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Sunday, May 31, 2009
Wednesday, May 27, 2009
how to record electric guitar
The electric guitar ("El Gtr" in engineer shorthand) is one of the easiest instruments to record. Even a modest rig-a good guitar coupled with a decent amplifier-makes the engineer's job a cinch, offering plenty of level, a variety of easily adjustable tones, and-with most modern amps, at least-an assortment of "flavor enhancers" such as tube saturation, overdrive, and compression. In addition, the limited bandwidth of a typical electric-guitar track is ideally suited to the frequency response of affordable dynamic microphones. But that doesn't mean that using the age-old standard of miking guitar amps-a Shure SM57 shoved up against the grille cloth-is the best way to get El Gtr to stand out in a mix.Like many engineers, I learned the basics of recording guitars by doing live sound and occasional session work. But my "higher education" began when I was hired by a blues/R&B-oriented mail-order record company, and I "had" to listen all day long to recordings from the '40s, '50s, and '60s. No matter how primitive or poor the recording quality on those old discs, I was constantly amazed by the array of exciting sounds produced by electric guitar. Later, when I started recording blues sessions in my own studio, I learned firsthand about the key elements that contributed to the great tones that I'd heard on those classic recordings.
TUBES ON 10
Nothing sounds as good as a tube amp turned up to 10. You can do this with some old amps, and they will sound fairly clean; others will explode. Use caution and keep an eye out for plumes of smoke. Newer tube amps generally have separate preamp and master-gain controls that can duplicate the gritty anarchy of yore, minus the lease-breaking SPLs. For jazz and other clean guitar styles, it's okay to turn the volume down a bit, as long as you don't "underdo" it.
But having hot tubes is only half the recipe for getting great tone. Room sound is the other ingredient necessary for obtaining a full-bodied guitar track. It didn't take me long to figure out that the guitarists on my formative blues sessions were slyly contributing to my "education" by nudging the mics away from their amps as soon as I left the room. Thanks to their clandestine efforts, my ears opened up to an entire new world of electric-guitar sounds.
I've since developed several recording techniques that are a sure cure for the El Gtr blahs. Try the following four tricks in their order of appearance, as they are progressively more complex.
SIMPLE DOES IT
Once you have the essential elements in place-a great amp, guitar, and guitarist-you almost can't help but get a great guitar tone. Crank the amp up to the appropriate level and begin with some mic comparisons. It's especially telling to audition different types of mics: for example, dynamics, ribbons, and large-diaphragm condensers. (I rarely use small-diaphragm condensers for miking guitar amps; on the other hand, I've found that almost any microphone will strike gold once you find the right spot for it.)
My favorite dynamic mics for this application are the Sennheiser MD 421 and 441 and the Shure Beta 58 (which has a fuller sound than the SM57). My favorite ribbons are the Royer R-121 and Coles 4038. For large-diaphragm condensers, I lean toward tube models, in particular the Lawson L47MP and Neumann M147.
Start with all of the mics clustered together three to six inches from the grille cloth, pointed at the center of the speaker. On a multiple-speaker cabinet, don't assume that all the speakers sound the same. Rather, listen to each of them at a sensible volume, and then mic the one that sounds best. If the speakers sound alike, a miking position close to the floor will generally provide a little more low end.
Back in the control room, audition each mic, preferably as the guitarist plays along with the other instruments. Listen carefully to how each microphone sounds on its own and, more importantly, to how it works in the mix. Usually, one microphone will come up a winner on the first pass. Don't stop there, however. Instead, leave the "winning" microphone where it is and experiment with the placement of the other two mics. Time-and mic selection-permitting, you may also wish to do a second round of testing with other microphones.
The key elements of mic positioning are distance from the source and orientation to it. Moving the mic closer to the amp provides more definition, increased highs and lows, and less room sound. As you pull the mic back, the sound becomes less detailed, more "midrangey," and more blended with the ambience. Depending on the room you're in, a distant-miked amp may gain a natural presence and unique character in the mix, despite an apparent decrease in definition. On the other hand, placing the mic too far back will result in a washed-out, murky, or hard-to-control tone.
Mic orientation, or the angle of the mic in relation to the speaker, becomes more critical as the mic is moved closer to the amp. Pointing the mic at the center of the cone will yield more active highs and better transient detail but fewer lows. As you move the mic toward the outer rim of the speaker, maintaining a 90-degree angle with the grille cloth, the low frequencies gradually increase because of proximity effect and other factors, resulting in a sound that may be warmer, softer, or more powerful. Many engineers like to blend these complex characteristics by angling the mic between 30 and 60 degrees off-axis from the center of the speaker.
Of course, it is vital that you experiment and let your ears be your guide with all the techniques mentioned in this article. Don't hesitate to try a crazy placement or an unusual mic such as a PZM (pressure-zone mic). With persistence and a bit of luck, you will likely discover some tricks of your own.
TAKE TWO
Once you've mastered the intricacies of single-transducer miking, it's fun to start working in stereo. For true stereo recording, you need a matched mic pair as well as a twin-speaker amplifier, preferably one with built-in stereo chorus and vibrato (such as a vintage Magnatone or a Roland Jazz Chorus). Two separate amplifiers fed by the same stereo delay or multi-effects unit will also work.
Mic each speaker or amp, pan the two channels apart, and let the effects work their magic. Hard-panning to the extreme left and right produces the most dramatic results; should this prove too dizzying, try panning one microphone toward the center, or move the tracks toward a more centered symmetrical position.
You can use similar two-mic techniques, minus the effects, on a single amp to capture a variety of larger-than-life guitar sounds. One trick that I stumbled upon involves miking a twin-speaker amp with two mics that are close in response, but not matched (see Fig. 1). The first time I tried this, on a session with guitarist Paris Slim, I used an Electro-Voice RE20 and a Sennheiser 441.
Place one mic on each speaker at the same distance and orientation, and check the pair for phase cancellation by panning them to the same spot and listening in mono. The minute differences between the speakers, mics, and mic positions, combined with double-tracking, creates a monstrous presence when the tracks are hard-panned in the mix, and opens up a world of possibilities for separate EQ and effects processing. If you don't need the guitar to dominate the mix, you also can sum these mono-compatible tracks together to a single pan position for a noticeably bigger sound.
To capture aggressive, distorted guitar sounds, my studio partner Bart Thurber likes to use two mics in an XY configuration on a single speaker: a Shure SM57 aimed at the middle of the speaker and a Sennheiser 441 (with the high-end boost switch engaged) pointed at the edge of the cone. The SM57's signal is sent to a compressor, and the two mic signals are then mixed together and recorded to one track. This technique provides some compression for the harshest high frequencies and strong, midrange volume peaks picked up by the SM57, while simultaneously delivering full highs and lows through the 441.
Another variation on the two-mic technique involves miking the front and back of an open-backed cabinet. For this application, be sure to place the mics at an equal distance from the speaker itself and reverse the phase of the rear mic.
TO AIR IS HUMAN
Forget Risky Business (remember the famous scene of Tom Cruise rockin' out in his boxers?); this technique, which I consider real air guitar, is serious business. It entails capturing the airy, percussive sound of the plectrum strumming or picking the electric guitar's strings-either in acoustic isolation or combined with the ambient sound from the amp-and then mixing this sound with the recorded amplifier sound. The addition of just a little percussive plucking can enhance the presence wonderfully for any style of guitar playing. In my opinion, it's the greatest studio-recording innovation since John Bonham's distinctive drum sound.
The blues was my inspiration-specifically, the late-'40s solo recordings of John Lee Hooker. "Hobo Blues" is an excellent example of early Hooker on which his violent string slapping-clearly audible in a blend of amp sound, haunting vocals, and trademark foot stomping-creates an indelible realism and engaging intimacy. My recording of Paris Slim's "The Day I Met The Boogie Man" (see the sidebar "Selected Discography") was one of my early experiments with this technique. Since that time, I have used a discrete "air-guitar" mic whenever I have had an available track for it. Guitarists may initially be skeptical of such unusual miking, but it's always a treat to watch their faces light up as they listen to the monitors deliver the bright, transient sounds that they have been accustomed to hearing during their years of practicing their instruments.
I have achieved my best results with this technique when miking resonant hollow-body guitars, getting the mic in as close as possible to the guitarist's picking hand. Large-diaphragm condensers, especially the Neumann U 87 and Manley Cardioid Reference tube mic, have proven superlative performers on big-box guitars such as the Gibson ES-175 (see photo on p. 114). The small-diaphragm Oktava MC 012 and medium-diaphragm Shure KSM32 have worked wonders on solid-body instruments, most notably on improvisational-guitarist Ron Thompson's seven-string custom axe.
Mix magazine columnist Stephen St. Croix recently documented his own variation of this technique. He uses two "air" mics-one each on the low and high strings-with the resulting tracks panned hard left and right in the stereo spectrum.
An overdubbing session is ideal for air-guitar miking because there is no leakage from other instruments. I usually prefer to maintain total isolation between the two sources, placing the guitarist and amp in separate rooms. But for some production styles, the acoustic air mic can also do double duty as a distant room mic for the amp, with the ratio of pick sound to ambience determined by mic placement and amp volume. I've recorded some very hefty-sounding rock 'n' roll power chording this way, as well as a variety of vintage-style solos and rhythm parts. At the board, a low shelving or low-midrange EQ cut, combined with a subtle high-end boost around 4 to 6 kHz, will usually help these tracks jump out of the mix.
The key to capturing any kind of ambient tracks is a good reverberant space, although a narrow or dead room can also work, as long as there is sufficient distance between the guitarist and the amp. I usually put the air mic at least ten feet from the amp, positioned off-axis, or in an omnidirectional pattern to pick up as much reflected sound as possible. Placing a baffle between the guitarist and the amp will increase the apparent room size, as will making the amp sound pass through a doorway or turn a corner into another room.
Should space restrictions or volume levels make these methods impractical, try adding an air-guitar part as an overdub to a conventionally miked guitar track. The principle is similar to vocal doubling, for which the same part is performed twice; you may not be able to do this for an improvised solo, but for rhythm parts or composed lines, it's a snap. In addition, double tracking with a bright acoustic guitar or a smooth-sounding hollow body will add extra richness and some slick, big-budget zing to your mixes.
MULTIPLICATION ROCK
After you have the hang of mono and stereo miking, room miking, and air guitar, you may be ready for the final frontier of El Gtr exploration. The time-consuming technique that I call "multisourcing" combines all the aforementioned methods, multiplied by the infinite possibilities created by splitting the guitar output and sending it simultaneously to different amps (using, for example, a Whirlwind Selector splitter box).
When I first tried multisourcing, on a solo project by Club Foot Orchestra guitarist Steve Kirk, I used an air mic, a direct source (Manley tube DI box or speaker emulator output from Kirk's Marshall JMP-1 tube preamp), a close mic on a clean-sounding Fender Princeton amp, and close and distant mics on a cranked-up Marshall cabinet (see Fig. 2). And that was just for the first rhythm track! As you may imagine, mixing was a lot of fun, and after that day there's been no going back to the old SM57 shoved up against the grille cloth. If you dare, you can take it from there. The only limitations are your time, the guitarist's patience, and available tracks. Oh yes-and lots and lots of mics.
Contact Person
DIVERS MUSIC STUDIO
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Email : alandblack@gmail.com
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the virgin
Back to topic, Personil dari The Virgin sendiri adalah Mitha ( Gitaris dan Backing vocal The Rock ) dan Dara ( salah satu alumni mamaia 2008 ). Album mereka pun di garap dengan apik seperti biasa dengan sentuhan tangan Dhani semua menjadi matang, walaupun tidak lepas dari bakat The Virgin. Dengan kedua single yang menjadi hits Cinta Terlarang dan Belahan Jiwa membawa mereka ke daftar musisi pendatang baru yang berhasil, kedua lagu itu sendiri di ciptakan oleh Mitha yang sudah lama mencintai musik.
