Stereo width means widening the stereo field, from left to right, instead of the height of the mix, which has to do with levels in EQs. Depending on the scenario, stereo width could mean a few different things when talking about specific instruments, vocals, other sounds, and the overall mix.
In this article, we’ll show how FM synthesis and some simple processors and can be used to take a few sine waves to an expressive and grungy bass patch. We’ll cover the steps we take, why we’re performing them, and create a sample patch along the way.
I started my synthesizer “lust” the first time I heard a Moog — 1969 — no way I could afford to play in that arena.
In 1985 I got a Casio CZ-101, and software to be librarian and programmer. That’s where I learned about ADSR. Then I got a Yamaha TX81Z — DX7 was out of reach. Learned how to program that with software, again. Thanks Opcode!
I donated my CZ-101 to CRAS. I traded my TX81Z in for an electric guitar and an amplifier. I have many FM synthesizer tools inside my computer these days, so I don’t miss the 30 year old hardware that requires maintenance. I jumped for joy when I got my hands on the KORG Legacy instruments — finally an M1 and a Wavestation all for me.
Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1
Snap Mode: Smart
Changing the Snap mode can improve your workflow. I think I have turned it off (little button at left of Snap menu) once in 3 years, just to see what it does. Dragging and sliding things is kind of difficult to do depending on screen real estate. I usually move audio by “nudging” which gives me control over direction, and amount of movement. Set the nudge value, Option-click left or right arrow key. Well controlled. Super-fine adjustment.
The Tracks area includes a grid that helps you align regions, automation points, and other items with the time divisions in the ruler. When you perform any of the following actions, the items move according to the current Snap value:
Moving and resizing regions
Moving the playhead
Adjusting the cycle region
Dragging loops to the Tracks area
Moving automation points in automation curves
You can also nudge regions (move them in small increments) left or right using key commands. To nudge regions, you first set the nudge value, then move selected regions by this value. Alternatively, you can nudge regions by a set value.
⇧ SHIFT – ⌃ CONTROL – ⌥ OPTION – ⌘ COMMAND
Streaming economics are facing a potential crisis. The problem does not lie in the market itself; after all, in Q1 2019 streaming revenue became more than half of the recorded music business and Spotify hit 100 million subscribers. Nor does it even lie in the perennial challenge of elusive operating margins. No, this particular looming crisis is both subtler and more insidious. Rather than being an inherent failing of the market, this crisis, if it transpires, will be the unintended consequence of short-sighted attempts to game the system. The root of it all is playlists.
Streaming makes casual listeners ‘more valuable’ than aficionados
Relying on casual listeners to “pay the bills” is unfortunate for the musicians. Really unfortunate. Art becomes craft. The death blow of Muzak.
Boosting the highs a bit is a time-honored mixing and mastering technique. You don’t want to overdo it, but a little brightness can give a song a lift, increase vocal intelligibility, articulate instruments better, and add some welcome “ear candy.” If you look at the spectral energy of a lot of hit records going back decades, you’ll often find a few extra dB of boost in the 7 to 10 kHz range, to add some “air” and sweetness.
So just boost the EQ a little bit, right? Well, that’s one option…but we can do better. The Air Machine FX Chain (Fig. 1) is equally at home on individual tracks in the Song page (try it judiciously on drums, drum room mics, acoustic guitar, piano, vocals, etc.), or on finished mixes in the Project page. And yes, there’s a download at the end so you don’t even have to create this yourself.
The download for the preset works.