’ Lounge Facebook group My other podcast -- The Mystic Show (I hope to publish new episodes soon)

The week started with my invention and contacting the manufacturer in Thailand then watching Spectre with my favourite Bond. I got an aunty to help me fill in more details of my ancestry tree and I ordered the new iPhone 12 pro! I watched Easy Rider and a new series on Netflix called Losers about people who have tried in sports and not succeeded but their lives weren’t over! I got some plugins from the Black Friday sales including RC-20, Sausage Fattner, Endless Smile and updated my Melodyne package. I made a beautiful beat inspired by a new uncle, listened to the new Miley Cyrus album Plastic Hearts and enrolled in a new Ableton course to take my beat making production to a new level. It’s been a busy week. Beat of the week is Sounds a beat I made using different sounds such as aerosol cans spraying, air conditioner humming, city ambience, cassette tape playing inserting tape and closing, money flicking, champagne pouring, belt buckles, tennis balls, a cabinet closing, bicycle bell ringing and coloured pencils drawing. It's a full but simple beat. Thanks for listening. If you have any comments or questions please feel free to contact me on the social media platforms listed below. Also I umm and ahh a lot and repeat myself a lot and try to edit it out and sometimes it’s smooth other times not so much so please excuse the bad editing. Watch on YouTube (Note episodes upload on Wednesday) http://bit.ly/DiaryofSiaNasPodcastYT If you need help please contact: Lifeline: 13 11 14 - https://www.lifeline.org.au/about-lifeline/contact-us Beyond Blue: 1300 22 4636 - https://www.beyondblue.org.au/get-support/get-immediate-support Black Lives Matter Resources: https://blacklivesmatters.carrd.co LISTEN TO MY PODCAST – DIARY OF SIA NAS HERE Anchor: https://anchor.fm/sia-nas Apple Podcasts: http://bit.ly/DiaryofSiaNas Spotify: http://bit.ly/DiaryofSiaNasSpotify Google Podcasts: http://bit.ly/sianasgooglepodcast Breaker: https://www.breaker.audio/sia-nas Castbox: https://castbox.fm/channel/id1423820 Pocket Casts: https://pca.st/Gw8w Overcast: http://bit.ly/sianasovercastpodcast PodBean: http://bit.ly/sianaspodbeanpodcast RadioPublic: https://radiopublic.com/sia-nas-GMa2mp Stitcher: http://bit.ly/sianasstitcherpodcast TuneIn: https://tunein.com/radio/Diary-of-a-Hip-Hop-Artist-p1219970 CHECK OUT MY MUSIC Spotify Artist Page: http://bit.ly/sianasspotify Itunes Artist Page: http://bit.ly/sianasitunes SoundCloud Songs: https://soundcloud.com/sia-nas SoundCloud Beats: http://bit.ly/sianasbeatsoundcloud FOLLOW ME https://www.instagram.com/sianassongs https://www.instagram.com/diaryofsianas https://twitter.com/sianassongs https://www.facebook.com/sianassongs https://www.snapchat.com/add/sianassongs https://www.tumblr.com/blog/iamsianassongs https://www.pinterest.com.au/sianassongs https://mix.com/sianassongs SUBSCRIBE Subscribe to my channel to keep up to date with my latest videos. http://bit.ly/sianasyoutubechannel

Lucas Gienow is a songwriter, music producer, and audio engineer based out of Eastern PA, USA! You can find Lucas on Social MediaInstagram: https://www.instagram.com/lucasgienow/You can find Lucas's band Nearly York on Social MediaIG: https://www.instagram.com/nearlyyork/FB: https://www.facebook.com/NearlyYorkMusicYT: https://www.youtube.com/channel/UC1ikZNAFWWgBvO0NzORbcjAYou can listen to the Nearly York's song "Fortune Teller" that we discussed in its entirety here: https://www.youtube.com/watch?v=hjTQpihACnY&ab_channel=NearlyYork-TopicAs I mentioned in a previous episode, I've started a Whatsapp group community. If you're interested in joining, please email me at Secretsonics@gmail.com Please include your phone # and tell me a bit about what you do production-wise.ReferencesCarl Bahner: https://www.benwallick.com/podcast-episodes/2020/8/9/secret-sonics-058-carl-bahnerDustin Richardson (studio 2300): https://www.instagram.com/dbrichmusic/Nearly York: https://www.nearlyyork.com/Sugar Tank Lancaster PA: http://www.thesugartank.com/ Milan Credle: https://www.instagram.com/milancredle/Like Everyone Else EP: https://open.spotify.com/album/76omxTgZA8ZZAZbxsiG7FJSlate VMS: https://slatedigital.com/virtual-microphone-system/Korby Kat Mic: https://vintageking.com/korby-audio-kat-5-systemBrian Rhea: https://open.spotify.com/album/3XkAyllGS2EDEPec7XS7mdBrandon Allshouse: https://www.benwallick.com/podcast-episodes/2020/9/13/secret-sonics-063-brandon-allshouseStudio One: https://www.presonus.com/products/studio-one/Melodyne: https://www.celemony.com/en/melodyne/new-in-melodyne-5Splice: https://splice.com/Omnisphere: https://www.spectrasonics.net/products/omnisphere/Arturia: https://www.arturia.com/products/analog-classics/v-collection/overviewThe making of fortune teller: https://www.nearlyyork.com/fortune-tellerIndepreneur.io: https://indepreneur.io/Strymon Iridium amp sim: https://www.strymon.net/products/iridium/Shift Desktop app: https://tryshift.com/Soundbetter: https://soundbetter.com/Nicholas Di Lorenzo (Mastering): https://www.benwallick.com/podcast-episodes/2020/6/28/secret-sonics-052-nicholas-di-lorenzoRandy Merrill of Sterling Sound: https://sterling-sound.com/engineer/randy-merrill/Dolby Atmos: https://www.dolby.com/technologies/dolby-atmos/Thanks for listening to this episode of Secret Sonics! I hope you enjoyed this episode :) Look out for new episodes weekly. Consider rating and reviewing our show on Apple Podcasts and sharing this or any of your favorite episodes with a friend or two.Thank you to Zvi Rodan, Mendy Portnoy, and Yakir Hyman for contributing to the new podcast theme music!You can find out more about Secret Sonics and subscribe on your favorite podcast app by visiting www.secretsonics.co***If you want the show to continue to improve, feel free to fill out a listener survey here: https://forms.gle/BWKmS4YmESYid5rh8 ***Follow along via social media here:Facebook: www.facebook.com/SecretSonicsPodInstagram: www.instagram.com/secretsonics/Feel free to email me at secretsonics@gmail.com with any questions and feedback you might have. I'm open to learning about what topics you'd like to hear about and which people you'd like to hear from. In pursuit of making this podcast truly helpful to anybody looking to improve at music production, all suggestions are truly welcome! Have a great week, stay safe, and dig in!-Ben