Dari liryc cinta terlarang dan sedikit plesetan video clipnya saya menjadi semakin penasaran tentang ada apa di balik duo terbaru RCM ini. Mungkin kita sedikit teringat akan duo luar negeri yang sama-sama di gawangi dua wanita cantik TATU, ada yang bisa menerka arah omongan saya? Silakan nyanyikan lagu cinta terlarang, disini saya akan beri liriknya :)
Cinta Terlarang -The Virgin
Kau kan slalu tersimpan di Hatiku
Meski ragamu tak dapat ku miliki
Jiwaku ‘kan slalu bersamamu
Meski kau tercipta bukan untukku
Tuhan berikan aku hidup satu kali lagi
Hanya untuk bersamanya
Ku mencintainya sungguh mencintainya
Rasa ini sungguh tak wajar
Namun ku ingin tetap bersama dia
Untuk selamanya
Mengapa cinta ini terlarang
Saat ku yakini kaulah milikku
Mengapa cinta kita tak bisa bersatu
Saat ku yakin tak ada cinta selain dirimu
Dari lirik tersebut kita bisa berandai-andai posisi duo ini dan apapun itu saya sendiri adalah orang yang menghormati hak untuk menjalani hidup. Semoga di tangan Dhani duo ini bisa melejit seperti pendahulunya Mahadewi dan musiknya dapat di terima oleh masyarakat luas.
Tuesday, May 26, 2009
100 Greatest Rock Drummers
1. Neil Peart (Rush)
2. John Bonham* (Led Zeppelin)
3. Keith Moon* (The Who)
4. Carl Palmer (ELP)
5. Ginger Baker (Cream)
6. Terry Bozzio (Frank Zappa)
7. Bill Bruford (Yes, King Crimson)
8. Hal Blaine (Session man)
9. Ian Paice (Deep Purple)
10. Mike Portnoy (Dream Theater)
11. Dave Lombardo (Slayer)
12. Danny Carey (Tool)
13. Ringo Starr (The Beatles)
14. Carmine Appice (Vanilla Fudge)
15. Earl Palmer (Session man)
16. Benny Benjamin* (Funk Brothers)
17. Jeff Porcaro* (Toto)
18. Stewart Copeland (The Police)
19. Tommy Aldridge (Ozzy Osbourne)
20. Bernard Purdie (Session)
21. Bill Ward (Black Sabbath)
22. Steve Smith (Journey)
23. Mitch Mitchell (Jimi Hendrix)
24. David Garabaldi (Tower Of Power)
25. Mike Shrieve (Santana)
26. Ainsley Dunbar (Jeff Beck)
27. Cozy Powell* (Rainbow)
28. Nicko McBrain (Iron Maiden)
29. Carter Beauford (Dave Matthews)
30. Tim Alexander (Primus)
31. Roger Taylor (Queen)
32. Matt Cameron (Soundgarden)
33. Zigaboo Modeliste (The Meters)
34. Phil Collins (Genesis)
35. Al Jackson* (The MGs)
36. Vinnie Paul (Pantera)
37. Topper Headon (The Clash)
38. Lars Ulrich (Metallica)
39. Jimmy Chamberlain (Smashing Pumpkins)
40. Bobby Jarzombeck (Rob Halford, Iced Earth)
41. Rod Morgenstein (Dixie Dregs, Winger)
42. Gene Holgan (Death, Strapping Young Lad)
43. Martin Lopez (Opeth)
44. Simon Phillips (Toto)
45. Mike Giles (King Crimson, Giles, Giles & Fripp )
46. Max Weinberg (Springsteen)
47. Alex Van Halen (Van Halen)
48. Jon Theodore (Mars Volta, One Day As A Lion)
49. Brian Downey (Thin Lizzy)
50. Gavin Harrison (Porcupine Tree, session man)
51. Alan White (Yes)
52. Nick Menza (Megadeth)
53. Phil Ehart (Kansas)
54. Mark Zonder (Fate's Warning)
55. Nick Mason (Pink Floyd)
56. Jaki Liebezeit (CAN)
57. Scott Travis (Judas Priest)
58. Virgil Donati (Planet X)
59. Jim Gordon (Derek And The Dominoes)
60. Ron Bushy (Iron Butterfly)
61. Richard Allen (Funk Brothers)
62. BJ Wilson* Procul Harum)
63. Chad Wackerman (Zappa)
64. Ralph Humphrey (Mothers Of Invention)
65. Josh Freese (A Perfect Circle, Desert Sessions)
66. Jojo Mayer (Nerve, session man)
67. Brann Dailor (Mastodon)
68. Clive Burr (Iron Maiden)
69. Christian Vander (Magma)
70. Dennis Thompson (MC5)
71. John French (Captain Beefheart)
72. John Weathers (Gentle Giant)
73. Steve Shelley (Sonic Youth)
74. Pat Mastelotto (King Crimson)
75. Greg Bissonette (David Lee Roth, session man)
76. Mick Fleetwood (Fleetwood Mac)
77. Mike Mangini (Extreme)
78. Larry Mullen Jr. (U2)
79. Clive Bunker (Jethro Tull)
80. Tomas Haake (Meshuggah)
81. Jabo Starks (James Brown, session man)
82. Brian Mantia (Primus)
83. Scott Rockenfield (Queensryche)
84. Phil Taylor (Motörhead)
85. Vinnie Appice (Dio, session man)
86. Fred Coury (Cinderella)
87. Travis Barker (Blink 182)
88. Phil Selway (Radiohead)
89. Randy Castillo (Ozzy Osbourne)
90. Zak Starkey (The Who, Oasis)
91. Charlie Watts (Rolling Stones)
92. Dave Grohl (Nirvana)
93. Tommy Lee (Motley Crue)
94. Jose Pasillas (Incubus)
95. Ron Wilson* (Surfaris)
96. John Densmore (The Doors)
97. Chester Thompson (Santana)
98. Matt Johnson (Jeff Buckley)
99. Van Romaine (Steve Morse)
100. Sandy Nelson (solo)
2. John Bonham* (Led Zeppelin)
3. Keith Moon* (The Who)
4. Carl Palmer (ELP)
5. Ginger Baker (Cream)
6. Terry Bozzio (Frank Zappa)
7. Bill Bruford (Yes, King Crimson)
8. Hal Blaine (Session man)
9. Ian Paice (Deep Purple)
10. Mike Portnoy (Dream Theater)
11. Dave Lombardo (Slayer)
12. Danny Carey (Tool)
13. Ringo Starr (The Beatles)
14. Carmine Appice (Vanilla Fudge)
15. Earl Palmer (Session man)
16. Benny Benjamin* (Funk Brothers)
17. Jeff Porcaro* (Toto)
18. Stewart Copeland (The Police)
19. Tommy Aldridge (Ozzy Osbourne)
20. Bernard Purdie (Session)
21. Bill Ward (Black Sabbath)
22. Steve Smith (Journey)
23. Mitch Mitchell (Jimi Hendrix)
24. David Garabaldi (Tower Of Power)
25. Mike Shrieve (Santana)
26. Ainsley Dunbar (Jeff Beck)
27. Cozy Powell* (Rainbow)
28. Nicko McBrain (Iron Maiden)
29. Carter Beauford (Dave Matthews)
30. Tim Alexander (Primus)
31. Roger Taylor (Queen)
32. Matt Cameron (Soundgarden)
33. Zigaboo Modeliste (The Meters)
34. Phil Collins (Genesis)
35. Al Jackson* (The MGs)
36. Vinnie Paul (Pantera)
37. Topper Headon (The Clash)
38. Lars Ulrich (Metallica)
39. Jimmy Chamberlain (Smashing Pumpkins)
40. Bobby Jarzombeck (Rob Halford, Iced Earth)
41. Rod Morgenstein (Dixie Dregs, Winger)
42. Gene Holgan (Death, Strapping Young Lad)
43. Martin Lopez (Opeth)
44. Simon Phillips (Toto)
45. Mike Giles (King Crimson, Giles, Giles & Fripp )
46. Max Weinberg (Springsteen)
47. Alex Van Halen (Van Halen)
48. Jon Theodore (Mars Volta, One Day As A Lion)
49. Brian Downey (Thin Lizzy)
50. Gavin Harrison (Porcupine Tree, session man)
51. Alan White (Yes)
52. Nick Menza (Megadeth)
53. Phil Ehart (Kansas)
54. Mark Zonder (Fate's Warning)
55. Nick Mason (Pink Floyd)
56. Jaki Liebezeit (CAN)
57. Scott Travis (Judas Priest)
58. Virgil Donati (Planet X)
59. Jim Gordon (Derek And The Dominoes)
60. Ron Bushy (Iron Butterfly)
61. Richard Allen (Funk Brothers)
62. BJ Wilson* Procul Harum)
63. Chad Wackerman (Zappa)
64. Ralph Humphrey (Mothers Of Invention)
65. Josh Freese (A Perfect Circle, Desert Sessions)
66. Jojo Mayer (Nerve, session man)
67. Brann Dailor (Mastodon)
68. Clive Burr (Iron Maiden)
69. Christian Vander (Magma)
70. Dennis Thompson (MC5)
71. John French (Captain Beefheart)
72. John Weathers (Gentle Giant)
73. Steve Shelley (Sonic Youth)
74. Pat Mastelotto (King Crimson)
75. Greg Bissonette (David Lee Roth, session man)
76. Mick Fleetwood (Fleetwood Mac)
77. Mike Mangini (Extreme)
78. Larry Mullen Jr. (U2)
79. Clive Bunker (Jethro Tull)
80. Tomas Haake (Meshuggah)
81. Jabo Starks (James Brown, session man)
82. Brian Mantia (Primus)
83. Scott Rockenfield (Queensryche)
84. Phil Taylor (Motörhead)
85. Vinnie Appice (Dio, session man)
86. Fred Coury (Cinderella)
87. Travis Barker (Blink 182)
88. Phil Selway (Radiohead)
89. Randy Castillo (Ozzy Osbourne)
90. Zak Starkey (The Who, Oasis)
91. Charlie Watts (Rolling Stones)
92. Dave Grohl (Nirvana)
93. Tommy Lee (Motley Crue)
94. Jose Pasillas (Incubus)
95. Ron Wilson* (Surfaris)
96. John Densmore (The Doors)
97. Chester Thompson (Santana)
98. Matt Johnson (Jeff Buckley)
99. Van Romaine (Steve Morse)
100. Sandy Nelson (solo)
Monday, May 25, 2009
kuburan band
Fenomena kuburan band
Apa yang terlintas di benak anda ketika mendengar nama kuburan ? Angker dan menyeramkan pastinya. Ditambah dengan penampilan personel kuburan yang memiliki penampilan aneh, seram dan gothic.
Apa yang terlintas di benak anda ketika mendengar nama kuburan ? Angker dan menyeramkan pastinya. Ditambah dengan penampilan personel kuburan yang memiliki penampilan aneh, seram dan gothic.
Lihat saja salah satu foto tampilan mereka saat konser, yang diambil tanpa izin dari koleksi foto kuburan band di facebook. Wajah dicat putih pucat pasi, mata dicat hitam, topi jaring, sepatu boots tinggi plus, stoking hitam plus pakaian mode rock gothic; menjadi tampilan wajib bagi personel kuburan band. Ahasil saat pertama kali mendengar atau bertemu dengan band ini, bulu kuduk akan merinding. Hanya setelah anda mendengar dan menyaksikan penampilan band ini, efeknya bukan membuat bulu kuduk merinding, malah membuat rahang pegal karena tertawa.
Coba saja lihat penampilan mereka di lagu lupa-lupa ingat dan tua - tua kelabing , yang buat "geleng - geleng" kepala : "kok ada ya band kayak gini ?"
