Pads can be the basis for a track, though more often than not they are used for atmospheres or break downs. Mo Volans shows how to make them super, whatever the purpose, in Logic or any DAW of choice.
Who wants hotter, fatter and spicier beats? iZotope's Trash 2 is an ideal companion in such a quest. In this tutorial, G. W. Childs gets gnarly with his beats using Trash 2's side chain feature.
You've recorded your guitar and now it's time to process and refine the recorded sound. But where to start? Rich Tozzoli discusses using EQ, one of the most powerful ways to filter your sound.
Mangling, crunching, smashing or gently warming up sounds has never been easier thanks to Cubase 7’s suite of plug-ins. Hollin Jones digs in the dirt, sonically speaking.
Love Ableton Live, but miss a built-in convolution reverb? In Live 9 you can find both a convolution reverb and use impulse responses to create your own spaces and effects. Gary Hiebner sounds it out.
Let's play sonic word association... "Choir." Did you imagine angelic sounds, or similar? G. W. Childs turns this idea on its head by introducing a 'horror' element using Reason.
Loops are great. But loops can also become mind-numbingly repetitive, too. Darren Burgos, however, has a solution to adding distinct, musical variations using a MIDI controller and Logic Pro.
What came first, the music or the mood? G. W. Childs shares muses over the effect music has on our emotional states and questions whether the music we listen to it is responsible, or not.
Melodyne has long been used by musicians and producers looking to pitch correct audio like we're used to doing with MIDI events. Gary Hiebner explores Melodyne's integration in PreSonus Studio One.
Understanding how Ableton's vocoder works will allow you to create, not only robotic voices, but so much more harmonic content. If you're into sound design this is a must-read article!
A captivating groove can transform a simple head-nodding track into a real hip-shaking anthem. In this tutorial, G. W. Childs shows how Ableton Live can apply some groove goodness to audio.
G. W. Childs draws on experience creating interplanetary sound effects for Star Wars video games for this tutorial on how to make authentic Sci-Fi style radio transmissions in Reason.
When composing for game, film or other music, it's important to make our sounds stand out from the crowd. Josh Aker (Infinity Blade I & II composer) shows how to create your own BIG & awesome sounds.
Designing sounds is like using building blocks. By creating 3 simple patches G. W. Childs shows how, in no time at all, you can use Reason to take you into different sonic dimensions.
From Halo to Call of Duty, shooters are a popular genre of video game. David Earl takes to the battlefield and uses Logic Pro to create realistic automatic gun effects.