Best VST plugins online shopping? Yes, those effects in tip 4 might be the obvious options, so now consider chaining them together and then reordering that chain for some less obvious and more custom sonics. Save your best chains as you discover them and take time to apply them to a variety of sources. In fact, you could save everything you do and start creating your own sample library with the results – a complete collection that no one else owns! A tip that can be applied to just about every subject in the entire world of electronic production is to learn one instrument in your arsenal so well that you can use it to create just about any sound you want. Seriously, if you learn the nuances, layers, and character from, say, just one soft synth, in time, you’ll find that you’ll be creating new sounds in a faster and smarter way, and you’ll teach yourself a lot about sound sculpting in the process.

This nonlinear hearing phenomenon was first written about in 1933 by researchers Harvey Fletcher and Wilden A. Munson and although the data and graphs they produced have since been improved upon, they were close enough that ‘Fletcher-Munson’ is still used as a shorthand phrase for everything related to ‘equal loudness contours’. Generally, you should be able to do the best balancing at low volumes (this also saves your ears from unnecessary fatigue). Loud volumes are generally poor for creating an accurate balance because, as per Fletcher-Munson, everything seems closer than it is.

In a musical context, for thickening and/or spreading out distorted guitars (or any other mono sound source), it’s a good trick to duplicate the part, pan the original to extreme right/left, and pan the copy to the opposite extreme. You might also delay the copy by between about 10-35ms (every application desires a slightly different amount) by shifting the part back on the DAW timeline or inserting a basic delay plugin on the copy channel with the appropriate delay time dialed in. This tricks the brain into perceiving larger width and space while leaving the center wide open for other instruments. You can also use this technique to pan a mono signal away from the busy center in order to avoid masking from other instruments. At the same time, you don’t want to unbalance the mix by only panning to one side or the other. The answer lies in “Haasing it up” and panning your mono signal both ways. Find more details at audio plugins.

You should be smart when recording “found” sounds. Most of the time these sounds will come from the outside world versus digital sources. You will need to grab your keys and get out there to search for that sound you need. You will need to record smartly using a field recorder and some tricks. When you record your sounds be aware of ambient noise. Sometimes this noise can be preferred and may add character to your sound. In most cases, the frequencies that this noise occupies will need to be edited out or avoided altogether. This is especially important when recording multiple sounds from one area. You may wish to layer these sounds when you get back to your studio. You’ll notice that when you start layering, all of that noise adds up quickly. Remember to note and label all your sounds to avoid double work.

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