Kuburan memiliki genre musik - Metal Hidrolik, istilah yang mereka cetuskan sendiri, metal yang naik turun. Maksudnya, ketika sedang turun, suara drum berubah menjadi suara tamtan, tetapi ketika naik, musik mereka berubah menjadi kencang. Mengutip penjelasan Raka pada RollingStones Indonesia, Kuburan tidak mau mengkotak - kotakkan jenis musik. Konsep musik itu, menurut mereka, sesuai dengan nama kuburan yang pada akhirnya tempat bagi semua orang: muda, tua, lelaki, perempuan, dan segala kalangan.
Kisah kuburan band
Dimulai pada medio 2001 di Universitas Parahyangan, Bandung. Sejak awal, mereka sudah memakai kostum. Bahkan mereka pernah memakai kostum yang terbuat dari trash bag. Kuburan mulai memakai make up di tahun 2003. Bongkar pasang sering terjadi, sehingga hanya menyisakan Dino sebagai personel awal, yang kemudian merekrut teman-teman dari berbagai universitas di Bandung. Selama 2001 hingga 2005 mereka membawakan lagu orang dari lintas-genre, namun tetap mengutamakan lagu berbahasa Indonesia. Lagu pilihan mereka adalah lagu yang tidak dibawakan oleh band lain, lagu yang one hit wonder, lagu yang membuat kaget saat dinyanyikan di panggung. Lagu macam "goyang Inul" atau "tua - tua keladi."
Kuburan mulai melulis album sendiri mulai tahun 2003. Tahun 2006, kuburan merilis album perdana yang diberi judul "Greatest Hits Vol 2" --- alasannya karena volume nomor satu tersimpan di komputer. Dengan konteks bercanda, mereka menyampaikan motivasi membuat album adalah supaya mereka memiliki sesuatu untuk dikenang jika band tersebut bubar di tengah jalan. Album yang dikeluarkan hanya dalam format kaset itu dicetak sebanyak 1500 keping. Dua hari setelah dirilis, versi CD bajakan sudah "beredar" di lapak penjual kaki lima. Sesumbar mereka, album itu adalah album indie pertama yang dibajak.
Personal kuburan band
Kuburan terdiri dari enam personel yakni :
- Donny Akbar Raymuzada alias Aum ; gitar is melody
- Raka Auliantara ; pemain gitaris
- Dino alias Toto ; pemukul drummer
- Denny ; the bassistman
- M Rizki M alias Udhe ; kiboran
- Priya Ario Panji S ; (ujung tombak)
Kuburan sendiri telah beberapa kali berganti personel, sang vokalis, Priya adalah versi terakhir karena mereka sebelumnya memiliki tiga vokalis.
Penampilan kuburan band
Selain menyajikan musik humor dan memakai kostum, kuburan juga serius mengarap aksi teatrikal mereka di panggung. Tujuan utama mereka adalah ingin memberikan pertunjukan musik yang lebih dan berbeda dengan banyak band yang muncul sekarang. Kuburan ingin memberikan suguhan tak
hanya audio, namun juga visual. Tak jarang, karena prinsip itu mereka harus mengeluarkan uang lebih, ketimbang mendapat keuntungan finansial. Suatu kali, mereka membawa kuda sebagai salah satu aksi panggungnya. Biaya sewa kuda itu Rp 150 ribu, namun karena waktu tampil molor, si pemilik kuda meminta tambahan uang sewa sebesar Rp 20 ribu. Sedangkan mereka saat itu dibayar Rp 200 ribu oleh pihak panitia. Totalitas kuburan untuk menghibur penonton patut untuk diacungi jempol, bahkan meski dibayar nasi bungkus pun, mereka tetap mengeluarkan uang untuk keperluan properti.
hanya audio, namun juga visual. Tak jarang, karena prinsip itu mereka harus mengeluarkan uang lebih, ketimbang mendapat keuntungan finansial. Suatu kali, mereka membawa kuda sebagai salah satu aksi panggungnya. Biaya sewa kuda itu Rp 150 ribu, namun karena waktu tampil molor, si pemilik kuda meminta tambahan uang sewa sebesar Rp 20 ribu. Sedangkan mereka saat itu dibayar Rp 200 ribu oleh pihak panitia. Totalitas kuburan untuk menghibur penonton patut untuk diacungi jempol, bahkan meski dibayar nasi bungkus pun, mereka tetap mengeluarkan uang untuk keperluan properti.
Kuburan memang mulai menemukan popularitasnya saat ini. Penampilan mereka sering menghiasi layar kaca. Kemunculan kuburan band layak untuk diapresiasikan di tengah gencaran musik - musik mendayu - ndayu dan bertema cinta melulu. Apalagi di tengah himpitan krisis, sepertinya kuburan band layak dipertimbangkan untuk mengusir stres dan memberikan hiburan. Maju terus musik Indonesia.
Lirik Lagu Kuburan Band - Lupa Lupa Ingat
Le mari mari rame rame kita kumpul tapi gak kebo
Le bukan nyanyi tulo tulo mari kita nyanyi yo
*
Lupa, lupa lupa lupa, lupa lagi syairnya
Lupa, lupa lupa lupa, lupa lagi syairnya
Ingat, ingat ingat ingat, cuma ingat kuncinya
Ingat, aku ingat ingat, cuma ingat kuncinya
**
C A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
Back to *, **
C A minor D minor ke G ke C lagi
A minor Demi Moore kece ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
Nah abis dari C kita kemana nih,
Sudahlah kita ke C lagi saja (ke C lagi) jangan pusing-pusing
Tau nih kayaknya ke C lagi aja (ke C lagi) jangan ngikutin teruslah
Berantakan ini yang dapet (ke C lagi)
Ey yang bener udahlah ganti ini
Ke C lagi ke C lagi (ke C minor)
Lirik Lagu Kuburan Band - Lupa Lupa Ingat
Lirik Lagu Kuburan Band - Lupa Lupa Ingat
Le mari mari rame rame kita kumpul tapi gak kebo
Le bukan nyanyi tulo tulo mari kita nyanyi yo
*
Lupa, lupa lupa lupa, lupa lagi syairnya
Lupa, lupa lupa lupa, lupa lagi syairnya
Ingat, ingat ingat ingat, cuma ingat kuncinya
Ingat, aku ingat ingat, cuma ingat kuncinya
**
C A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
Back to *, **
C A minor D minor ke G ke C lagi
A minor Demi Moore kece ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
A minor D minor ke G ke C lagi
Nah abis dari C kita kemana nih,
Sudahlah kita ke C lagi saja (ke C lagi) jangan pusing-pusing
Tau nih kayaknya ke C lagi aja (ke C lagi) jangan ngikutin teruslah
Berantakan ini yang dapet (ke C lagi)
Ey yang bener udahlah ganti ini
Ke C lagi ke C lagi (ke C minor)
Lirik Lagu Kuburan Band - Lupa Lupa Ingat
AudioWarrior Kreator
AudioWarrior Kreator Plug-In Sample Workstation
Remarkably recorded, instantly great-sounding, and extremely playable virtual sounds!
AudioWarrior Kreator Plug-In Sample Workstation is a massive, 3GB professional soft-synth-sound-module expertly programmed by musicians for recording engineers, filmmakers, broadcasters, game developers, effects artists, and other media professionals. This music production solution has everything you need to make complete songs for music demos, TV, Film, or any audio-visual project—mellotron, acoustic and electric guitars, acoustic studio-drum kits, electronic drum kits, analog synthesizers, acoustic and electric pianos, organs, acoustic and electric basses, sound effects, soundscapes, World percussion—all from one super, easy-access interface. Easily produce stunning music demos with its on-board DSP and fine-tune your sounds using AmpModeling, WAH-WAH, Speaker Cabinet Modeling, Flanger, Rotary, Chorus, Reverbs, and TalkBox Vowel Modeling—AA, EE, II, OO, UU—accessible directly from its 8 MIDI-Learn SOUND EDIT Controls.
With Kreator 2.0, you can compose, perform, and record a huge selection of instruments right on your computer desktop, and it works with any Mac or PC recording software such as Pro Tools, Cubase, or even in standalone mode. Included Instruments and Sounds:
AW Studio Tron Plug-in:
Contains all of the best sounds from the original MelloTron used on 100's of #1 hits throughout music history. The list of 24-bit/44.1kHz instruments and sounds is includes: Brass 2, Brass 3, Cello Octavious, Cello Octavious Violin, Cello, Chorus 1 Ohhh, Chorus 2 Ohhh, Chorus 3 Ohhh, Clarinettes, Female Choir [15], Female Choir [1], Flute Octavious, Organ, Strawberry Flute, Trombone Trumpet Sax, Trumpet Trombone, Vint Choir, Vint Tron strings, Choir Aug [15], Male Choir [15], Choir [15], Violins Cello, Violins Octavious, Violins Cello Strings. Unlike the the original MelloTron's 8-second tape that would run out, each individual patch is perfectly looped but can also be made to run 8 seconds like the original. Play it standalone or in your preferred sequencer. Then you can tweak the Reverb, Compressor, Chorus, and Limiter to get the sounds you want. AW Studio Synths Plug-in
This collection was inspired by historical synths like the Juno, Oberheim, Moog, Prophet, and Oscar synths—the models that made synthesizers irresistibly cool. It's like the Holy Grail of leads, bass, FX, and pads from the analog and digital synthesizers of the 60s & 70s that made the biggest impact on music as we knew and know it. With this plug-in, you can command searing synth leads, rumbling bass, FX, and pads with on-board DSP at 24-bit. It has Evolving Alien Environments and Soundscapes including Rain & Thunder, The Grays, BladeRunner, RAIN, Deep Sea, Alien Locust, Ethereal Bog, Frogs of Plague. This huge collectors' treasure chest of highly sought after synthesizers all work with Kreator's built-in DSP so you can play them standalone or in your preferred sequencer. AW Studio Drums Plug-In
This massive, high-detail, huge-sounding drum collection has hard hitting and resonating professional full kits with an incredibly broad spectrum of musical styles. From authentic acoustic kits to contemporary electronic collections and ethnic percussion from around the world, there's a kit here to match your every need. You get bass drums, toms, side sticks, China cymbals, splash cymbals, ride cymbals, crisp-snapping snares, and rim hits. The World percussion instruments include hypnotic rainsticks, rhythmic shakers, crisp hi-hats, pedal sounds, chunky stick hits, side sticks, Himalayan bells, Celtic bodhran, djembe, African ashikos, and Ashiko loops. AW Studio Grand Plug-in
This includes a Steinway Model D-inspired sparkling 88, and a mellow 88. All of the power and nuances of 88 individually sampled notes are captured, from deep, resonant lows to crisp-sparkling highs, with adjustable reverb, decay, attack, and EQ.
With Kreator 2.0, you can compose, perform, and record a huge selection of instruments right on your computer desktop, and it works with any Mac or PC recording software such as Pro Tools, Cubase, or even in standalone mode. Included Instruments and Sounds:
AW Studio Tron Plug-in:
Contains all of the best sounds from the original MelloTron used on 100's of #1 hits throughout music history. The list of 24-bit/44.1kHz instruments and sounds is includes: Brass 2, Brass 3, Cello Octavious, Cello Octavious Violin, Cello, Chorus 1 Ohhh, Chorus 2 Ohhh, Chorus 3 Ohhh, Clarinettes, Female Choir [15], Female Choir [1], Flute Octavious, Organ, Strawberry Flute, Trombone Trumpet Sax, Trumpet Trombone, Vint Choir, Vint Tron strings, Choir Aug [15], Male Choir [15], Choir [15], Violins Cello, Violins Octavious, Violins Cello Strings. Unlike the the original MelloTron's 8-second tape that would run out, each individual patch is perfectly looped but can also be made to run 8 seconds like the original. Play it standalone or in your preferred sequencer. Then you can tweak the Reverb, Compressor, Chorus, and Limiter to get the sounds you want. AW Studio Synths Plug-in
This collection was inspired by historical synths like the Juno, Oberheim, Moog, Prophet, and Oscar synths—the models that made synthesizers irresistibly cool. It's like the Holy Grail of leads, bass, FX, and pads from the analog and digital synthesizers of the 60s & 70s that made the biggest impact on music as we knew and know it. With this plug-in, you can command searing synth leads, rumbling bass, FX, and pads with on-board DSP at 24-bit. It has Evolving Alien Environments and Soundscapes including Rain & Thunder, The Grays, BladeRunner, RAIN, Deep Sea, Alien Locust, Ethereal Bog, Frogs of Plague. This huge collectors' treasure chest of highly sought after synthesizers all work with Kreator's built-in DSP so you can play them standalone or in your preferred sequencer. AW Studio Drums Plug-In
This massive, high-detail, huge-sounding drum collection has hard hitting and resonating professional full kits with an incredibly broad spectrum of musical styles. From authentic acoustic kits to contemporary electronic collections and ethnic percussion from around the world, there's a kit here to match your every need. You get bass drums, toms, side sticks, China cymbals, splash cymbals, ride cymbals, crisp-snapping snares, and rim hits. The World percussion instruments include hypnotic rainsticks, rhythmic shakers, crisp hi-hats, pedal sounds, chunky stick hits, side sticks, Himalayan bells, Celtic bodhran, djembe, African ashikos, and Ashiko loops. AW Studio Grand Plug-in
This includes a Steinway Model D-inspired sparkling 88, and a mellow 88. All of the power and nuances of 88 individually sampled notes are captured, from deep, resonant lows to crisp-sparkling highs, with adjustable reverb, decay, attack, and EQ.