ANNOUNCEMENTS The August Edition of the HSS Song Contest is over with Mark George coming out on top as the winner. Although it was incredibly hard to choose a winner, Mark's song,  “The Other Side of Sound” was picked due to its arrangement, it's clarity and balance, as well as the interest it generated even as an instrumental piece. You can hear the song and listen to my comments on it here: (https://youtu.be/AN9DeEWihcw?t=3988)   The September Edition of the HSS Song Contest is on!    Here are the guidelines for the contest. Original non-copyrighted work  No lewd lyrics or vulgarity  One submission per entrant  File submission in WAV or MP3  Deadline September 25th  Upload your songs here: http://bit.ly/September-Submission   Why would you want to upload your song?         The main purpose I started the song contest was to inspire musicians to release more music and to generate interest in others music, while providing insight and constructive dialogue from a professional standpoint on how to improve the song submitted.      Now, a few months into the HSS Song Contest routine, this segment of the channel has taken on a life of its own! The community it has created and the feedback that has been generated from within the community is amazing! There have been collaborations, friendships, and professional connections made as a result of the contest and so many have claimed that they are learning more and more every single time around.       The song that is chosen as the winner receives a free mix/master of the winning entry from yours truly and the results are shared on the channel to help everyone benefit from knowing what went into it.     Wanna join the HSS Session Players? (https://bit.ly/Session_Player_Sign-up) From time to time I am asked to help out on a project or need some instrumentation for personal client work. While I can play a Bass, I am not a Bassist. That said, I am creating a list of Session Players that I can call on to work on projects. If you'd like the opportunity to work on some projects and collaborate with other like minded musicians. Sign up! EAR TO THE GROUND      Every guitarist knows that becoming a better player takes lots and lots of practice. Positive Grid's “Spark” amplifier is a Bluetooth-connected practice amp/speaker packed with features including tons of onboard effects, a nice assortment of I/O ports, dual speakers, and a wealth of panel controls and presets.       It gets better: With the Spark's free companion app, you can play along with tunes that you stream through the amp and have your mobile device display which chords to play as you go. Or, you can have the app lay down an accompanying drum and bass track for you to jam along to. The Spark mobile app (for Android and iOS) gives you access to a massive library of amp models and effects that let you emulate the sound you get from classic tube amps, acoustic amps, bass amps, and other types of amplifiers. You can also create customized effects using virtual pedals for Overdrive, Noise Gate, Delay, Modulation, and Reverb, or you can access Positive Grid's BIAS-powered tone library that contains more than 10,000 amp and effects presets that let you mimic the guitar sounds of your favorite players such as Jimi Hendrix, BB King, Stevie Ray Vaughn, and many others.       If you're a guitarist and you're looking for an affordable mobile rig to practice with at home, at work, or even on your commute, the Spark may be the solution you;re looking for.. -This months 3 FREE Plugins- 1. Temper Temper is a modern digital distortion plugin featuring a rich saturation stage and a unique phase distortion. Use the variable saturation curve to add warmth and edge to your sound, and let the phase distortion bring character and clarity through your mix. Temper also features a simple resonant lowpass filter and a feedback path to drive the intensity of the tone. Watch the Temper Video demo here. 2. Alter/Ego Alter/Ego is based on the award winning technology featured in chipspeech but instead of targeting Vintage voice technology, it focuses on more ‘modern' (1990+) singing synthesis algorithms and research. It is specially tailored for musical needs – simply type in your lyrics, and then play on your MIDI keyboard. It's a true synthesizer, the sound can be extensively modified for easy and expressive performances.  3. Driftmaker Driftmaker is a delay disintegration device that parses incoming audio, recalls certain parts and adds analog deterioration to the signal. MAIN THOUGHT   1. Consider Using Auto-Tune The name “autotune” can have what some people would consider to be negative connotations. The artificial, robot-voice style that is popular in some genres is wildly unpopular with other people. But the truth is that modern auto tuning software is capable of far more subtle vocal correction than simply turning your voice into a robot. For a start, it's variable, meaning you can apply a little or a lot. And then there's micro pitch controls, formants and other smaller tweaks that can take individual notes or whole clips and pull them to where they need to be without sounding like they have been processed. Antares is at the forefront of these kinds of tools but there's also Melodyne, and DAWs like Cubase (VariAudio) and Logic (Flex Pitch) have very powerful tools built-in. Used with care, they can rescue almost any vocal. 2. Warm Up This is something you can do to help your performance at the source, regardless of any processing that may come later in the chain. Professional singers have all kinds of techniques and routines they use to keep their voices in shape and prepare before recording takes. You don't necessarily have to go as far as copying them, but singing a few scales, regulating your breathing and making sure you are hydrated before starting will all help you to nail a better performance than if you just turn up and begin. 3. Generate Harmonies You can bolster a vocal performance by adding harmonies, but you may not be confident in singing them yourself. The good news is that there are several ways to do it in software. Cakewalk is one DAW that has a tool for doing just this, and any tool or plug-in that lets you pitch shift audio without changing its speed (i.e. most DAWs these days) can be utilised to create harmonies on a new audio track. However, simply pitch shifting a clip to use as a harmony may not always sound great, and it's better to get access to individual notes so you can truly control the way they interact with your main vocal melody. SynchroArts Revoice Pro 4 is another very powerful tool for working with the pitch and timing of vocals. 4. Use Dedicated Vocal Plug-Ins Recording while monitoring through software insert effects is much less of a hassle these days, with computers powerful enough to operate at very low latency, or indeed interfaces with onboard DSP and direct monitoring available. But it's usually advisable to record a vocal clean and then add processing afterwards so that it can be tweaked and edited in the most flexible way possible. Specialist tools like iZotope's Nectar provide a multitude of controls tailored specially to vocals like breath control, saturation, de-essing and more. Waves also makes some excellent vocal processors and if you don't want to spend too much, you can use your DAW's bundled plugs in a chain to combine things like EQ, compression, de-essing and saturation into a ready-to-use preset to apply to your vocals. 5. Consider Software-Generated Accompaniment If you're not happy with your own performance it's always an option to get someone else in to sing for you. But if that is not a possibility, you could look at software-generated backing or even lead vocals. Instruments like EastWest's Symphonic Choirs, Hollywood Backup Singers, Voices of Soul and Voices of Opera use something called WordBuilder, a technology that lets you type in text and then has the instrument recreate it using its sample library. Yamaha's Vocaloid is another “virtual singer” that lets you build up authentic sounding vocal parts from a large library, bypassing the need to sing for yourself. 6. Process More Not necessarily just the kinds of processing that you would ordinarily do like adding compression and reverb, but consider more weird and wonderful options. A vocal that is perhaps lacking in body can be run through all kinds of effects to change the way it sounds including guitar fx, delays, lo-fi effects and much more. It's true that this approach might not suit a pop single for example, but for many other genres of music it can help to blend a vocal into a track in interesting and unusual ways. Since plug-ins are all virtual, you can always experiment and try a few things, undoing them later if you decide down the line that they aren't right. 7.  Learn Mic Technique The way you interact with a microphone can have a big impact on the way a vocal is recorded. Obviously to begin with you'll need a decent quality studio mic and a recording environment that's as soundproofed as you can reasonably make it. If you find it necessary to move closer to the mic because your vocal projection isn't so strong, you need to mitigate the proximity effect by making sure you have at least one pop shield, and possibly even two if you are very close to the mic. Some mics also have internal popshields, though every vocalist should really own an external one as well. It's also vital to maintain a consistent distance from the mic while singing - around 6-8 inches is recommended but this will depend on the power of your voice. Moving around while singing will affect the recording level, so is to be avoided if at all possible. 8. Sing Like Nobody's Watching  For a less experienced vocalist, singing live into a mic, even in a studio, can make them self-conscious. It's natural to be a little nervous but it can also affect the quality of a performance. You might find that clearing the room of people - the control room if you're in a studio - can help with this. You may need to keep the engineer around to stop and start recording, but they could also set a loop around the track, activate recording and then you could try several takes in a row, all without anyone else around.    Home Studio Simplified exists to simplify the complexities of the Home Studio and to help you make professional music in a less than professional space. We can Dream alone. We can Create alone. But Together we can achieve so much more.  

