quote:

Originally posted by dj-rob heres some sounds im working on for pro-53 (its a zip with mp3 inside) dj rob & wandii - trance 2004 - mp3 demo.zip its just pro-53 with good eq and whatnot.

WOW, rob that is one f00cking awesome sounding synth you got there.
I would never think this was made using software, are you sure your jp 8080 was not evolved in the process of the making?
heh
Amazing work man!

___________________

"The world is not beautiful. And that, in a way, lends it a sort of beauty."

--=My Music=--

Filters are one of the major differences between software and hardware. Software filters work by digital algorithm rather than circuitry. I'm sure it's not impossible, but I really can't see a program imparting the same effect and warmth to a sound as a good hardware filter.

To quote Sound on Sound's Gordon Reid :

quote:

In conclusion, it should come as no surprise that the filters are the defining elements in an analogue synthesizer. Indeed, if you take the output from a Moog oscillator and pass it through a Korg filter, the result sounds like... a Korg synthesizer. Conversely, if you filter a Korg waveform using a Moog filter, the result sounds like a Moog synthesizer. So, while you may get sick and tired of analogue anoraks whinging on about their filters, they do have a point. Filters are crucial, and if you are into creative synthesis, your sound generation will depend upon what you've got and what you do with it.

i need help with decoding the sound of tomcraft - brainwashed (dj choose mix)... have u any idea?
i would be grateful for flp or sthg :P

here's sample

sidechaining... that's the key mate... a compressor with sidechaining ability...

Last edited by J.L. on Apr-16-2004 at 00:18

quote:

Originally posted by CandyRaver666 Filters are one of the major differences between software and hardware. Software filters work by digital algorithm rather than circuitry. I'm sure it's not impossible, but I really can't see a program imparting the same effect and warmth to a sound as a good hardware filter.

You are being a little misguided. Most of what you said is true, but you forgot one thing - most of today's synths are digital, even the all-so-famed Virus is Virtual Analog, and its filter is digital too, not analog. What you say is true but for a true analog box like Moog. True analog synths are not being made anymore.

quote:

True analog synths are not being made anymore.

What about the new Moog Voyager, Studio Electronics Omega 8 and the like. For the most part, this is true however.

___________________
Business is very food.

"the magic *reverb* formula"

time the pre delay. it doesn’t matter what reverb you use on what instrument, you will find that some sound better with some interments but at the same time you might be going for a totally different feel in the song. Really what matters the most is the timing on the pre delay. lets say you were listening to a band play in a room or on stage, what do you hear?


+--------------+
|..............| S = Source
|......S.......| U = You
|..............|
|..............|
|..............|
|..............|
|..............|
|......U.......|
+--------------+


you hear the clear unaltered source music first(because thats the shortest path of the source to your ears) followed by the reflection of the room. The time between the two is determined by how big the room is, and the placement of the instruments. lets assume that the shortest reflection is from the back wall to U, being the first reverb reflection your ears hear. So the closer the source is to the back of the room the short the pre-delay time is, and the closer to you and further away from the back of the room the longer the pre-delay is. WOW ISNT THAT GREAT!!! but what difference does that make? well by timing the pre-delay on the reverb you can take your dry mix and layer it front to back in the room. If you set it up like a band you would usually place the drums in the back, with the shortest pre-delay, the backup singers or melody guitar in the middle, and the lead singer in front(closest to you, longest pre-delay). so now you have a stereo image that also has depth. cool huh? BUT, there is a problem. if you arbitrarily place the instruments front to back without any rhyme or reason you will end up with reverb hits that are VERY noticeable, and turning up the reverb just a little bit will make it sound swamped. SO WHAT ON EARTH DO YOU DO??!?!? easy, you time the reverb so that it falls in time with the song. WELL HOW DO YOU DO THAT?!??!?!?! easy, you figure out the length of 1/4 note(1 beat) in ms then just divide by two again and again and again. Your ear cant distinguish two differnt hits after about 20 or so ms, so you should start around there. Here’s an example of the reverb times i use on a 136 BPM track:

(in ms)
441.1 1/4 th
220.5 1/8
110.2 1/16 lead vocals or lead instruments (lead synth)
055.1 1/32 backup instruments (padds or stings)
027.5 1/64 drums (clap hi-hat, cymbals)
013.7 1/128 background stuff (ambient synths or noise)
006.8 1/256


mixing like this will let you drown the instruments in reverb without getting the sound swampy. But more importantly it adds non-conflicting depth to the song , as opposed to just left and right.

i dont know does that make sence?

the first time i did it to one of my songs, changing all the reverb times, and then pressing play, the song literally jumped out at me, the synths were in my face, and the drums were filling the room.

but with all that said, ferry corsten doesnt do this, so ... keep that in mind when making a track, this technique is used on major recordings and not necessarily on club friendly tracks.