AW Silvertone Electric Guitar Plug-in
This plug-in's sounds are sampled from a genuine, highly coveted (pre-DanElectro) 1963 Sears Silvertone model 1457 Amp-In-Case Edition Guitar—famous for its sweet honey tone and bell-like character. It allows you to add the ultimate vintage guitar vibe to your songs, and, using any MIDI keyboard, you can stretch notes, play Wah-Wah leads, surf-guitar, spy-guitar, dive bombs, or use the Auto-Strum feature. It sounds great on its own as a direct guitar, or you can add distortion via amp modeling and cabinet modeling from Kreator's built-in FX section. It also comes with its own guitar chord library. The Silvertone Grand has dedicated iStrumMIDI strumming patterns for use with the included AudioWarrior (pat-pending) 85 G-Mapped chords, the first in a new series, for a total of 3400 auto-strumming chord combinations by layering 2 MIDI patterns into intricate strumming variations. Audiowarrior iStrumMIDI files are 4 bars each and can be tempo adjusted to fit your Master Tempo while maintaining the original pitch and feel. You can copy and paste them anywhere in your song and mix and match them in any order next to each other for seamless strumming chord changes. If you'd rather play the chords yourself, then literally strum the individually pre-programmed chords manually with a recommended 1mm nylon guitar pick on any non-weighted keyboard.
AW Studio 12-String Acoustic Plug-in
This plug-in features chromatic plus iStrum MIDI patterns and 85 auto strumming chords.
AW Studio Acoustic Dreadnought Plug-in
The Acoustic Dreadnought is a specially featured virtual rhythm guitar that can be manually strummed or will Auto-Strum in any key and tempo with a wide variety of songwriting chords that can be used to build complete rhythm guitar tracks via AudioWarrior's exclusive iStrum MIDI Patterns and AudioWarrior's (pat-pending) G-Mapped chords. An indispensable songwriting tool with 3400+ Automatic-Chord-Strummming possibilities, have it Auto-Strum or strum it the way you want to hear it for warm, vibrant, resonating, rich, robust, musically pleasing, and stunningly beautiful tones.
AW Studio Angel Druid Plug-in
The haunting Angel Druid Choir plug-in with on-board DSP features a unique angelic-female voice and druid-like male voice. You can even combine voices to blend & harmonize. Play it as a standalone or in your preferred sequencer where you can tweak the reverb, chorus, wah-wah, and vowel modeling for even more effects! It is 24-bit.
AW Studio B3 Plug-in
The influence of the Hammond organ can be felt everywhere. On any given radio station, there's a good chance you'll hear the B-3. The Hammond is used in all types of music, from Gospel to Blues, Jazz and Funk to Rock. Two famous rock bands that have made it a staple of their sound are Emerson, Lake & Palmer and Yes. In fact, Keith Emerson used to take his B-3 and throw it around the stage, ride it like a horse, set it on fire, stab it. This plug-in gives you that classic organ sound with the ability to manipulate the rotary, chorus, and wah-wah, for even more tone options.
AW Studio Bass Plug-in
The Studio Bass Plug-in features a J-bass, upright acoustic, electric slap, and 18 analog synth basses based on those found in the Juno, Oberheim, Moog, Prophet, and Oscar synths. Whichever you chose will fit nicely into any mix. For instance, you can use the pitch wheel on the upright acoustic to emulate sweet string slides. AW Studio Cathedral Plug-in
This plug-in gives you huge, Notre-Dame like Cathedral sound, MASSIVE, FX include reverb.
AW Studio Drawbar Sound Plug-in
Sweet drawbar sounds that you can alter the character of by adjusting the parametric EQ Effect.
AW Studio Lead Guitar Plug-in
This allows you to dive bomb like you're working a guitar whammy bar with the pitch wheel or hold a note and listen to it transform into a screaming harmonic with natural vibrato. AW Studio Rhodes Plug-in
Since the actual acoustic sounded note of a Rhodes is too soft to be practical, each tine in this plug-in is vibrated in front of an electric-guitar-style magnetic pickup. The pickups' output is fed to an amplifier which you can adjust to produce the desired volume. The layers range from soft and tubular-bell-like to medium-and-piano-like, to hard/loud and distorted piano-tube-like. You can play it soft bell-like at low velocity, robust at medium velocity, hard for extra grit, and at just the right amount of grit for hard-hitting, but not overpowering electric piano notes. The original Rhodes was particularly popular from the late 60s through the early 80s, featured in a variety of hits like The Doors' "Riders On The Storm", "Just the Way You Are" by Billy Joel, "Still Crazy After All These Years" by Paul Simon, "Babe" by Styx, "You Are The Sunshine Of My Life" by Stevie Wonder, "Peg" by Steely Dan, "Gotta Serve Somebody" by Bob Dylan, the intro to "Sheep" by Pink Floyd, and "Angela" the theme for the television series "Taxi" by Bob James. Ray Charles played "Shake Your Tailfeather" on a Rhodes in the music store scene in the Blues Brothers. AW Studio Wurly Piano Organ Plug-in
This plug in is based on the timeless Wurlizter sound. GM compatibleKreator 2.0 has GM-compatible acoustic drum kits based on SONOR, TAMA, YAMAHA, DW, and Ludwig—including world percussion and electronic kits based on the 707-808-909—with on-board DSP. Enjoy deep bass drums, phat airy kicks, crisp, snapping snares, shimmering cymbals, hypnotic rainsticks, rhythmic shakers, crisp hi-hats, real pedal sounds, chunky stick hits & side sticks, thunderous floor toms, deep-rack toms, and more. Play them standalone or in your preferred sequencer. With Kreator 2.0, you can easily create compelling, professional-sounding songs by using Audiowarrior's built-in powerful and innovative production elements that contribute to a well balanced, artful and professional-sounding mix.
Get Competitive
The unique sounds and innovative "Hit-Song" programming elements that KREATOR-XL provides give you a masterful palette of meticulously recorded, real-world instruments and production elements comprised of pristine 24-bit, world-class samples. KREATOR-XL'S library is divided into 27 sections with hundreds of program presets, REX files, and MIDI files. A variety of expressive 24-bit, 16 silmutaneous Instruments available from one intuitive GUI. Result oriented high quality, flexible sound-source with flexible stereo and 5.1 surround routing. Designed by musicians, for musicians.
AW Studio 12-String Acoustic Plug-in
This plug-in features chromatic plus iStrum MIDI patterns and 85 auto strumming chords.
AW Studio Acoustic Dreadnought Plug-in
The Acoustic Dreadnought is a specially featured virtual rhythm guitar that can be manually strummed or will Auto-Strum in any key and tempo with a wide variety of songwriting chords that can be used to build complete rhythm guitar tracks via AudioWarrior's exclusive iStrum MIDI Patterns and AudioWarrior's (pat-pending) G-Mapped chords. An indispensable songwriting tool with 3400+ Automatic-Chord-Strummming possibilities, have it Auto-Strum or strum it the way you want to hear it for warm, vibrant, resonating, rich, robust, musically pleasing, and stunningly beautiful tones.
AW Studio Angel Druid Plug-in
The haunting Angel Druid Choir plug-in with on-board DSP features a unique angelic-female voice and druid-like male voice. You can even combine voices to blend & harmonize. Play it as a standalone or in your preferred sequencer where you can tweak the reverb, chorus, wah-wah, and vowel modeling for even more effects! It is 24-bit.
AW Studio B3 Plug-in
The influence of the Hammond organ can be felt everywhere. On any given radio station, there's a good chance you'll hear the B-3. The Hammond is used in all types of music, from Gospel to Blues, Jazz and Funk to Rock. Two famous rock bands that have made it a staple of their sound are Emerson, Lake & Palmer and Yes. In fact, Keith Emerson used to take his B-3 and throw it around the stage, ride it like a horse, set it on fire, stab it. This plug-in gives you that classic organ sound with the ability to manipulate the rotary, chorus, and wah-wah, for even more tone options.
AW Studio Bass Plug-in
The Studio Bass Plug-in features a J-bass, upright acoustic, electric slap, and 18 analog synth basses based on those found in the Juno, Oberheim, Moog, Prophet, and Oscar synths. Whichever you chose will fit nicely into any mix. For instance, you can use the pitch wheel on the upright acoustic to emulate sweet string slides. AW Studio Cathedral Plug-in
This plug-in gives you huge, Notre-Dame like Cathedral sound, MASSIVE, FX include reverb.
AW Studio Drawbar Sound Plug-in
Sweet drawbar sounds that you can alter the character of by adjusting the parametric EQ Effect.
AW Studio Lead Guitar Plug-in
This allows you to dive bomb like you're working a guitar whammy bar with the pitch wheel or hold a note and listen to it transform into a screaming harmonic with natural vibrato. AW Studio Rhodes Plug-in
Since the actual acoustic sounded note of a Rhodes is too soft to be practical, each tine in this plug-in is vibrated in front of an electric-guitar-style magnetic pickup. The pickups' output is fed to an amplifier which you can adjust to produce the desired volume. The layers range from soft and tubular-bell-like to medium-and-piano-like, to hard/loud and distorted piano-tube-like. You can play it soft bell-like at low velocity, robust at medium velocity, hard for extra grit, and at just the right amount of grit for hard-hitting, but not overpowering electric piano notes. The original Rhodes was particularly popular from the late 60s through the early 80s, featured in a variety of hits like The Doors' "Riders On The Storm", "Just the Way You Are" by Billy Joel, "Still Crazy After All These Years" by Paul Simon, "Babe" by Styx, "You Are The Sunshine Of My Life" by Stevie Wonder, "Peg" by Steely Dan, "Gotta Serve Somebody" by Bob Dylan, the intro to "Sheep" by Pink Floyd, and "Angela" the theme for the television series "Taxi" by Bob James. Ray Charles played "Shake Your Tailfeather" on a Rhodes in the music store scene in the Blues Brothers. AW Studio Wurly Piano Organ Plug-in
This plug in is based on the timeless Wurlizter sound. GM compatibleKreator 2.0 has GM-compatible acoustic drum kits based on SONOR, TAMA, YAMAHA, DW, and Ludwig—including world percussion and electronic kits based on the 707-808-909—with on-board DSP. Enjoy deep bass drums, phat airy kicks, crisp, snapping snares, shimmering cymbals, hypnotic rainsticks, rhythmic shakers, crisp hi-hats, real pedal sounds, chunky stick hits & side sticks, thunderous floor toms, deep-rack toms, and more. Play them standalone or in your preferred sequencer. With Kreator 2.0, you can easily create compelling, professional-sounding songs by using Audiowarrior's built-in powerful and innovative production elements that contribute to a well balanced, artful and professional-sounding mix.