ANNOUNCEMENTS The August Edition of the HSS Song Contest is over with Mark George coming out on top as the winner. Although it was incredibly hard to choose a winner, Mark’s song,  “The Other Side of Sound” was picked due to its arrangement, it’s clarity and balance, as well as the interest it generated even as an instrumental piece. You can hear the song and listen to my comments on it here: (https://youtu.be/AN9DeEWihcw?t=3988)   The September Edition of the HSS Song Contest is on!    Here are the guidelines for the contest. Original non-copyrighted work  No lewd lyrics or vulgarity  One submission per entrant  File submission in WAV or MP3  Deadline September 25th  Upload your songs here: http://bit.ly/September-Submission   Why would you want to upload your song?         The main purpose I started the song contest was to inspire musicians to release more music and to generate interest in others music, while providing insight and constructive dialogue from a professional standpoint on how to improve the song submitted.      Now, a few months into the HSS Song Contest routine, this segment of the channel has taken on a life of its own! The community it has created and the feedback that has been generated from within the community is amazing! There have been collaborations, friendships, and professional connections made as a result of the contest and so many have claimed that they are learning more and more every single time around.       The song that is chosen as the winner receives a free mix/master of the winning entry from yours truly and the results are shared on the channel to help everyone benefit from knowing what went into it.     Wanna join the HSS Session Players? (https://bit.ly/Session_Player_Sign-up) From time to time I am asked to help out on a project or need some instrumentation for personal client work. While I can play a Bass, I am not a Bassist. That said, I am creating a list of Session Players that I can call on to work on projects. If you’d like the opportunity to work on some projects and collaborate with other like minded musicians. Sign up! EAR TO THE GROUND      Every guitarist knows that becoming a better player takes lots and lots of practice. Positive Grid’s “Spark” amplifier is a Bluetooth-connected practice amp/speaker packed with features including tons of onboard effects, a nice assortment of I/O ports, dual speakers, and a wealth of panel controls and presets.       It gets better: With the Spark’s free companion app, you can play along with tunes that you stream through the amp and have your mobile device display which chords to play as you go. Or, you can have the app lay down an accompanying drum and bass track for you to jam along to. The Spark mobile app (for Android and iOS) gives you access to a massive library of amp models and effects that let you emulate the sound you get from classic tube amps, acoustic amps, bass amps, and other types of amplifiers. You can also create customized effects using virtual pedals for Overdrive, Noise Gate, Delay, Modulation, and Reverb, or you can access Positive Grid’s BIAS-powered tone library that contains more than 10,000 amp and effects presets that let you mimic the guitar sounds of your favorite players such as Jimi Hendrix, BB King, Stevie Ray Vaughn, and many others.       If you’re a guitarist and you’re looking for an affordable mobile rig to practice with at home, at work, or even on your commute, the Spark may be the solution you;re looking for.. -This months 3 FREE Plugins- 1. Temper Temper is a modern digital distortion plugin featuring a rich saturation stage and a unique phase distortion. Use the variable saturation curve to add warmth and edge to your sound, and let the phase distortion bring character and clarity through your mix. Temper also features a simple resonant lowpass filter and a feedback path to drive the intensity of the tone. Watch the Temper Video demo here. 2. Alter/Ego Alter/Ego is based on the award winning technology featured in chipspeech but instead of targeting Vintage voice technology, it focuses on more ‘modern’ (1990+) singing synthesis algorithms and research. It is specially tailored for musical needs – simply type in your lyrics, and then play on your MIDI keyboard. It’s a true synthesizer, the sound can be extensively modified for easy and expressive performances.  3. Driftmaker Driftmaker is a delay disintegration device that parses incoming audio, recalls certain parts and adds analog deterioration to the signal. MAIN THOUGHT   1. Consider Using Auto-Tune The name “autotune” can have what some people would consider to be negative connotations. The artificial, robot-voice style that is popular in some genres is wildly unpopular with other people. But the truth is that modern auto tuning software is capable of far more subtle vocal correction than simply turning your voice into a robot. For a start, it’s variable, meaning you can apply a little or a lot. And then there’s micro pitch controls, formants and other smaller tweaks that can take individual notes or whole clips and pull them to where they need to be without sounding like they have been processed. Antares is at the forefront of these kinds of tools but there’s also Melodyne, and DAWs like Cubase (VariAudio) and Logic (Flex Pitch) have very powerful tools built-in. Used with care, they can rescue almost any vocal. 2. Warm Up This is something you can do to help your performance at the source, regardless of any processing that may come later in the chain. Professional singers have all kinds of techniques and routines they use to keep their voices in shape and prepare before recording takes. You don’t necessarily have to go as far as copying them, but singing a few scales, regulating your breathing and making sure you are hydrated before starting will all help you to nail a better performance than if you just turn up and begin. 3. Generate Harmonies You can bolster a vocal performance by adding harmonies, but you may not be confident in singing them yourself. The good news is that there are several ways to do it in software. Cakewalk is one DAW that has a tool for doing just this, and any tool or plug-in that lets you pitch shift audio without changing its speed (i.e. most DAWs these days) can be utilised to create harmonies on a new audio track. However, simply pitch shifting a clip to use as a harmony may not always sound great, and it’s better to get access to individual notes so you can truly control the way they interact with your main vocal melody. SynchroArts Revoice Pro 4 is another very powerful tool for working with the pitch and timing of vocals. 4. Use Dedicated Vocal Plug-Ins Recording while monitoring through software insert effects is much less of a hassle these days, with computers powerful enough to operate at very low latency, or indeed interfaces with onboard DSP and direct monitoring available. But it’s usually advisable to record a vocal clean and then add processing afterwards so that it can be tweaked and edited in the most flexible way possible. Specialist tools like iZotope’s Nectar provide a multitude of controls tailored specially to vocals like breath control, saturation, de-essing and more. Waves also makes some excellent vocal processors and if you don’t want to spend too much, you can use your DAW’s bundled plugs in a chain to combine things like EQ, compression, de-essing and saturation into a ready-to-use preset to apply to your vocals. 5. Consider Software-Generated Accompaniment If you’re not happy with your own performance it’s always an option to get someone else in to sing for you. But if that is not a possibility, you could look at software-generated backing or even lead vocals. Instruments like EastWest’s Symphonic Choirs, Hollywood Backup Singers, Voices of Soul and Voices of Opera use something called WordBuilder, a technology that lets you type in text and then has the instrument recreate it using its sample library. Yamaha’s Vocaloid is another “virtual singer” that lets you build up authentic sounding vocal parts from a large library, bypassing the need to sing for yourself. 6. Process More Not necessarily just the kinds of processing that you would ordinarily do like adding compression and reverb, but consider more weird and wonderful options. A vocal that is perhaps lacking in body can be run through all kinds of effects to change the way it sounds including guitar fx, delays, lo-fi effects and much more. It’s true that this approach might not suit a pop single for example, but for many other genres of music it can help to blend a vocal into a track in interesting and unusual ways. Since plug-ins are all virtual, you can always experiment and try a few things, undoing them later if you decide down the line that they aren’t right. 7.  Learn Mic Technique The way you interact with a microphone can have a big impact on the way a vocal is recorded. Obviously to begin with you’ll need a decent quality studio mic and a recording environment that’s as soundproofed as you can reasonably make it. If you find it necessary to move closer to the mic because your vocal projection isn’t so strong, you need to mitigate the proximity effect by making sure you have at least one pop shield, and possibly even two if you are very close to the mic. Some mics also have internal popshields, though every vocalist should really own an external one as well. It’s also vital to maintain a consistent distance from the mic while singing - around 6-8 inches is recommended but this will depend on the power of your voice. Moving around while singing will affect the recording level, so is to be avoided if at all possible. 8. Sing Like Nobody’s Watching  For a less experienced vocalist, singing live into a mic, even in a studio, can make them self-conscious. It’s natural to be a little nervous but it can also affect the quality of a performance. You might find that clearing the room of people - the control room if you’re in a studio - can help with this. You may need to keep the engineer around to stop and start recording, but they could also set a loop around the track, activate recording and then you could try several takes in a row, all without anyone else around.    Home Studio Simplified exists to simplify the complexities of the Home Studio and to help you make professional music in a less than professional space. We can Dream alone. We can Create alone. But Together we can achieve so much more.  