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and here is some timings for the reverb predelay at different bpm's.

I'm gonna cover the most usual bpm's (130-145).
if you want to doublecheck my math or count on a bpm not covered here the formula is: 60s/bpm (f.e. 60s/140bpm = 0,4285s = 428,5ms)

then to get 1/8 instead of 1/4 just divide with 2 and vice versa.

=========
BPM = 130
=========
beat - ms
1/4 - 461,5
1/8 - 230,8
1/16 - 115,4
1/32 - 57,7
1/64 - 28,8
1/128 - 14,4
1/256 - 7,2

=========
BPM = 131
=========
beat - ms
1/4 - 458
1/8 - 229
1/16 - 114,5
1/32 - 57,3
1/64 - 28,6
1/128 - 14,3
1/256 - 7,2

=========
BPM = 132
=========
beat - ms
1/4 - 454,5
1/8 - 227,3
1/16 - 113,6
1/32 - 56,8
1/64 - 28,4
1/128 - 14,2
1/256 - 7,1

=========
BPM = 133
=========
beat - ms
1/4 - 451,1
1/8 - 225,6
1/16 - 112,8
1/32 - 56,4
1/64 - 28,2
1/128 - 14,1
1/256 - 7

=========
BPM = 134
=========
beat - ms
1/4 - 447,8
1/8 - 223,9
1/16 - 111,9
1/32 - 56
1/64 - 28
1/128 - 14
1/256 - 7

=========
BPM = 135
=========
beat - ms
1/4 - 444,4
1/8 - 222,2
1/16 - 111,1
1/32 - 55,5
1/64 - 27,8
1/128 - 13,9
1/256 - 7

=========
BPM = 136
=========
beat - ms
1/4 - 441,2
1/8 - 220,6
1/16 - 110,3
1/32 - 55,1
1/64 - 27,6
1/128 - 13,8
1/256 - 6,9

=========
BPM = 137
=========
beat - ms
1/4 - 438
1/8 - 219
1/16 - 109,5
1/32 - 54,7
1/64 - 27,4
1/128 - 13,7
1/256 - 6,8

=========
BPM = 138
=========
beat - ms
1/4 - 434,8
1/8 - 217,7
1/16 - 108,7
1/32 - 54,3
1/64 - 27,2
1/128 - 13,6
1/256 - 6,8

=========
BPM = 139
=========
beat - ms
1/4 - 431,7
1/8 - 215,8
1/16 - 107,9
1/32 - 54
1/64 - 27
1/128 - 13,5
1/256 - 6,7

=========
BPM = 140
=========
beat - ms
1/4 - 428,6
1/8 - 214,3
1/16 - 107,1
1/32 - 53,6
1/64 - 26,8
1/128 - 13,4
1/256 - 6,7

=========
BPM = 141
=========
beat - ms
1/4 - 425,5
1/8 - 212,8
1/16 - 106,4
1/32 - 53,2
1/64 - 26,6
1/128 - 13,3
1/256 - 6,6

=========
BPM = 142
=========
beat - ms
1/4 - 422,5
1/8 - 211,3
1/16 - 105,6
1/32 - 52,8
1/64 - 26,4
1/128 - 13,2
1/256 - 6,6

=========
BPM = 143
=========
beat - ms
1/4 - 419,6
1/8 - 209,8
1/16 - 104,9
1/32 - 52,4
1/64 - 26,2
1/128 - 13,1
1/256 - 6,6

=========
BPM = 144
=========
beat - ms
1/4 - 416,7
1/8 - 208,3
1/16 - 104,2
1/32 - 52,1
1/64 - 26
1/128 - 13
1/256 - 6,5

=========
BPM = 145
=========
beat - ms
1/4 - 413,8
1/8 - 206,9
1/16 - 103,4
1/32 - 51,7
1/64 - 25,9
1/128 - 12,9
1/256 - 6,5

now that's one huge list
if you wonder why some of the numbers have decimals and some doesn't it's because the numbers are rounded down to 1 decimal when possible

enjoy

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quote:

Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave

I have reason. Reverb in reason no have ms-thing. But delay in reason haves ms-thing? Or is this ms-thing in reverb for reason users? Or how I can use it in reason reverb?

the regular RV-7 reverb doesn't have a pre-delay setting but the RV700 advanced reverb (reason 2.5) has the option

___________________

quote:

Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave

I look RV700 but I no find ms in there. No even in RV700->remote programmer. Can you helps me where I can find the ms in RV700?

when you expand the RV700 you get like a red window interface that shows the reverb more in detail. On the right side of the redish window there are like 3 or 4 knobw you can turn, ER->late, something else and the predelay...predelay is the one

___________________

quote:

Originally posted by davedresden i suggest getting the gabriel & dresden prog-a-minute. in 3 easy steps you too could change the face of dance music. batteries not included. - dave