Get Competitive
The unique sounds and innovative "Hit-Song" programming elements that KREATOR-XL provides give you a masterful palette of meticulously recorded, real-world instruments and production elements comprised of pristine 24-bit, world-class samples. KREATOR-XL'S library is divided into 27 sections with hundreds of program presets, REX files, and MIDI files. A variety of expressive 24-bit, 16 silmutaneous Instruments available from one intuitive GUI. Result oriented high quality, flexible sound-source with flexible stereo and 5.1 surround routing. Designed by musicians, for musicians.
AudioWarrior Kreator Plug-In Sample Workstation Specifications:
- System Requirements
- PC
- (Minimum)
- Pentium/Athlon 800MHz
- 384MB RAM
- Up to 4.7GB free HD space for content
- Windows XP Home or XP Professional
- Windows MME compatible audio hardware
- For using HALion as a plug-in, a VST2 or DXi2 compatible host is required
- Steinberg Key and USB component connector required
- Display Resolution 1024 x 768 pixels
(Recommended) - Pentium/Athlon 1.4GHz or faster
- 512MB RAM
- Display Resolution 1152 x 864 pixels, dual monitor setup
- ASIO compatible sound card recommended
(Minimum) - Power Mac G4 867MHz
- 384MB RAM
- Up to 4.7GB free HD space for Content
- OS X Version 10.3
- CoreAudio compatible audio hardware
- For using HALion as a plug-in, a VST2 or AU compatible Host is required
- Steinberg Key and USB component connector required
- Display Resolution 1024 x 768 pixels
(Recommended) - Power Mac: G4 Dual 1.25GHz or faster
- 512MB RAM
- Display Resolution 1152 x 864 pixels, dual monitor setup
Requires Steinberg USB Key - Kreator Instruments and Sounds may also be used by all HALion 3.1 [or higher] owners with the AudioWarrior Kreator License Code installed on a Steinberg Key (not included) via Syncrosoft's License Control Center (LCC)
AudioWarrior Kreator Plug-In Sample Workstation Features:
- Produced by professional musicians
- Super easy operation
- 32-bit
- Connects to VST, DXi2, AU, Rewire, and standalone
- 256 voices of polyphony
- 16 sounds on 16 MIDI channels simultaneously per instance
- 16 MIDI Channels always visible on the interface with the ability to quickly create Combi's and layer and mix any and all sounds on the fly
- GM compatible
- Sound Category System support, no difference between finding, selecting and loading a sound
- Control up to 32 DSP Effects with 8 "Quick" remote controllable Q-Controls featuring MIDI learn
- 8 content pre-defined sound-shaping parameters including MIDI Learn Cutoff and Resonance per program
- Remote controllable with the all new set-and-forget MIDI learn mode
- Ultra easy user interface—clean, handy, and easy to understand for beginners or seasoned professionals
- Award-winning surround-capable HALion 3 playback engine
- All of Kreator's sounds and instruments can be opened in HALion 3.1 or higher
drumagog
the professional drum replacer plugin
Drumagog is a plug-in which automatically replaces acoustic drum tracks with
your choice of other samples. Engineers and producers worldwide use
Drumagog every day to fix and enhance their drum tracks. It's extremely easy
to use. Just insert Drumagog onto a drum track, and pick your favorite sample!
For advanced drum replacing, Drumagog is packed with powerful features for
the ultimate in control, and includes a massive 4GB drum sample library.
Features:
- Automatically replaces drum tracks with a variety of samples
- Compatible with WAV, AIF, and SDII samples and libraries
- MIDI Input and Output Capability
- Advanced Visual Triggering feature
- Sophisticated sample management
- Auto sample-rate conversion
- New triggering engine for the ultimate in accurate triggering
- Works with Pro Tools, Logic, Digital Performer, Cubase, Nuendo and more
- Comes with a massive 4GB drum sample collection including:
Rock Drums Drumagog Edition, Purrrfect Drums, Purrrfect Brushes,
NS Kit Free and Classic Drum Machines.
- Compatible with any VST, RTAS, or AU audio application
- Works directly with BFD (Platinum version only)
Testimonials
5/08/2009
WaveMachine Labs Spring Sale! Save $50 on Drumagog Basic
Order Now
3/10/2009
WaveMachine Labs introduces our first official sample library, Percussion eXtras!
more info
2/12/2009
MoReVoX DriveDrums: 50% off with purchase of Drumagog Pro or Platinum
more info
more news
"Drumagog rules! At last a drum replacement program that has the same feel as the drummer intended. The new visual triggering is a piece of cake to use and the included samples sound great." Chuck Ainlay (Producer / Engineer - Dire Straits, Trisha Yearwood, Vince Gill, George Strait, Wynonna Judd, Reba McEntire)
"What used to take DEVO hours setting up MIDI drum triggers for custom sounds, now takes seconds. Drumagog couldn't be any easier for sound replacement. It doesn't matter if its a different drum or an original synth noise, just launch Drumagog and you are ready to go." Bob Casale (DEVO Guitars/Keyboards/Engineering)
"Drumagog is the coolest and baddest drum replacement software out there. It's easy to use, sounds amazing and gives you lots of options in your mix. I wouldn't be without it." - Greg Ladanyi (Producer / Engineer - Jackson Browne, Toto, Don Henley, Fleetwood Mac)
"Drumagog is one of the most brilliant programs I've come across. It's saved me literally thousands of hours editing drums while working on the Korn record "Untouchables". Drumagog made the drum replacement and reinforcement seamless." - Rob Hill (Engineer - Korn, Queen, Jackson Browne, Pat Green, DJ Muggs / Cyprus Hill)
"Drumagog is a great tool. I love the fact that it just does what it's supposed to with no hassle. Drop it in, select your sound and move on with the music. It's got a very low "fuss factor", but plenty of control if you want to fine tune. I use it often." - Brian Tankersley (Producer / Mixer - Shania Twain, Brooks & Dunn, Lonestar, Sawyer Brown)
your choice of other samples. Engineers and producers worldwide use
Drumagog every day to fix and enhance their drum tracks. It's extremely easy
to use. Just insert Drumagog onto a drum track, and pick your favorite sample!
For advanced drum replacing, Drumagog is packed with powerful features for
the ultimate in control, and includes a massive 4GB drum sample library.
Features:
- Automatically replaces drum tracks with a variety of samples
- Compatible with WAV, AIF, and SDII samples and libraries
- MIDI Input and Output Capability
- Advanced Visual Triggering feature
- Sophisticated sample management
- Auto sample-rate conversion
- New triggering engine for the ultimate in accurate triggering
- Works with Pro Tools, Logic, Digital Performer, Cubase, Nuendo and more
- Comes with a massive 4GB drum sample collection including:
Rock Drums Drumagog Edition, Purrrfect Drums, Purrrfect Brushes,
NS Kit Free and Classic Drum Machines.
- Compatible with any VST, RTAS, or AU audio application
- Works directly with BFD (Platinum version only)
Testimonials
5/08/2009
WaveMachine Labs Spring Sale! Save $50 on Drumagog Basic
Order Now
3/10/2009
WaveMachine Labs introduces our first official sample library, Percussion eXtras!
more info
2/12/2009
MoReVoX DriveDrums: 50% off with purchase of Drumagog Pro or Platinum
more info
more news
"Drumagog rules! At last a drum replacement program that has the same feel as the drummer intended. The new visual triggering is a piece of cake to use and the included samples sound great." Chuck Ainlay (Producer / Engineer - Dire Straits, Trisha Yearwood, Vince Gill, George Strait, Wynonna Judd, Reba McEntire)
"What used to take DEVO hours setting up MIDI drum triggers for custom sounds, now takes seconds. Drumagog couldn't be any easier for sound replacement. It doesn't matter if its a different drum or an original synth noise, just launch Drumagog and you are ready to go." Bob Casale (DEVO Guitars/Keyboards/Engineering)
"Drumagog is the coolest and baddest drum replacement software out there. It's easy to use, sounds amazing and gives you lots of options in your mix. I wouldn't be without it." - Greg Ladanyi (Producer / Engineer - Jackson Browne, Toto, Don Henley, Fleetwood Mac)
"Drumagog is one of the most brilliant programs I've come across. It's saved me literally thousands of hours editing drums while working on the Korn record "Untouchables". Drumagog made the drum replacement and reinforcement seamless." - Rob Hill (Engineer - Korn, Queen, Jackson Browne, Pat Green, DJ Muggs / Cyprus Hill)
"Drumagog is a great tool. I love the fact that it just does what it's supposed to with no hassle. Drop it in, select your sound and move on with the music. It's got a very low "fuss factor", but plenty of control if you want to fine tune. I use it often." - Brian Tankersley (Producer / Mixer - Shania Twain, Brooks & Dunn, Lonestar, Sawyer Brown)
"Drumagog makes drum replacing effortless and quick, which allows me to be more creative and spontaneous in my work. Drumagog has now become one of my essential mix tools, on every project."
Bob Bullock
Producer / Engineer
Shania Twain, George Strait, Travis Tritt, The Tubes, Art Garfunkel,
Seals and Crofts, Chic Corea, REO Speedwagon
website
"In a world like mine where drum sounds can be a real challenge, such an intuitive, smooth–operating, effective program like Drumagog really saves the day ... other competitive “replacer” programs out there NEVER do the job right... there is no comparison. Most importantly, in the now complicated environment of sample-rate differences, Drumagog supports all different rates, allowing me to use my enourmous sample library that I’ve acquired over the years, be it at 44.1 or 92k. It all just works seemlessly, and lets me get on with making a great record”.
Thom Russo
Engineer
Michael Jackson, Janet Jackson, Diana Ross, Cher, Babyface, Prince,
Eric Clapton, Johnny Cash
website
"I grew up in an analog studio environment, and used to run several channels of kicks and snares on the board for parallel processing. Drumagog allows me not only to simplify my mix setups - whether in the box or on the board - but also to make sensible choices for the music I'm working with - ranging from subtle reinforcement to downright destruction. All with sample accurate precision, ease of use, and a great palette of professional sounding samples that I can quickly flick through and tweak as the music plays by - what more could I ask for?"
Marco Migliari
Producer / Engineer / Mixer
Robert Plant, Billy Cobham, Crowded House, Massive Attack, Deep Purple, Sigur Ros, Peter Gabriel, Loreena McKennitt
website
Also uses MoReVox Elektromorph libraries
"Drumagog is the coolest and baddest drum replacement software out there. It's easy to use, sounds amazing and gives you lots of options in your mix. I wouldn't be without it."
Greg Ladanyi
Producer / Engineer
Jackson Browne, Toto, Don Henley, Fleetwood Mac
"I used to shy away from drum replacement unless it was completely necessary. The process involved in making samples sound natural was painstaking & time consuming. With Drumagog I'm up & running in seconds and auditioning hundreds of samples effortlessly. The multiple sample feature and blend functions allow you to create the ultimate drum kit. Drumagog is awesome!!!"
John Seymour
Grammy Award-Winning Producer/Engineer/Mixer
Santana, U2, Mighty Mighty Bosstones, Jimi Hendrix, Bouncing Souls "I have been using Drumagog for a while now and am stunned at it's versatility and simplicity of use. It's one of those rare intuitive programs that seamlessly allows the user to get the job done and then some. Congratulations on a fine little piece of userware!"
Steve Vai
Grammy Award Winning Artist/Producer
Joe Satriani, Frank Zappa, David Lee Roth, Whitesnake, Alcatrazz
website
Also uses Rock Drums Vol. 3
"What used to take DEVO hours setting up MIDI drum triggers for custom sounds, now takes seconds. Drumagog couldn't be any easier for sound replacement. It doesn't matter if its a different drum or an original synth noise, just launch Drumagog and you are ready to go."