What is Melodyne? Why do we use it? How do we use it? In this episode, we share some tips for editing a cappella vocals. --- Please follow us on Facebook and Instagram

You might be sitting on a goldmine of new musical ideas without realizing it. We talk about that today, plus we dive into vocal recording, Melodyne, dealing with noise, and recording acoustic guitar with DI vs microphone. Video I mentioned in the episode:

Welche Rolle spielen heute Plugins wie Melodyne und Autotuner? Wie geht man bei einer Choraufnahme vor. All diese Dinge erzählt uns Billy in der letzten und umfangreichsten Folte zum Thema Gesang. Wenn ihr Billy King mal live in seinem Studio sehen wollt, dann schaut Euch doch mal mein Interview in Mugent Sessions auf YouTube an:https://youtu.be/YpwNdVBP8BA EDM komponieren: Basics der elektronischen Musik: https://amzn.to/39q8RDS Lecton: https://lectonapp.com/de/ Podcasts-Distribution http://fogel-podcasting.de

Melodyne 5 arives alive, the ultimate stereo plugins, a new FM synth that you build yourself in your DAW, Softube's entry into the world of big amp sim packages, and ten minutes on ear wax. SHOW NOTES AND LINKS https://www.a4ppodcast.com SUPPORT US ON PATREON OR PAYPAL https://www.patreon.com/a4ppodcast OUTRO BY ARPZ https://4thecorerecordings.bandcamp.com

On this episode the hosts are joined by music producer Kevn Elib as we engage in a discussion about file management and sharing. There was a lot of news and releases in pro audio that we felt needed to be disussed, such as Waves announcing the new studio rack. Loopcloud announcing Loopcloud sounds. And the biggest announcement, Celemony releasing Melodyne 5. For the main topic of file management we discuss what we use to back up files, do we keep our files on a internal or external drive, what we use to share sessions, and much more. Be sure to check the facebook group for a link to the survey, and to be entered in a giveaway for a gift card from Frontend Audio. Facebook Group, Faders Up Podcast.Follow the hosts, guest, and podcast on Instagram- FadersUpPodcast - Kevnelib- AudioCzar901- IamKadencePAT- _Chaosa- ItspronouncedOshayHave a question you want answered on the podcast? Email us at FadersUpPodcast@yahoo.com

The News!, Melodyne 5, Mixers in the Studio and for Podcasting, iPad in the Studio, DI’s, USB Mics

En este episodio os hablo de novedades importantes en las actualizaciones de Logic Pro y Spotify y de otros temas de actualidad que me han resultado interesantes: Festival Jazzaldia 2020, filtraciones de iOS 14, Melodyne 5 y alguna cosilla más Novedades Logic Pro X https://www.youtube.com/watch?v=rwGyWCr18GU&list=PLaCZNICQYbBEEKseoIdf-MuWNeI5Ur4tf Jazzaldia 2020 https://todoindie.com/festivales/jazzaldia/ Iriun Webcam https://iriun.com/ Epooc Cam https://www.kinoni.com/ Hackers y medios cuentan con una versión robada de iOS 14 desde hace meses https://www.actualidadiphone.com/hackers-y-medios-cuentan-con-una-version-robada-de-ios-14-desde-hace-meses/ Contacto @Cablesyteclas cablesyteclas@gmail.com https://cablesyteclas.wordpress.com Youtube: bit.ly/CyTYoutube --- Send in a voice message: https://anchor.fm/cablesyteclas/message Support this podcast: https://anchor.fm/cablesyteclas/support

Evan Feist is an audio engineer, music producer, singer, vocal coach, arranger and beat-boxer based out of New York and specializing in A Cappella music!You can follow Evan and learn more about him at https://www.instagram.com/zeitfeist/You can find some of his sheet music arrangements here: https://www.sheetmusicplus.com/publishers/evan-feist-sheet-music/3010558References:Tony Huerta - http://www.sonicaudiopro.com/about/tonyhuerta/His masterclass "It Sounds Muddy" - http://www.sonicaudiopro.com/ism2020/CASA Facebook group (Evan is Vice President) - https://www.facebook.com/pg/acappellanow/groups/?__nodl&ref=page_internal&mt_nav=0Six Appeal (award-winning group Evan engineers for) - http://sixappealvocalband.com/Take 6 - https://en.wikipedia.org/wiki/Take_6Six13 - https://www.six13.com/Simon Sinek Ted Talk - https://www.youtube.com/watch?v=u4ZoJKF_VuAHis book "Start with Why" - https://amzn.to/35sSl2WThanks for listening to this episode of Secret Sonics! I hope you enjoyed this episode :) Look out for new episodes weekly.You can find out more about Secret Sonics and subscribe on your favorite podcast app by visiting www.secretsonics.coFollow along via social media here:Facebook: www.facebook.com/SecretSonicsPodInstagram: www.instagram.com/secretsonics/Feel free to email me at secretsonics@gmail.com with any questions and feedback you might have. I'm open to learning about what topics you'd like to hear about and which people you'd like to hear from. In pursuit of making this podcast truly helpful to anybody looking to improve at music production, all suggestions are truly welcome!Have a great week and dig in!-Ben

Musiker und Tontechniker nutzen den Fehler zur Entdeckung faszinierender Klangwelten. Autotune, Melodyne und Vocaloid verwandeln fehlerbehaftete menschliche Stimmen in androide.

