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Practical techniques for applying musical EQ to a single sound that is a tuned instrument | Psilonaut's Weblog
https://psilonaut.wordpress.com/2008/05/13/practical-techniques-for-applying-musical-eq-to-a-single-sound-that-is-a-tuned-instrument
Just another WordPress.com weblog. Laquo; how to make a good bass. Acoustic treatment and design. Practical techniques for applying musical EQ to a single sound that is a tuned instrument. 1 – Finding the center of the musical frequency bands. I’ve already said that the best place to start searching for the music is at a sound’s root frequency. I recommend starting to search using a section of audio that primarily contains the root notes of your composition’s key signature. Now you want to set about tuni...
July | 2009 | Psilonaut's Weblog
https://psilonaut.wordpress.com/2009/07
Just another WordPress.com weblog. Archive for July, 2009. July 8, 2009. M5 (Major 5th) =. M6 (Major 6th) = 9 semitones. M7 (Major 7th) = 11 semitones. M9 (Major 9th) = 14 semitones. M3 (Minor 3rd) = 3 semitones. M7(Minor 7th) = 10 semitones. P4 (Perfect 4th) = 5 semitones. P5(Perfect 5th) = 7 semitones. A5 (Augmented 5th) = 8 semitones. D5 (Diminished 5th) = 6 semitones. D7 (Diminished 7th) = 9 semitones. You are currently browsing the Psilonaut's Weblog. Blog archives for July, 2009.
Chords( | Psilonaut's Weblog
https://psilonaut.wordpress.com/2009/07/08/chords
Just another WordPress.com weblog. Laquo; Mix Recipes: Snare Drum EQ and Compression. M5 (Major 5th) =. M6 (Major 6th) = 9 semitones. M7 (Major 7th) = 11 semitones. M9 (Major 9th) = 14 semitones. M3 (Minor 3rd) = 3 semitones. M7(Minor 7th) = 10 semitones. P4 (Perfect 4th) = 5 semitones. P5(Perfect 5th) = 7 semitones. A5 (Augmented 5th) = 8 semitones. D5 (Diminished 5th) = 6 semitones. D7 (Diminished 7th) = 9 semitones. This entry was posted on July 8, 2009 at 6:39 am and is filed under Uncategorized.
February | 2008 | Psilonaut's Weblog
https://psilonaut.wordpress.com/2008/02
Just another WordPress.com weblog. Archive for February, 2008. Sidechaining in Cubase sx3. February 21, 2008. If anyone interested how to do it. Detailed description of “True Stereo Side-Chaining” with. Voxengo Crunchessor in Cubase SX3:. Testet with Crunchessor1.6 und Cubase SX3.1.0.933). The following example will use a kick drum track to duck/compress a bass line track:. Define a new Quadro Group and in this group 2 child/sub-groups (“Stereo” and “Stereo (Rs Ls)”). In Crunchessor to see/hear the effect.
Kick and bassline eq | Psilonaut's Weblog
https://psilonaut.wordpress.com/2008/02/21/kick-and-bassline-eq
Just another WordPress.com weblog. Laquo; Hello world! Sidechaining in Cubase sx3. Kick and bassline eq. Well, that’s because EQ and compression are the fundamentals of good bass. And really it’s all about the notch cuts in between your highpass and lowpass. Here’s a walkthrough:. Load up a kickdrum that you like and VB1. Set your midi patterns so your kick is playing and your bass is thrumming along at 16ths. Throw a good EQ (Waves Q6 or something) and a good compressor on the bass channel. Anyways once...
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Party slike, novice, blogi in dogodki (napovednik)
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Psilonaut's Weblog | Just another WordPress.com weblog
Just another WordPress.com weblog. July 8, 2009. M5 (Major 5th) =. M6 (Major 6th) = 9 semitones. M7 (Major 7th) = 11 semitones. M9 (Major 9th) = 14 semitones. M3 (Minor 3rd) = 3 semitones. M7(Minor 7th) = 10 semitones. P4 (Perfect 4th) = 5 semitones. P5(Perfect 5th) = 7 semitones. A5 (Augmented 5th) = 8 semitones. D5 (Diminished 5th) = 6 semitones. D7 (Diminished 7th) = 9 semitones. Mix Recipes: Snare Drum EQ and Compression. January 23, 2009. Pulse, smack, wires, head. Should work in conjunction with the.
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