Bob Casale
DEVO Guitars/Keyboards/Engineering
"I'm very happy with Drumagog! I'ts definitely made my life easier"
Mark Plati
Producer / Engineer
The Cure, David Bowie, Bee Gees, Tina Turner, Prince, Talking Heads, Blues Traveler, Paula Abdul, Sheryl Crow, Dave Matthews
website
Also uses Rock Drums Vol. 3
"Drumagog rules! At last a drum replacement program that has the same feel as the drummer intended. The new visual triggering is a piece of cake to use and the included samples sound great."
Chuck Ainlay
Producer / Engineer
Dire Straits, Trisha Yearwood, Vince Gill, George Strait, Wynonna Judd and Reba McEntire
website
Also uses Dan's House Vintage Drums
"Drumagog gives me the control I always dreamt of for drum replacement. The multiple samples that are triggered for each drum make your replaced drums sound completely natural. It makes other soundreplacer plugins seem like toys. If you are not using Drumagog to fix your drums, you are working way too hard."
Pat Thrall
Producer / Engineer / Artist
Beyonce, Thalia, John Mayer, Elton John, Stevie Wonder, Tina Turner,
Miles Davis
"Drumagog is a great product and nothing even comes close to it for speed and ease for auditioning sounds to compliment a mix."
Sean Beavan
Producer / Engineer / Musician
Marilyn Manson, Nine Inch Nails, No Doubt, System of a Down, Thrice
Interview
"I used to be skeptical about drum replacement, feeling like it always removed some of the "human" aspect of a live drum track. Once I used Drumagog, however, that changed completely. It's so simple to use, it has really become a "must have" for all my mix sessions. If you haven't checked it out yet, be sure to look into "Stealth Mode" in order to keep your mic bleed intact. This is such an important feature in Drumagog, since mic bleed is so integral to the "live" sound of a well recorded kit."
Blake Eiseman
Producer / Engineer
Outkast, Matthew Sweet, Arrested Development, Pearl Jam, Kanye West
website
Also uses Supersonic Samples
"Drumagog gives me the flexibility to remain experimental at any given point in the musical process, and to me, that is golden."
Matthew Walker
Drummer/Songwriter
The Most Dangerous Race, Filter, Smashing Pumpkins, Garbage, Morrissey
website
"When it comes to fixing drum sounds, I can't imagine anything easier to use. When it come to creativity, Drumagog opens up all kinds of possibilities for production and mixing that are very exciting!!!"
Tony Mangurian
Producer/Engineer
U2, Luscious Jackson, Bob Dylan, Willie Nelson, Daniel Lanois
Also uses MoReVox Elektromorph libraries
"Drumagog's ease of use and triggering consistency is second to none! Having options post tracking not only is a HUGE time saver but a financial one as well...Great job WaveMachine Labs!!!"
Allen Morgan
Producer / Engineer / Programmer / Remixer
Nine Inch Nails, Christina Aguilera, Dolly Parton
website
"Even with a boat load of drums, there are still times when i need something different, or we find out after the fact that we want to modify the sound. . .thank you, Drumagog for making that easier."
Pat Mastelotto
Drummer
King Crimson, XTC
website
"Drumagog is one of the most useful plugins I have. It does exactly what it is suppose to do. I can't imagine digital life without it. Everyone should have it."
Sammy Merendino
Drummer
Cameo, Michael Jackson, Billy Joel, Cyndi Lauper, Foreigner
website
"When I needed my drum sound to go over the top Drumagog took me there."
Ricky Lawson
Drummer
Phil Collins, Michael Jackson, Whitney Houston, Stevie Wonder, Al Jarreau, George Benson, Bette Midler, Lionel Richie
website
"Use Drumagog even if your drums aren't broken - It's even better than using EQ to enhance them."
Khaliq Glover
Grammy Award Winning Engineer
Smokey Robinson, Jeffrey Osborne, Herbie Hancock, Kenny Rogers
website
"I love the ease at which you can audition different samples and the phase accurate tightness of this drum replacement plug in. I use it all the time on every record you hear me mix."
Andy Sneap
Producer / Engineer
Nevermore, Machine Head, Arch Enemy, Cradle Of Filth
website
Also uses Steven Slate Drums
"Drumagog couldn't be simpler to use, with great sounds! It looks to be a must have for anyone interested in augmenting or replacing drum sounds!"
Al Webster
Drummer
Jeff Healey, Amanda Marshall, Colin James, Big Sugar, Zachary Richard, Long John Baldry, Whitney Houston
website
"Effortless, effective and essential! Drumagog allows me to get the job done rapidly and with ease. Drumagog raises the bar...I love it!"
Jeff Worrell
Producer/Engineer
America, Pat Benatar/Neil Giraldo, Edgar Winter, Chuck Negron, Mike Botts website
"I've just recently started using Drumagog - I used to hate triggering samples but now it makes intergrating electronic sounds into my takes so much easier."
Christian Eigner
Drummer
Depeche Mode
"Drumagog is a great tool. I love the fact that it just does what it's supposed to with no hassle. Drop it in, select your sound and move on with the music. It's got a very low "fuss factor", but plenty of control if you want to fine tune. I use it often."
Brian Tankersley
Producer / Mixer
Shania Twain, Brooks & Dunn, Lonestar, Sawyer Brown
"Drumagog is one of the most brilliant programs I've come across. It's saved me literally thousands of hours editing drums while working on the Korn record "Untouchables". Drumagog made the drum replacement and reinforcement seamless."
Rob Hill
Engineer
Korn, Queen, Jackson Browne, Pat Green, DJ Muggs
FL Studio Tutorials, Tips and Tricks.
Do you struggle to find that swishing sound for the background in your tracks or you want to find that right explosion effect? Why spend your time looking for certain samples and effects on the internet when you can create the sample you desire with what you got in the libary combined wit effects, tweaks, and minor adjustments.
I've been using FL Studio for up to five years and I was able to use some tricks in my music making process that I have learned through experience, and now I'm going to teach you a couple of them. All you need is an FL Studio 4 or higher to be able to do this.
"Swishing Effects" - Ever listened to a Kid Creme or Junior Jack song with all the swishing effects and breakdowns and you wonder how you can do the same? There are many ways you can make those and incorporate in your songs. One way is to get a static sample, like from a TV when you put it on a channel that doesn't work. One way I got one is by taking a 3xOsc, opening up the menu for that and putting all three of the osc's on the static symbol (next to the question mark). Now just loop it and play that in a loop for as long as you need it to be, then put it on an FX channel and add a Parametric EQ, then eliminate all bass signals by lowering all of the low frequencies (maybe even hike up the treble and high mids and lowering overall volume). Then add a lowpass filter and run it through the song by pressing Record next to the play button and moving the frequency around while playing. Then stop it when your finished and turn off the Record button, and now play it, it should filter through the song automatically, you've just done a Live Recording, you can do that with almost any knob in FL Studio. Now add some delay and a touch of anything else you might want. You have just made that swishing effect, congratulations, let's move on.
"Tweaking Loops" - Have you ever made a song with a loop from some website and it turns out you here somebody else's song and they have that same loop? I know that pisses you off but really why use a loop thats been used by who knows how many artists? I know a way you can keep that loop and make it sound much more different than others. First put the loop on an FX channel and and add some delay man, just a slight delay. Maybe if you want open up that Parametric EQ and do some EQing. One way I would do it if its a drumloop is eliminate the bass and add my own kicks in the song, and why rely on the loop's percs when you can add on sum extra hats from the FL Studio library. Whay not incorporate two other tweak loops playing with that one drumloop, that way it'll sound more heavily structured which everyone wants in electronic based music.
"Synths" - Please don't tell me you plan on using that synth loops thats probably been used by a hundred artists over in it's course of lifetime, why not make your own synth for a change. if you want an epic trance type synth, then pull out the 3xOsc, add it to a channel and start tweaking. Either that or if you want an average synth line, many possibilities open up. Just go to "Options" at the top of the screen and go to "General Settings". Now look to the right at the bottom and turn on "Show Legacy Precomputed Effects", now even more possibilities just pop up out of nowhere. Now take an average bassline and hike up the "AMP" at the bottom of the menu of that sample, then put it on an FX channel, pop out that Parametric EQ, and eliminate all the bass and hike up the mids and highs, (even add a blood overdrive to it if you wish) and don't forget that compressor, you'll most likely need it to keep it from blurring. Now you've turned an average bassline into a glorious electric synth. If you want to, put the bass back in that sample and it doubles as a synth and bassline.
These are just few of the many possibilities you can do with the FL Studio software, now I want you to get out there and show me some true unique art, something that will pop out of nowhere and in your face like BAM!!!
I've been using FL Studio for up to five years and I was able to use some tricks in my music making process that I have learned through experience, and now I'm going to teach you a couple of them. All you need is an FL Studio 4 or higher to be able to do this.
"Swishing Effects" - Ever listened to a Kid Creme or Junior Jack song with all the swishing effects and breakdowns and you wonder how you can do the same? There are many ways you can make those and incorporate in your songs. One way is to get a static sample, like from a TV when you put it on a channel that doesn't work. One way I got one is by taking a 3xOsc, opening up the menu for that and putting all three of the osc's on the static symbol (next to the question mark). Now just loop it and play that in a loop for as long as you need it to be, then put it on an FX channel and add a Parametric EQ, then eliminate all bass signals by lowering all of the low frequencies (maybe even hike up the treble and high mids and lowering overall volume). Then add a lowpass filter and run it through the song by pressing Record next to the play button and moving the frequency around while playing. Then stop it when your finished and turn off the Record button, and now play it, it should filter through the song automatically, you've just done a Live Recording, you can do that with almost any knob in FL Studio. Now add some delay and a touch of anything else you might want. You have just made that swishing effect, congratulations, let's move on.
"Tweaking Loops" - Have you ever made a song with a loop from some website and it turns out you here somebody else's song and they have that same loop? I know that pisses you off but really why use a loop thats been used by who knows how many artists? I know a way you can keep that loop and make it sound much more different than others. First put the loop on an FX channel and and add some delay man, just a slight delay. Maybe if you want open up that Parametric EQ and do some EQing. One way I would do it if its a drumloop is eliminate the bass and add my own kicks in the song, and why rely on the loop's percs when you can add on sum extra hats from the FL Studio library. Whay not incorporate two other tweak loops playing with that one drumloop, that way it'll sound more heavily structured which everyone wants in electronic based music.
"Synths" - Please don't tell me you plan on using that synth loops thats probably been used by a hundred artists over in it's course of lifetime, why not make your own synth for a change. if you want an epic trance type synth, then pull out the 3xOsc, add it to a channel and start tweaking. Either that or if you want an average synth line, many possibilities open up. Just go to "Options" at the top of the screen and go to "General Settings". Now look to the right at the bottom and turn on "Show Legacy Precomputed Effects", now even more possibilities just pop up out of nowhere. Now take an average bassline and hike up the "AMP" at the bottom of the menu of that sample, then put it on an FX channel, pop out that Parametric EQ, and eliminate all the bass and hike up the mids and highs, (even add a blood overdrive to it if you wish) and don't forget that compressor, you'll most likely need it to keep it from blurring. Now you've turned an average bassline into a glorious electric synth. If you want to, put the bass back in that sample and it doubles as a synth and bassline.
These are just few of the many possibilities you can do with the FL Studio software, now I want you to get out there and show me some true unique art, something that will pop out of nowhere and in your face like BAM!!!
mixing tutorials
1.Kicking-off with 10 digestible nuggets of sound mixing essentials you should be practicing when either shaping sounds or balancing the mix.
You might know all, or some of these tips already, cool, they've been chosen however, because they are ones we most-often let slide from our realm of thoughts when dancing with the fairies in laa-laa-land (Note: I'm talking about you here - I've personally never been to laa-laa-land, preferring STRICTLY HETERO nightclubs instead, HTH).
1: Use MONO Sound Sources
That's right! Some of you might be shocked to learn this - I know I was when first told - I mean, mono is crap right? We're into (what is it now?), 9-Channel surround-sound or sommat daft like that now aren't we! And what about your synth? I bet it sounds amazing in full-width panoramic swirling stereo doesn't it? It just wouldn't sound the same in mono, right?