This is Home Studio Hustle Podcast #4 - The 4 Jobs You Can Take in Your Home Studio - Part 2 - The Money/Work Relationship   Hello Hustlers and welcome to the show I’m Mike Brown and today we’re going to be talking about The 4 Jobs You Can Take in Your Home Studio. This one is a two-parter and part 1 is already up on the blog, so head on over to homestudiohustle.com and check it out or find a link in the show notes at homestudiohustle.com/podcast.   Part one of this series focused primarily on the frequency of the gigs you’re taking. In this part, I’m going to focus on the money/work relationship.   This is exactly what it sounds like- it’s the relationship of how much money you get for a given amount of work.  This episode isn’t going to talk about HOW to price your services just yet. We’ve got that coming down the pipeline, though. (Spoiler: It’s SO much easier than you think and doesn’t require any research at all)   Because I am not a huge fan of ambiguity with this stuff, I’m going to ignore the middle of the road. We won’t be talking about medium amounts of work or medium amounts of money because they’re so subjective. Today we’ll be talking in “extremes.”   If you’re sitting down at a desk or table, I have a little bit of extra work for you to do. If you’re not, don’t worry- I’ve got you covered in the show notes.  For now do this exercise in your mind.   Take out a piece of paper and grab a pen. Go ahead and draw a square on it. Use as much space as you need. We’ll be dividing this square up and writing inside it.   Now, draw two lines in the square. One splitting it in half vertically, and one splitting it in half horizontally.   What you should have now should look like every window I ever drew on every house I ever drew.   There should be four smaller squares now. I’ll refer to them as quadrants.   Above the top left quadrant, write low, and on the right one write high.   Then do the same along the left side- low on top and high on the bottom.   The top is going to represent the payment you receive, or the “money” and the side is going to represent the amount of work it takes to complete a project.   We’re going to be talking about the pros and cons of each of these squares as well as a few types of jobs that could go in each.   The first one here is the low-low.  A low-low gig is low work and low money.  Maybe it’s a small one-off gig that you bang out in 15 mins and get $10 bucks for.   The pros of this type of job is that they’re so quick! You can fill up your schedule with them and earn a reasonable amount even though they aren’t necessarily as lucrative as other options.   Another pro to this is that if you’re constantly shifting gears, you’re less likely to get bored or burn out during your pre-scheduled studio time!  (You’re pre-scheduling your studio time, right?)   Some of the cons are that if you can’t load up on them, they don’t really make enough to support you just on their own.   Also, if you’re doing a different type of job every 15-30 minutes, it eliminates the ability to use one of the best productivity practices out there- batching.   A few examples of low-lows are: Cutting up audio for a wedding dance. Doing a sound-effect for a YouTube video Doing a few lines of voice acting for a small video game.   These are all gigs I’ve taken that take me around 15 minutes, but range from $20-$50 a pop. They’re simple and don’t require a ton of nitty-gritty work. That 80-200 dollars if I fill up an hour with 4 of them!   I’m going to reiterate here, though, that you should create your own pricing plans for your products and services. Mine work for me because I’ve figured them out. We’re going to go down a square to the High-Work/Low-Money square.   Now, at a first glance you may just assume I’m going to tell that you these gigs are all downside and just not to take them. Unfortunately, however, there are a few pros that may even outweigh the cons.   We’ll still START with the cons for this one though.   There’s one major one and it’s right in the name. You’re going to be doing a high amount of work for low pay.  It’s hard to get excited about things like this because who gets excited about making less money??? They can often leave you feeling like you didn’t get paid enough or you worked too hard.   Even for High-Work/Low-Money gigs, make sure you deliver on time and match your standard of quality! No cutting corners!   You’re probably wondering what could POSSIBLY be a pro for this sort of gig.   Off the top of my head I can think of two.   The first is that any gig that requires you to learn a new skill is almost by default put into this box.  This vastly increases the amount of work you need to do to deliver, BUT creates an opportunity for you to learn!   Let’s face it- learning is one of the most important things you can do while you’re working in your home studio as it increases your ability and efficiency for all future projects! Man if you factor that into the payment, the “money” aspect doesn’t seem so bad anymore!   Another pro to this kind of gig is that it can also be in this category if you had to buy something new in order to do the gig. Maybe the pay for the gig is just fine until you deduct the money you had to spend on Melodyne or Superior Drummer.   This expands your horizons to more and different gigs in the future.  Just like the fact that learning a new skill should be considered in the payment, so does the opportunity to add a new product to your collection!Disclaimer here:  I’m talking about buying a product for a specific gig you have. Not going out and dropping hundreds on pieces of software you will THEORETICALLY need in the future.   So what specific gigs could these be?   A few examples of High-Work/Low-Money gigs are: A Hip-Hop artist wants to track with you but you’ve never dealt with rap vocals before An A Cappella group needs you to tune up their vocals, but you don’t own melodyne yet An up-and-coming 3-piece band wants to live-track with you but your interface only has 2 inputs.   All of these have intrinsic payment in the form of knowledge! Now, knowledge doesn’t pay the bills, so don’t accept ONLY knowledge, but keep it in mind when taking or rejecting opportunities like these. Moving to the right, we’re going to talk about the High-Highs.   These are gigs that are High-Work/High-Money. Much like in part one of this series- this is what most people think of when they think about making money in a recording setting.   And I understand why! High-Work/High-Money gigs are usually fun, high-profile, and glamorous. They’re the gigs you post about on instagram so people can fawn over how cool you are.   Because of this, it’s basically all you see when people share what they’re doing with the world. These gigs are not as hard to come by as you’d think.  They just take a little bit of work to find and close.   So let’s look at the Pros and Cons of High-High Gigs!   Some pros: Uh DUH! They pay a lot!  They’re a great boon to your ability to sustain a home studio business.   They’re also usually fun! Barring a difficult client, projects like these are probably the reason you got into home studio recording in the first place!   As far as cons- they can take up more time than you’d like. They also take a little bit of work just to find the gig.   I have a tip here, though. Do you know who usually has a bunch of money to record and often no idea where to spend it?College A Cappella Groups.   This is no joke. As someone who was once deep in this world, I can tell you that my group once received $10k from our Student Government to record an album.   Now, maybe I’m lucky because Connecticut has one of the largest number of colleges per square mile in the country.  Still, even if you need to buy a laptop, a portable interface, and drive 200 miles to your nearest college or university, you can make your money back tenfold.   There are, of course, innumerable ways to get the High-High gigs so head over to the comment section of the show notes at homestudiohustle.com/podcast and let me know your way!I just wanted to share what, in my opinion, is one of the BEST ways to get High-High gigs.   Lastly, we move to the only square left- the High-Money/Low-Work.   These are obviously the Holy Grail of Studio work. If you can find them, jump at them! To be honest, I think the pros and cons are obvious for this one, so I’m not going to tediously lay them out for you. Instead let’s talk about how to find these elusive opportunities.   The first and best way to find High-Money/Low-Work jobs is going to sound like a no-brainer: If you take a bunch of High-High gigs and streamline your productivity enough, the work investment will drop so that you’re still getting paid the same, but the job is getting easier because you’ve honed your skills and abilities.   If you do ten albums for the same band, obviously the tenth will be WAY less work than the first! You know how they like their snare. You have a template saved in your DAW for their tracking sessions. You already have the mic matched to the lead singer from the last album you did for them.   This principal works for all aspects of the home studio. The more you practice the more money you make without even raising your prices!   I will also say this, though. Another, more advanced, way to get High-Money/Low-Work gigs is to utilize the principle of pricing your CLIENT rather than your SERVICES.     Since this episode is dealing less with pricing and more with broad money concepts, we’ll save this for another time- but keep it in mind. It can be a powerful tool to help you increase your profits!   So that’s it. Between part one and part two of this series, I’ve illustrated 8 total types of jobs you can take in the home studio as well as explained positive and negative aspects of each. Your homework is to go on and book a few of your own!   If you’d like to see MY hand-drawn version of the square head on over to the show notes at homestudiohustle.com/podcast. Also be sure to check out part one of this series if you haven’t yet. I’d love to hear what you have to say on this topic. If you want to add your voice to the conversation, come to homestudiohustle.com/podcast, find this episode and leave a comment. OR if you’d like to have a more private dialogue, email me at HomeStudioHustle@gmail.com. Don’t forget to subscribe and leave me a 5-star review.   Thank you, and keep hustlin’.

Nesse programa conversamos com Deniel Moraes e Gregoree Junior, sócios da G2D produções musicais, sobre o processo de produção e gravação de uma música em um estúdio profissional. Conversamos sobre as etapas de preparação da demo inicial até chegar no produto final, ou seja, a música já mixada e masterizada. Trouxemos exemplos de cada etapa e também discutimos sobre o uso de softwares para afinar instrumentos e vozes (famoso Melodyne), assim como a escolha de instrumentistas e microfones para cada estilo musical.

