Hollin Jones was classically trained as a piano player but found the lure of blues and jazz too much to resist. Graduating from bands to composition then production, he relishes the chance to play anything with keys. A sometime lecturer in videographics, music production and photography post production, Hollin has been a freelance writer on music technology and Apple topics for well over a decade, along the way publishing several books on audio software. He has been lead writer at a number of prominent music and technology publications. As well as consultancy, full-time journalism, video production and professional photography, he occasionally plays Hammond, Rhodes and other keys for people who ask nicely. Hollin is Contributing Editor at Ask.Audio.
Noise is sometimes less well understood than oscillators, but it's just as important when making synth patches. Here's a quick guide to the different noise types and how to use them.
Cubase has a great set of tools for processing audio offline. Here’s how you can “abuse” them to mash and mangle audio into something unique.
Parallel processing is an important technique fore every producer to know about. Here's how you can do it using the Maschine software and hardware.
Get into the details of how the Moog Modular V from Arturia generates and shapes its sounds with this short video.
Enrol now for free to watch this live streaming masterclass on Eurorack sound design with Endorphin.es, Thursday at 12PM PT / 8PM UK + Raffle for your chance to win: Cockpit, Gateway, Shuttle Mate!
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The best way to understand different skratch techniques is to see them broken down into their constituent parts - and that's exactly what Sara Simms has done!
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Sometimes paid less attention than other parts of a synth, the noise section is actually a powerful tool when designing sounds. Multiplier explains why.
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