I feel ya, trust. But listen-up...
First-off, ask yourself what sound source, in nature, is truly emitted in stereo? Aye, got you thinking hasn't it!
If you're sat there shouting: "All natural sound sources are in stereo - they're all around us!" Well, that's how we hear them, true. But it's more likely a result of things happening to those soundwaves whilst travelling to our ears.
You see, sound waves are reflected, blown-about, and dampened etc., don't forget. We perceive distance, direction and space through clues such as volume, and the difference in time it takes a sound to enter both ears (ie., if it hits the left ear louder and quicker than the right.)
Drowning in Stereo
Recording your sound sources in stereo (or using stereo samples) can make it very difficult to find a "hole" in the mix for other instruments to sit. This can lead to excessive EQ fiddling to create one - cue battle of the sounds.
A well-recorded mono sound source on the other hand, can be placed with relative ease onto the sound-stage, allowing you to much better handle what, and how, effects should be applied with regard to other neighbouring instruments and their positions and frequencies in the mix.
Remember these things:
Record in stereo - record again in stereo! With mono, you just tweak the panning and effects (if any) until seasoned.
If 2 mono sound parts are sharing the same frequency range then just try and simply pan them slightly: one to the right, other to the left (a couple of notches either side is usually enough).
If you must record in stereo, use 2 mono channels to capture right and left separately.
Final Killer Tip
Test your mix in mono! Use the mono button on the mixing-panel (or desk) to sum the channels together into one (mono) channel. This will put all the sounds into the centre.
Why?
You'll hear if any phasing is creeping-in (like a comb-filtering effect).
You can correct any sounds that have disappeared.
Many club PA systems (believe it or not), use mono! Don't be embarrassed - I've read enough personal accounts on forums to know this is a fairly common pitfall!
What to Listen For
Tone and volume consistency.
Yeah I know... how to explain that in writing, eh! Use your noggin: you're after consistent clarity basically - sufficient to identify the instruments in both mono and stereo. If there isn't, go back into the mixing panels and identify what's causing your mono upsets by looking at your stereo files and/or added stereo effects.
2.Rest Them Ears
If you're concentrating on a song-part for too long, your ears become quickly tired - You will sit there and think, 'nah...', and convince yourself everything is fine, but what you've probably done in fact, is over-compensate without realising.
This is one of my weaknesses I have to say; simply because I become so engrossed I just can't let go until I'm happy... even if that takes 14 hours (cough - or more!).
It can be more troublesome when you're trying to create a complex sound on a synth or something that covers several frequency spectrums - You can be spending hours refining the sound and during that process, you'll be overly concentrating on the lower, mid or higher freq's of that sound, almost to the exclusion of the others... basically, you lose the wider perspective.
It's usually the higher-frequencies that suffer, meaning you'll more than likely make them more prominent... of course, you won't realise until you listen-back a couple of days later.
What to do?
Don't monitor at loud volumes - Conversational volume is just fine.
Do lots of referencing, often: Make adjustments and listen to it with other instruments, AKA, A/B testing.
Reference with professionally-recorded CD's.
Try referencing the mix in mono to see if the overall balance of instruments is clear and even.
You might know all, or some of these tips already, cool, they've been chosen however, because they are ones we most-often let slide from our realm of thoughts when dancing with the fairies in laa-laa-land (Note: I'm talking about you here - I've personally never been to laa-laa-land, preferring STRICTLY HETERO nightclubs instead, HTH).
1: Use MONO Sound Sources
That's right! Some of you might be shocked to learn this - I know I was when first told - I mean, mono is crap right? We're into (what is it now?), 9-Channel surround-sound or sommat daft like that now aren't we! And what about your synth? I bet it sounds amazing in full-width panoramic swirling stereo doesn't it? It just wouldn't sound the same in mono, right?
I feel ya, trust. But listen-up...
First-off, ask yourself what sound source, in nature, is truly emitted in stereo? Aye, got you thinking hasn't it!
If you're sat there shouting: "All natural sound sources are in stereo - they're all around us!" Well, that's how we hear them, true. But it's more likely a result of things happening to those soundwaves whilst travelling to our ears.
You see, sound waves are reflected, blown-about, and dampened etc., don't forget. We perceive distance, direction and space through clues such as volume, and the difference in time it takes a sound to enter both ears (ie., if it hits the left ear louder and quicker than the right.)
Drowning in Stereo
Recording your sound sources in stereo (or using stereo samples) can make it very difficult to find a "hole" in the mix for other instruments to sit. This can lead to excessive EQ fiddling to create one - cue battle of the sounds.
A well-recorded mono sound source on the other hand, can be placed with relative ease onto the sound-stage, allowing you to much better handle what, and how, effects should be applied with regard to other neighbouring instruments and their positions and frequencies in the mix.
Remember these things:
Record in stereo - record again in stereo! With mono, you just tweak the panning and effects (if any) until seasoned.
If 2 mono sound parts are sharing the same frequency range then just try and simply pan them slightly: one to the right, other to the left (a couple of notches either side is usually enough).
If you must record in stereo, use 2 mono channels to capture right and left separately.
Final Killer Tip
Test your mix in mono! Use the mono button on the mixing-panel (or desk) to sum the channels together into one (mono) channel. This will put all the sounds into the centre.
Why?
You'll hear if any phasing is creeping-in (like a comb-filtering effect).
You can correct any sounds that have disappeared.
Many club PA systems (believe it or not), use mono! Don't be embarrassed - I've read enough personal accounts on forums to know this is a fairly common pitfall!
What to Listen For
Tone and volume consistency.
Yeah I know... how to explain that in writing, eh! Use your noggin: you're after consistent clarity basically - sufficient to identify the instruments in both mono and stereo. If there isn't, go back into the mixing panels and identify what's causing your mono upsets by looking at your stereo files and/or added stereo effects.
2.Rest Them Ears
If you're concentrating on a song-part for too long, your ears become quickly tired - You will sit there and think, 'nah...', and convince yourself everything is fine, but what you've probably done in fact, is over-compensate without realising.
This is one of my weaknesses I have to say; simply because I become so engrossed I just can't let go until I'm happy... even if that takes 14 hours (cough - or more!).
It can be more troublesome when you're trying to create a complex sound on a synth or something that covers several frequency spectrums - You can be spending hours refining the sound and during that process, you'll be overly concentrating on the lower, mid or higher freq's of that sound, almost to the exclusion of the others... basically, you lose the wider perspective.
It's usually the higher-frequencies that suffer, meaning you'll more than likely make them more prominent... of course, you won't realise until you listen-back a couple of days later.
What to do?
Don't monitor at loud volumes - Conversational volume is just fine.
Do lots of referencing, often: Make adjustments and listen to it with other instruments, AKA, A/B testing.
Reference with professionally-recorded CD's.
Try referencing the mix in mono to see if the overall balance of instruments is clear and even.
Sunday, May 24, 2009
cubase tutorial
New Cubase Tools and Tricks
So Steinberg have just released Cubase SX3, version 3 of their power-brand of audio and MIDI compositional studio suites - Let's dig in...
Steinberg have added over 70 new functions (don't expect to read about all of them here!) in this episode of Cubase and, as ever with each new release, we can expect to learn new concepts and techniques as well as banish some of the old tedious ones.
From the screenshots, one of the first "advances" that screams, "about time!", is Sonic Foundry's ACID-like pattern-based arrangement interface in the Project Window (that's a geeky mouthful isn't it... just look at the screenshot in other words!).
Now that is welcome and long overdue!
Plus, if you look carefully at the largest green track channel, you'll see that now we can draw the various parameter envelopes directly over the part - At last!
Now we can easily and accurately setup our envelopes without the need of opening up the sub-track folders and making a best-guess judgement on exactly where to start (and finish) those fiddly panning/volume adjustments (Unless of course you have a steady mouse-hand to hold those automation curve-points whilst your eye looks to its position/value on the info line display!).
Audio Warp
Speaking of ACID, Cubase now introduces us to its Audio Warp tool which offers, 'Realtime Time Stretching and Pitch Shifting' and also supports the ACID file format meaning a loop will automatically adjust to the project tempo setting (including any tempo changes in your song)... another, "about time" award!
Intuitive Play Order Track
(Yes, you can always rely on Steinberg to dream up tricky-sounding tool names!)
Basically, this allows you to "discover" what other cool little ditties you might have hidden within your (pattern-based) creations - without even knowing it! - or you might be wondering on the best arrangement for the various sections of your masterpiece. This tool will take those different song sections and mess them around so you can hear the differences and judge which arrangement works best, then you can "paste" the best one to the project ready for mixing and mastering
Inplace Editor
This is cool... it enables us to make quick MIDI edits in context with other MIDI/audio events... from the project window!
Because we can make them in the project window rather than the part's own editor window, it means we can see the accompanying instrumentation in the above and below channels too - This simple idea will no doubt slash away hours of troubleshooting, especially when trying to make those MIDI edits that rely heavily on other audio samples for instance.
What else is there?
Virtual Desktops
Well, we also get Virtual Desktops - This means we can have several different "studio" setups depending on whether we're in making-music mode, mixing mode or mastering for instance. You can optimally configure each "desktop" for your specific needs and then switch between them with a key command.
I can imagine, for those multi-genre musicians amongst us, that this will lead to "Hip-Hop" desktops, "Drum 'n' Bass" desktops and/or "Techno" desktops etc... each loosely configured for each genre; EG... a D'n'B desktop with typical D'n'B mixer, effects, instrument tracks, synth settings etc...
At the time of writing, it's not known whether the virtual desktop settings can be exported in order to be sent-on to the studio or other musicians for example, but I daresay this is either a reality or at least in the pipeline and as such, I can see virtual desktops becomming a useful time-saving feature.
Hardware Effects as VST Plug-ins?
Well, very nearly! The External Effects FX Plug-ins allows you to route, and control hardware effects parameters from within the VST mixing environment just like it was a software plug-in... with automatic latency compensation... cool! However, it remains to be seen whether the hardware itself must support VST to take advantage of these features. But even so, history shows us that where Steinberg go, others follow (Is that your wallet leggin it out the door?!).
Other stuff to mention is that SX3 supports '... a 64-bit operating system, and supports up to 4GB of RAM when used with a 64-bit operating system such as the upcoming Microsoft Windows XP 64-bit Edition and appropriate 64-bit processors such as the AMD Opteron.', (Steinberg).
What's (carefully?) not mentioned is whether Cubase SX3 actually utilises 64-bit processing! Nevertheless, it won't be long as they're obviously preparing for its reality. The increase in RAM support is always welcome.
Studio Connections
Steinberg have been working with Yamaha's Studio Manager 2 software which acts as a "middleman" between the sequencer and hardware providing an interface for editing the components. Steinberg say, 'Each editor component can be opened like a Plug-in from within Cubase SX3. Entire studio setups are saved and recalled with the project. Supported hardware currently includes Yamaha's DM2000, 01x and 02r96 mixers, as well as the Motif ES synthesizer and SPX2000 signal processor.'
So, (from this brief overview) we can see that there's something for both hardware and software music-makers.
You can buy Cubase SX3 at a bargain price now, or simply learn more over at zZounds
TheWhippinpost Thinks Aloud... Warning!
Of particular note, it's good to see Steinberg incorporating some of the better features found in other music software out there (though probably not good news to those respective software-makers).
I've always been puzzled why, when an obvious and better way of working has been found, that software-makers either pretend it's not real, or take so long to rethink their own product. I still find it amazing that other, not so well known sequencers (some free and built by hobbyists!) dating back years have some really nifty tools between them, that, if rolled into one sequencing package (even today), would give us a huge step forward again. Most of these tools are not "big" ideas, they're just simple little utility add-ons that wouldn't take much to implement but would make life so much easier.