Nesse programa conversamos com Deniel Moraes e Gregoree Junior, sócios da G2D produções musicais, sobre o processo de produção e gravação de uma música em um estúdio profissional. Conversamos sobre as etapas de preparação da demo inicial até chegar no produto final, ou seja, a música já mixada e masterizada. Trouxemos exemplos de cada etapa e também discutimos sobre o uso de softwares para afinar instrumentos e vozes (famoso Melodyne), assim como a escolha de instrumentistas e microfones para cada estilo musical.

On this episode the guys talk about something that a lot of the listeners have been asking for: Autotune. They also tackle Melodyne, Vocalign, comping and everything else that goes into getting a good vocal recording.

Want to get into Endless? Here's the link to the HOWA jam http://bit.ly/HOWAjam I met Tim Shaw aka Tim Exile in Berlin in the mid 2000s We were 2 brits roasting in the furnace of creativity that was cooking in the East It was a heady time. There were so many amazing performers around Everyone from Peaches to Kevin Blechdom, Errorsmith to Neubauten  You could inhale the punk as a gas and it fueled a lot of invention at that time Tech was on that more steady and tangible bubble up and we were all trying to see how to combine our strengths with that digital promise. Around 2000 I had decided to drop out of music making to be a builder of machines. I got completely taken by the promise of Max/Msp and indeed it allowed me a great freedom to combine my voice and my obsession with the machine in a new way I was making a living looping and Tim caught wind of those early shows and it set him off on a journey to build an absolute BEAST of a looper I had travelled the Max way, Tim took the Reaktor to the loop limit.  His flow machine was a joy to behold even in its infancy.  I remember hearing it and being completely blown away  Seem-less transitions and audio with no clicks! All things my machine struggled with. Loops with various lengths all playing off against one another, FX that would cut and carve the shit into shreds only to have new layers swoop in to fill the void and uncover new counterpoints. The Tempo could change. The Machine would time stretch and warp so beautifully. It was a marvel. The ultimate looper.  It's still is the best I've ever used and for a long time it wasn't available to the public.  That is until ENDLESS I'm super proud of him for daring to explode this idea into the world as something more than an esoteric loop maker for just one user. He's had to quit his career as a musician essentially to focus on the company and now it's happening. Endless is beginning. Exciting times and I'm very happy to have known the evolution of all this. I see how far it can go coz I know how far the looper has already taken me. Wild rides to get this far and more to come. Please welcome the marvelous mind that is Tim Exile to the show to share his thoughts! ___________________ MUSIC for 44 comes from - The Great Turtle  https://greatturtle.bandcamp.com Michael Sayer sent me a lovely mail about this improved music and how it's born of an obsession with music making. How cool is this ? Music made at the Birds of Prey Conservation Area in Idaho. Check it out ___________________ Sponsorship for the show comes courtesy of the wondrous digital minds at Valhalla DSP!  I'm thrilled to be able to have them on board as I'm such a fan of all their stuff and the JSUT released the new DELAY plugin The best $50 you'll spend on a delay, lemme tell ya! Get out and get it!   Speaking of which, thanks to Devon Gilfillian The song we wrote together called “Get out and Get it”is out now as a single for him on Capitol Records! Badass! Listen here https://devongilfillian.lnk.to/ListenWE   I use snips of the original demo vocal in the nitty gritty to show off the wobbly world of dual Melodyne  Why not! More wobbles in 2019!!!   Cheers  

Check out episode 23 where I discuss getting into Collarts which I am really happy about. Getting off your butt and not just sitting in front of your computer for hours on end. I had a bad experience with buying Omnisphere through an account on Instagram - won't ever be doing that again. Also talking about shame and unlocking pain and using melodyne to fix my major off key singing. Movie of the week I talk about is Friday! Plus there is something Gary Vee says that I totally disagree with. Listen now to find out what it is. I love hearing from you so if you have any comments or questions please feel free to contact me on the social media platforms listed below. PLEASE LIKE, SHARE, COMMENT and SUBSCRIBE. LISTEN TO MY PODCAST HERE Anchor: https://anchor.fm/sia-nas iTunes Podcasts: http://bit.ly/DiaryofaHipHopArtist Spotify: http://bit.ly/DiaryofaHipHopArtistSpotify Google Podcasts: http://bit.ly/sisnasgooglepodcast Breaker: https://www.breaker.audio/sia-nas Castbox: https://castbox.fm/channel/id1423820 Pocket Casts: https://pca.st/Gw8w Overcast: http://bit.ly/sianasovercastpodcast PodBean: http://bit.ly/sianaspodbeanpodcast RadioPublic: https://radiopublic.com/sia-nas-GMa2mp Stitcher: http://bit.ly/sianasstitcherpodcast TuneIn: https://tunein.com/radio/Diary-of-a-Hip-Hop-Artist-p1219970 CHECK OUT MY MUSIC Spotify Artist Page: http://bit.ly/sianasspotify Itunes Artist Page: http://bit.ly/sianasitunes YouTube Channel: http://bit.ly/sianasyoutubechannel SoundCloud Songs: https://soundcloud.com/sia-nas SoundCloud Beats: http://bit.ly/sianasbeatsoundcloud FOLLOW ME https://www.instagram.com/sianassongs https://twitter.com/sianassongs https://www.facebook.com/sianassongs https://www.snapchat.com/add/sianassongs SUBSCRIBE Subscribe to my channel to keep up to date with my latest videos. http://bit.ly/sianasyoutubechannel

قسمت یکم #رادیولاله منتشر شد. هدف من و دوستانی که در ساخت این پادکست به من کمک می کنند، به طور کلی این است که جامعه ی مخاطبین پادکست فارسی رو افزایش بدیم و مدیوم جدید پادکست رو بیشتر و بیشتر به فارسی زبانان معرفی کنیم، همین طور به مخاطبین کمک کنیم که راحت تر و بهتر بتونند پادکست مورد علاقه شون رو پیدا کنند. از سوی دیگه، به پادکست سازها هم کمک کنیم که با دغدغه های هم آشنا بشن، و بدونند که سایر همکاران پادکست سازشون با چه مسائلی رو به رو هستند و چه طور این مسائل رو حل می کنند. در این قسمت اول به این موضوعات می پردازم: چی شد که تصمیم گرفتم این پادکست رو بسازم، پادکست اصولن چیست، چگونه، چرا، و کجاها می شه به پادکست ها گوش داد. در قسمت های بعدی مفصل تر به این موضوعات خواهیم پرداخت و در این اپیزود فقط مقدمه ای از داستان پادکست گفته می شه. در این قسمت اول، با فرشاد محمودی، سازنده ی پادکست دایجست صحبت کردم، و در مورد پادکستش، اینکه چی شد که تصمیم به ساختش گرفت و چه جوری پادکستش رو می سازه و کلی موضوع دیگه. در قسمت معرفی پادکست ها، به سراغ #پادکستهای_موسیقی فارسی رفتم. در این اپیزود، معرفی مختصری از این پادکست ها داریم: · پادکست کُرُن #کرن Koron Podcast ، سازنده بردیا دوستی، اکانت توییتر bardiadoosti@ کانال تلگرام https://t.me/koronpodcast درباره موسیقی ایران یادداشت من در #وبلاگ_رادیولاله در مورد پادکست کُرُن https://virgool.io/RadioLaleh/%D9%BE%D8%A7%D8%AF%DA%A9%D8%B3%D8%AA-%DA%A9%D8%B1%D9%86-%DA%AF%D9%86%D8%AC%D8%B4%DA%A9-%D8%A7%D8%B4%DB%8C-%D9%85%D8%B4%DB%8C-%D9%88-%D8%AF%D8%B1%D8%B3-%D8%B2%D9%86%D8%AF%DA%AF%DB%8C-roadzgn2dp4m · پادکست آمپاژ ، #آمپاژ Ampaj، سازندگان: شاهین و کامران، اکانت توییتر @AmpajBand کانال تگرام https://t.me/Ampaj آمپاژ؛ پادکستی که در اون سعی میکنیم اتفاقات و صداهایی که به چشم و گوش نمیان رو، نمایان کنیم دو یادداشت من در #وبلاگ_رادیولاله در مورد آمپاژ یادداشت اول، برای شما که از موسیقی تکراری خسته اید http://vrgl.ir/3czBt یادداشت دوم: در باب فمنیزم به سبک آمپاژ http://vrgl.ir/IiyWH · پادکست #ملوداین، Melodyne اکانت تلگرام https://t.me/melodynepodcast · پادکست صداهای #عامه_پسند PulpVoices اکانت توییتر @pulpvoices کانال تلگرام https://t.me/pulpvoices هر شماره‌ی این پادکست، یک آهنگ يا خواننده‌ی پرمخاطب/عامه‌پسند رو از جنبه‌های گوناگون بررسی می‌کنه. · پادکست نهنگ Na’Hang، Radio Nahang اکانت توییتر @radionahang اکانت تگرام https://t.me/radionahang https://anchor.fm/radionahang/ رادیو نهنگ مجالی برای صحبت از دغدغه های روزمره با طعم موسیقی و هنر · پادکست ایموزیک Amusic ، آرش رسولیان اکانت توییتر @amusicArash کانال تلگرام https://t.me/arashrasoulian از خنیاگران اروپای سده‌های میانه تا تولد موسیقی جَز از ریتم‌های آفریقایی در قاره نو در پادکست "اِی میوزیک" از موسیقی غرب می شنویم · گراماتون در مورد راک، داستان شکل گیری موسیقی راک در ایران https://shenoto.com/channel/gramatune https://gramatune.com/ https://gramatune.com/live/ گراماتون، مجله آنلاین موسیقی ایران و جهان مترونوم

Oskar Humlebo aka Moto Boy går igenom processen bakom låten "Close to you". Ett härligt samtal om att svimma i Berlin, Melodyne och Ola Salos gamla klarinett! Ett stort tack till Gula Studion som lät oss husera i deras fina lokaler!

Some of the topics this week are: Paul McCartney having some unprecedented success with his new album, The MMA making it's way through the American government machine, Deadmau5 lending his talents to the world of movie soundtracks, The return of Rammstein, Eminem “borrowing” the Beastie Boys album artwork, Auto Tune and the bad rap it's gotten by people not “in the know”, and more… This weeks album: Carrie Underwood - Cry Pretty This weeks Rig Rundown: John Frusciante - Red Hot Chili Peppers 2011 Buy his rig: Fender Strat 1962 / Fender Telecaster 1960's / Gretsch White Falcon 1960's / Fender Strat 1955 / Boss DS-1 Distortion / Boss DS-2 Distortion / EH Big Muff Russian / MXR Phase 90 / Ibanez WH10 Wah / Boss CE-1 Chorus Ensemble / Marshall Silver Jubilee Original / Marshall Major 200 Watt / Fender Dual Showman Silverface / Marshall 1960b Cabinet Mid-Level Replacement Rig: Fender Strat / Fender Telecaster / Gretsch White Falcon / Boss DS-1 Distortion / Boss DS-2 Distortion / EH Big Muff Russian / MXR Phase 90 / Ibanez WH10 Wah / Boss CE-1 Chorus Ensemble / Marshall Silver Jubilee *Reissue / Marshall Major 200 Watt / Fender Dual Showman Silverface / Marshall 1960b Cabinet Entry-Level Replacement Rig: Fender Players Strat / Fender Players Telecaster / Gretsch Streamliner Hollowbody / Boss DS-1 Distortion / Boss DS-2 Distortion / EH Big Muff Russian / MXR Phase 90 / Ibanez WH10 Wah / Boss CE-5 Chorus Ensemble / Marshall DSL40C Cooking with Kdog / Graphic Design by Chris / Crazy X Band / DNA Amps Facebook / Instagram / Twitter

Derek Talked about using Logic Pro X, Ableton Live, and Celemony Melodyne fpr pop production, building live loops for performing, Justin Timberlake vocal production secrets, and nailing the low end in your programmed drums. My guest today is Derek Olds, an Instructor at The Los Angeles Film & Recording School in Hollywood. He is heavily involved in the Audio & Tech worlds and has run the Celemony Melodyne booths at NAMM, AES, IMSTA, and the Grammy P&E party from 2014 to 2018, where we met. He has produced or performed over 1200 live shows worldwide in over 10 countries, and is currently planning his upcoming tour in support of his first solo record release. And over the past decade, Derek has had the pleasure of sharing his talent with many of his idols such as Prince, Oprah Winfrey, Bone Thugs, Common, A Tribe Called Quest, & Justin Bieber to name a few.   Thanks to our sponsors! Roswell Pro Audio: https://RoswellProAudio.com Tegeler Audio Manufaktur: https://www.tegeler-audio-manufaktur.de/ Hear more on Youtube If you love the podcast then please Leave a review on iTunes here Want to learn more about mixing? Get Free mix training with Lij at: http://MixMasterBundle.com CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/145

All aboard the Starship. Flashing Light, Drugs, Hippies, Hypnosis, Smoke Machines, Lighted Screens, Melodyne, Auto-tune and the effects of musical fame. Listen to your hearts and listen to this shit. Make your own world. Love Peace and Rants of Diggity... KnewTherapy.Bandcamp.com AlienRadioPodcast@gmail.com Angry-Angel.com

Have you ever wondered what it would be like to have a group of a cappella friends who are also trying to learn how to record, edit, and mix a cappella? A place where you could ask those questions that you are just too nervous to ask on Facebook?  Well today, I share with you a Recording A cappella Mastermind call where we discuss topics such as how to use delay, the infinite reverb trick, the benefits of VocalZone, fixing bad arrangements on the fly, editing pitch slides in Melodyne, and so much more.   “A mastermind group is designed to help you navigate through challenges using the collective intelligence of others. How does a mastermind work? A group of smart people meet regularly to tackle challenges and problems together. They lean on each other, give advice, share connections and do business with each other when appropriate. It's very much peer-to-peer mentoring and if you are lucky enough to get invited to one, you will most likely see a marked change in yourself and your career.”   Our current mastermind is a group of 6 people that had to meet certain criteria, apply and and then have a brief call with me to make sure it was the right fit. I personally mentor each member of the group and facilitate our calls.   But more than that, our group is about providing the members with support, confidence, inspiration, camaraderie, and unimpeded access not just to me, but to a wealth of other forward-focused individuals in a true mastermind setting. Each month the group is provided stems for a song recorded by me or by members of the group. Members edit and mix the song. In most cases, I also edit and mix the song as a control or benchmark for the group and provide over the shoulder videos explaining what I did.   We then meet twice a month for 60 - 90 minutes. Once to share edits and a second time to share mixes. During our calls, each person gets 15 minutes to receive feedback from me and from the group as a whole. We also spend time on calls to discuss the business of the home studio and any other topics that come up. we also have a private Facebook group to discuss, ask questions, and share in the time between calls.   Masterminds may seem a bit like a "Secret Society" sometimes.  Because, well...they are!   In the best sort of way, of course. They're a safe space where YOU can nurture and grow your best a cappella self within the safe confines of your wise peers.   And no amount of genius marketing I could ever do would give true voice to their power. So that’s why I’m sharing this recording with you. So you can hear for yourself and pick up just of the few nuggets we share in each and every call.   And if you already know you're ready to super-charge your growth, rapidly build a quality network, and cut your editing and mixing learning curve in half, then apply to the 2018 Recording A Cappella Masterminds today at https://recordingacappella.com/mm.   Mastermind - https://recordingacappella.com/mm   Ultimate Pre-Production Checklist - https://recordingacappella.com/checklist   Interested in a coaching session or joining one of our groups? -  https://recordingacappella.com/coaching   Video Courses -  https://recordingacappella.com/shop