This is not just Steinberg, it's prevalent in all the leading music software out there. It comes to something when I have to dig out one of the cheaper, or worse still, free sequencers (that I've picked up from a magazine cover say), to carry out a frequent and tedious chore, only to return to the professional package to carry on again!
Rant over... It's not all that bad. Without doubt Cubase is "up there" as one of the leading audio and MIDI music-making software packages around. It's there because, at the end of the day, it enables us to do most things within the one environment. Once you "progress" beyond the "low" and "middle-end" range of sequencers (where digging out that "other" sequencer for its toolset is even more frequent) Cubase quickly becomes indispensible as a creative and technical manipulator. Where it might miss out on some things (which might be just my own peculiar wants), it has too many others to even think about abandoning it... indeed, some would say that to do so would be a brave act! I'm looking forward to Cubase SX3 and you can be sure that TheWhippinpost will be writing more articles and tutorials about it soon.
So Steinberg have just released Cubase SX3, version 3 of their power-brand of audio and MIDI compositional studio suites - Let's dig in...
Steinberg have added over 70 new functions (don't expect to read about all of them here!) in this episode of Cubase and, as ever with each new release, we can expect to learn new concepts and techniques as well as banish some of the old tedious ones.
From the screenshots, one of the first "advances" that screams, "about time!", is Sonic Foundry's ACID-like pattern-based arrangement interface in the Project Window (that's a geeky mouthful isn't it... just look at the screenshot in other words!).
Now that is welcome and long overdue!
Plus, if you look carefully at the largest green track channel, you'll see that now we can draw the various parameter envelopes directly over the part - At last!
Now we can easily and accurately setup our envelopes without the need of opening up the sub-track folders and making a best-guess judgement on exactly where to start (and finish) those fiddly panning/volume adjustments (Unless of course you have a steady mouse-hand to hold those automation curve-points whilst your eye looks to its position/value on the info line display!).
Audio Warp
Speaking of ACID, Cubase now introduces us to its Audio Warp tool which offers, 'Realtime Time Stretching and Pitch Shifting' and also supports the ACID file format meaning a loop will automatically adjust to the project tempo setting (including any tempo changes in your song)... another, "about time" award!
Intuitive Play Order Track
(Yes, you can always rely on Steinberg to dream up tricky-sounding tool names!)
Basically, this allows you to "discover" what other cool little ditties you might have hidden within your (pattern-based) creations - without even knowing it! - or you might be wondering on the best arrangement for the various sections of your masterpiece. This tool will take those different song sections and mess them around so you can hear the differences and judge which arrangement works best, then you can "paste" the best one to the project ready for mixing and mastering
Inplace Editor
This is cool... it enables us to make quick MIDI edits in context with other MIDI/audio events... from the project window!
Because we can make them in the project window rather than the part's own editor window, it means we can see the accompanying instrumentation in the above and below channels too - This simple idea will no doubt slash away hours of troubleshooting, especially when trying to make those MIDI edits that rely heavily on other audio samples for instance.
What else is there?
Virtual Desktops
Well, we also get Virtual Desktops - This means we can have several different "studio" setups depending on whether we're in making-music mode, mixing mode or mastering for instance. You can optimally configure each "desktop" for your specific needs and then switch between them with a key command.
I can imagine, for those multi-genre musicians amongst us, that this will lead to "Hip-Hop" desktops, "Drum 'n' Bass" desktops and/or "Techno" desktops etc... each loosely configured for each genre; EG... a D'n'B desktop with typical D'n'B mixer, effects, instrument tracks, synth settings etc...
At the time of writing, it's not known whether the virtual desktop settings can be exported in order to be sent-on to the studio or other musicians for example, but I daresay this is either a reality or at least in the pipeline and as such, I can see virtual desktops becomming a useful time-saving feature.
Hardware Effects as VST Plug-ins?
Well, very nearly! The External Effects FX Plug-ins allows you to route, and control hardware effects parameters from within the VST mixing environment just like it was a software plug-in... with automatic latency compensation... cool! However, it remains to be seen whether the hardware itself must support VST to take advantage of these features. But even so, history shows us that where Steinberg go, others follow (Is that your wallet leggin it out the door?!).
Other stuff to mention is that SX3 supports '... a 64-bit operating system, and supports up to 4GB of RAM when used with a 64-bit operating system such as the upcoming Microsoft Windows XP 64-bit Edition and appropriate 64-bit processors such as the AMD Opteron.', (Steinberg).
What's (carefully?) not mentioned is whether Cubase SX3 actually utilises 64-bit processing! Nevertheless, it won't be long as they're obviously preparing for its reality. The increase in RAM support is always welcome.
Studio Connections
Steinberg have been working with Yamaha's Studio Manager 2 software which acts as a "middleman" between the sequencer and hardware providing an interface for editing the components. Steinberg say, 'Each editor component can be opened like a Plug-in from within Cubase SX3. Entire studio setups are saved and recalled with the project. Supported hardware currently includes Yamaha's DM2000, 01x and 02r96 mixers, as well as the Motif ES synthesizer and SPX2000 signal processor.'
So, (from this brief overview) we can see that there's something for both hardware and software music-makers.
You can buy Cubase SX3 at a bargain price now, or simply learn more over at zZounds
TheWhippinpost Thinks Aloud... Warning!
Of particular note, it's good to see Steinberg incorporating some of the better features found in other music software out there (though probably not good news to those respective software-makers).
I've always been puzzled why, when an obvious and better way of working has been found, that software-makers either pretend it's not real, or take so long to rethink their own product. I still find it amazing that other, not so well known sequencers (some free and built by hobbyists!) dating back years have some really nifty tools between them, that, if rolled into one sequencing package (even today), would give us a huge step forward again. Most of these tools are not "big" ideas, they're just simple little utility add-ons that wouldn't take much to implement but would make life so much easier.
This is not just Steinberg, it's prevalent in all the leading music software out there. It comes to something when I have to dig out one of the cheaper, or worse still, free sequencers (that I've picked up from a magazine cover say), to carry out a frequent and tedious chore, only to return to the professional package to carry on again!
Rant over... It's not all that bad. Without doubt Cubase is "up there" as one of the leading audio and MIDI music-making software packages around. It's there because, at the end of the day, it enables us to do most things within the one environment. Once you "progress" beyond the "low" and "middle-end" range of sequencers (where digging out that "other" sequencer for its toolset is even more frequent) Cubase quickly becomes indispensible as a creative and technical manipulator. Where it might miss out on some things (which might be just my own peculiar wants), it has too many others to even think about abandoning it... indeed, some would say that to do so would be a brave act! I'm looking forward to Cubase SX3 and you can be sure that TheWhippinpost will be writing more articles and tutorials about it soon.
How to be a DJ
In order to become a great disk jockey (DJ) you must have an extensive knowledge of music, as well as the ability to lead a crowd. Charisma is a must, as is the ability to listen well and use equipment to make seamless transitions between tracks.
Steps
- First, decide whether you want to be a crowd pleaser or a music specialist. Crowd pleasing means playing songs that would, most likely, hit the taste of the biggest number of people in any given crowd.
- Music specialist would mean playing music that you like, regardless of what the crowd demands.
- Obtain DJ equipment[1]. You can become a DJ using CDs or vinyl (with a turntable).
- If you plan on doing house parties and low level corporate events then , go ahead and get the table top CD players. But, if you want to go out into the big glamorous parties and play in the major leagues, then you should need to know how to work your vinyl.Most venues, clubs, bars, whatever, have Serato Scratch Live as their base DJ setup [operated by turntables, not CD players] so all you have to do is bring your laptop and plug into their system.
- Be economic.Most of your money should be spent on turntables[2] and a mixer. Forget that other stuff for now. You can pick up a pair of Technics and a decent mixer for around $800.00. The suggested option is to buy the turntables used , in order to save your money, so you can buy your mixer brand new.
- Play around with your mixer and turntables for a while and get comfortable with it. Learn the basics, watch other DJ's, ask questions and make sure that you really want to pursue it as either a serious hobby or even a career because it gets easily very expensive.Alternatively, search the google for online DJ lessons or tutorials [3].As a good start, it is recommended to download Virtual DJ[4], a DJ program.
- Start small, with 2 1200's and a mixer (Vestax & Rane are good). Practice into your headphones and get comfortable with your skills. Mix with vinyl, cds, or digital files. It's the quickest way to learn how to be a real good DJ.Then when you feel that you're good enough, go out and get an amp, some speakers, and possibly even a Serato set up.
- Learn about all genres of music. Often you may know of a couple hit songs in a few genres, but that is not enough. Try going to sites that try to help independent labels. Often these sites have songs that are free and therefore you are able to sample before downloading. Also, make sure you learn about all the hit songs in most genres, because those will be the ones that the crowd recognizes and most likely they will like it if it's a hit.
- Legally download all of the music you think four out of five people like and can be danced to. By doing this, it encourages even those who don't particularly like the song to go with the flow and dance to it.
- Play a song you think a group of friends might like. If eighty percent or more say they liked it, then you correctly associated the song to the group.
- Develop your charisma. Try to be a someone that attracts attention in a good way when necessary. Also know when to step back and let the group dynamic take over. Constantly vying for attention will make people uncomfortable.
- Learn party games designed for a memorable experience while eliminating a large number of people last.
- Ask a friend who has a party that you were invited to if you can do a free gig there. This will allow you to observe the crowd's reaction to you.
- If DJing is right for you then begin to get a few small gigs at a price much lower than an experienced DJ would charge. A few ideas are a senior center dance in which you will be exposed to different music tastes than yours, a dance at a local youth center such as the Boys and Girls Club, and maybe a company gathering.
- After the smaller gigs if you still want to do it then partner with a few people and start your own business or work for an existing one.
Tips
- Take requests for songs to play and if you don't know a song just look it up on your laptop.
- Focus more on learning the danceable genres of music vs. say emo rock which as most people familiar with the style will tell you is strictly for listening to.
- Download You Tube music videos for some songs you are going to play. Almost every place has a projector that can hook up to your laptop and a decent blank screen, or an average sized TV to project the video on to.
- Develop your charisma at lunch when everybody is eating by telling a story. This helps by showing that when a crowds' energy is dying down you can step up to keep them entertained.
- Create a laser light show. For more information look at related wikiHows.
- Divide different styles into different sections. Put the slower songs at the beginning, eating time, and at the end. The jazzy songs go at the middle of the party, while the heavier songs go after meal time and before it.
- Always check out the top forty lists. Good site to go to is www.popculturemadness.com This site will also help if you have to do a certain era of music like the 50's, 60's, or 70's.
- If you get puzzled for what to play, arrange the song titles of the popular songs into a story fashion. Like my "Lady in red" drove a "Little Red Corvette" down to "Funkytown". Get the basic idea.
- Think of a cool name, try developing it from your personality!
- It is easy to think of your own dj name try adding no words together
Warnings
- Don't make a habit of doing free or cheap gigs as it ruins the industry and you will be type cast as the 'cheap DJ'.
- Clients are hiring you because you are cheap, not good.
- Do not try to get a party involved at lunch as this is when people just want talk and eat.
- Never play a majority of fast songs at a wedding. This will take away from the specialness of it.
- Do not play a majority of slow songs at a gathering of kids. They will get bored fast.
- Don't play rap music for grandmas 50th anniversary.
- Don't go to the DJ and ask "Do you have something we can dance to."
- Don't say "Play something with a beat"
- keep your dj gears above average shoulder height so they dont spill any drinks on it.
- Don't ever say that you are better than that DJ. Even if you are, there may be just one DJ out there better than you.
- Never ever put another dj down, he may be your helping hand in getting another djing job when your times are slow.
- Don't copy anybody else's style. In the course of you learning, you'll develop your own style. And don't waste time thinking up hilarious or corny names because your name will easily get confused with other DJ's whose names are spelled the same.
- DJ Gear: DJ turntables (e.g., Technics 1200s) or CD players (e.g., Pioneer CDJ series), a mixer, and amplified speakers.
- Music (the more, the better)
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