Does automation benefit or harm society? How has automation made our lives easier, and what potential pitfalls will future developments bring? Join Firebolt & TheOrbiter for an in-depth and occasionally light-hearted discussion. Mentioned in this video: Melodyne - http://bit.ly/2EE8x8U Westworld - http://imdb.to/2HrWLw9 Simon Evans Goes To Market - http://bbc.in/2BEvLcw WALL-E - http://imdb.to/2EHApVy Star Trek: The Next Generation - http://bit.ly/2EUUmMe Deus Ex - http://bit.ly/2Gw9SLp One Flew Ove

En este episodio hablamos un poco acerca de TRAPPIST-1, los ratonautas a bordo del CRS-10 de SpaceX, el récord histórico de Bitcoin, la posibilidad del hard fork, cirugías avanzadas, Tina con cono, cuestiones del crecimiento del pelo, la perdurabilidad y transparencia comunicativa de los emojis, la banda Deerhoof, cómo mezclar un disco, AutoTune, Melodyne, audiófilos y bytebeat.

We talk of Gaz's album tempo mapped using Melodyne, Stranger Things and S U R V I V E, Funklet.com and the analysis of the groove, ADDAX EHX C9 VC organ in Eurorack, Presonus Notion 6 and notation in general, quick scan of the latest leaks - Korg Odyssey desktop (now its official), Spectrasonics New Thing, Rolands new AIRAs. Finishing off with Gaz's Boss RC5050 setup.

We talk of Gaz's album tempo mapped using Melodyne, Stranger Things and S U R V I V E, Funklet.com and the analysis of the groove, ADDAX EHX C9 VC organ in Eurorack, Presonus Notion 6 and notation in general, quick scan of the latest leaks - Korg Odyssey desktop (now its official), Spectrasonics New Thing, Rolands new AIRAs. Finishing off with Gaz's Boss RC5050 setup.

We catch up with Rich who's in Toronto prior to a gig with Chic, and we tackle the new Behringer analog synth teasers, then the Eventide H910 classic harmonizer as a plug-in, HaQ AttaQ's mobile setup, the Arturia Matrixbrute filters get a workout, Spitfire Audio's Union Chapel Organ instrument, Korg Minilogue librarian and UK Producers Sound pack and a chat about patch management, and finally Gaz gives us a description of using Melodyne 4 for the ultimate tempo mapping.

We catch up with Rich who's in Toronto prior to a gig with Chic, and we tackle the new Behringer analog synth teasers, then the Eventide H910 classic harmonizer as a plug-in, HaQ AttaQ's mobile setup, the Arturia Matrixbrute filters get a workout, Spitfire Audio's Union Chapel Organ instrument, Korg Minilogue librarian and UK Producers Sound pack and a chat about patch management, and finally Gaz gives us a description of using Melodyne 4 for the ultimate tempo mapping.

In dieser Woche sind bei c't uplink die Roboter los: Peter König von Make: zeigt neben Laufmaschinen aus Holz Styropor-Zimmerflieger und einen sogenannten elektronischen Flaschenteufel. Alexander Spier hält danach ein Plädoyer für die produktive Nutzung von Tablets. iPad, Surface Pro und Co müssen nämlich keine reinen Medienkonsummaschinen sein, es lässt sich darauf auch prima arbeiten. Wie man Audiodateien kreativ bearbeitet demonstriert schließlich c't-Autor Kai Schwirzke mit der neuen Version 4.0 von Melodyne: Mit dem Programm kann man fundamental in Tempo- und Klangstruktur eingreifen. Mit dabei: Alexander Spier, Jan-Keno Janssen , Kai Schwirzke und Peter König Die c't 5/16 gibt's am Kiosk, im heiseshop und digital in der c't-App für iOS und Android. Alle früheren Episoden unseres Podcasts gibt es im Blog unter: blog.ct.de/ctuplink

In dieser Woche sind bei c't uplink die Roboter los: Peter König von Make: zeigt neben Laufmaschinen aus Holz Styropor-Zimmerflieger und einen sogenannten elektronischen Flaschenteufel. Alexander Spier hält danach ein Plädoyer für die produktive Nutzung von Tablets. iPad, Surface Pro und Co müssen nämlich keine reinen Medienkonsummaschinen sein, es lässt sich darauf auch prima arbeiten. Wie man Audiodateien kreativ bearbeitet demonstriert schließlich c't-Autor Kai Schwirzke mit der neuen Version 4.0 von Melodyne: Mit dem Programm kann man fundamental in Tempo- und Klangstruktur eingreifen. Mit dabei: Alexander Spier, Jan-Keno Janssen , Kai Schwirzke und Peter König Die c't 5/16 gibt's am Kiosk, im heiseshop und digital in der c't-App für iOS und Android. Alle früheren Episoden unseres Podcasts gibt es im Blog unter: blog.ct.de/ctuplink

In dieser Woche sind bei c't uplink die Roboter los: Peter König von Make: zeigt neben Laufmaschinen aus Holz Styropor-Zimmerflieger und einen sogenannten elektronischen Flaschenteufel. Alexander Spier hält danach ein Plädoyer für die produktive Nutzung von Tablets. iPad, Surface Pro und Co müssen nämlich keine reinen Medienkonsummaschinen sein, es lässt sich darauf auch prima arbeiten. Wie man Audiodateien kreativ bearbeitet demonstriert schließlich c't-Autor Kai Schwirzke mit der neuen Version 4.0 von Melodyne: Mit dem Programm kann man fundamental in Tempo- und Klangstruktur eingreifen. Mit dabei: Alexander Spier, Jan-Keno Janssen , Kai Schwirzke und Peter König Die c't 5/16 gibt's am Kiosk, im heiseshop und digital in der c't-App für iOS und Android. Alle früheren Episoden unseres Podcasts gibt es im Blog unter: blog.ct.de/ctuplink

Jon Benjamin makes a bad jazz album, Apple releases an intruiging new Music Memos app, and we are wowed by the innovations of Melodyne. POTW: Sleater-Kinney's Modern Girl and October Surprise's There Is No Grace In It.

Jon Benjamin makes a bad jazz album, Apple releases an intruiging new Music Memos app, and we are wowed by the innovations of Melodyne. POTW: Sleater-Kinney's Modern Girl and October Surprise's There Is No Grace In It.

This episode we chat with James Makan (Jaem). We go on way too long about Studio One, talk about Melodyne production tips, and he deals out about 100 free plug-ins for us to play with! Hope you enjoy it! Visit Jaem's site here: http://jamesmakan.com

Back from Musik MESSE with a flurry of new releases and videos, we start with the Propellerheads Rack Extensions, then move into a synth-fest with the StudioLogic Sledge polysynth, then finally we marvel at the Zynaptiq Unveil - a tool which allows removal and manipulation of ambience around the original signal - truly a Melodyne moment.

Back from Musik MESSE with a flurry of new releases and videos, we start with the Propellerheads Rack Extensions, then move into a synth-fest with the StudioLogic Sledge polysynth, then finally we marvel at the Zynaptiq Unveil - a tool which allows removal and manipulation of ambience around the original signal - truly a Melodyne moment.