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'sander van doorn style' percussion.. (pg. 2)
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| substorm |
| quote: | Originally posted by Emperor
reverb and gating? why dont you explain more then just a pointless post like that.If you know something share a bit. You dont have to give every detail but explain some of what your saying |
reverb: A type of digital signal processing that produces a continuous wash of echoing sound, simulating an acoustic space such as a concert hall. Reverberation contains the some frequency components as the sound being processed, but no discrete echoes. See echo, DSP.
envelope: A shape that changes as a function of time. The shape of a synthesizer's envelope is controlled by a set of rate (or time) and level parameters. The envelope is a control signal that can be applied to various aspects of a synth sound, such as pitch, filter cutoff frequency, and overall amplitude. Usually, each note has its own envelope(s).
A noise gate(Gate): Is an electronic device or software logic that is used to control the volume of an audio signal. They are commonly used in the recording studio and sound reinforcement. Small portable units are also used by rock musicians to control unwanted noise from their amplification systems. Band-limited noise gates are also used to eliminate background noise from audio recordings by eliminating frequency bands that contain only static.
In its most simple form, a noise gate allows a signal to pass through only when it is above a set threshold: the gate is open. If the signal falls below the threshold no signal is allowed to pass: the gate is closed. A noise gate is used when the level of the 'signal' is above the level of the 'noise'. The threshold is set above the level of the 'noise' and so when there is no 'signal' the gate is closed. A noise gate does not remove noise from the signal. When the gate is open both the signal and the noise will pass through.
More advanced forms of noise gates have more features. Most common is the ability to control how quickly the gate will close once the level has dropped below the threshold. This is known as the release, and allows for a smooth decay rather than an abrupt cutting of the sound when the gate closes. Likewise the ability to set the time it takes for the gate to open is available on some gates. This is known as the attack control. If the attack time is too short a click can be heard when the gate opens. Sometimes there is a hold control. After the gate opens, the hold time determines the minimum time the gate will stay open. When used with a speech signal, the hold time can prevent the gate from closing during short pauses between words or sentences.
The amount of attenuation when the gate is closed can be set by the range control. Often there will be complete attenuation, that is no signal will pass when the gate is closed. In some circumstances complete attenuation is not desired and the range can be changed.
Advanced gates have a sidechain. This an additional input that allows the gate to be triggered by another audio signal.
A variation of a sidechained noise gate used in electronic music production is a trigger gate, trancegate or just simply gate, where the noise gate is not controlled by audio signal but a preprogrammed pattern resulting in a precisely controlled chopping of a sustained sound.
Noise gates often implement hysteresis, that is, they have two thresholds. One to open the gate and another, set a few dB below, to close the gate. This means that once a signal has dropped below the close threshold, it has to rise to the open threshold for the gate to open, so that a signal that crosses over the close threshold regularly does not open the gate and cause chattering. A longer hold time as described above also helps avoid chattering.
Hope that will explain it for you!
Cheers
C |
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| DJ Shibby |
| quote: | Originally posted by substorm
reverb: A type of digital signal processing that produces a continuous wash of echoing sound, simulating an acoustic space such as a concert hall. Reverberation contains the some frequency components as the sound being processed, but no discrete echoes. See echo, DSP.
envelope: A shape that changes as a function of time. The shape of a synthesizer's envelope is controlled by a set of rate (or time) and level parameters. The envelope is a control signal that can be applied to various aspects of a synth sound, such as pitch, filter cutoff frequency, and overall amplitude. Usually, each note has its own envelope(s).
A noise gate(Gate): Is an electronic device or software logic that is used to control the volume of an audio signal. They are commonly used in the recording studio and sound reinforcement. Small portable units are also used by rock musicians to control unwanted noise from their amplification systems. Band-limited noise gates are also used to eliminate background noise from audio recordings by eliminating frequency bands that contain only static.
In its most simple form, a noise gate allows a signal to pass through only when it is above a set threshold: the gate is open. If the signal falls below the threshold no signal is allowed to pass: the gate is closed. A noise gate is used when the level of the 'signal' is above the level of the 'noise'. The threshold is set above the level of the 'noise' and so when there is no 'signal' the gate is closed. A noise gate does not remove noise from the signal. When the gate is open both the signal and the noise will pass through.
More advanced forms of noise gates have more features. Most common is the ability to control how quickly the gate will close once the level has dropped below the threshold. This is known as the release, and allows for a smooth decay rather than an abrupt cutting of the sound when the gate closes. Likewise the ability to set the time it takes for the gate to open is available on some gates. This is known as the attack control. If the attack time is too short a click can be heard when the gate opens. Sometimes there is a hold control. After the gate opens, the hold time determines the minimum time the gate will stay open. When used with a speech signal, the hold time can prevent the gate from closing during short pauses between words or sentences.
The amount of attenuation when the gate is closed can be set by the range control. Often there will be complete attenuation, that is no signal will pass when the gate is closed. In some circumstances complete attenuation is not desired and the range can be changed.
Advanced gates have a sidechain. This an additional input that allows the gate to be triggered by another audio signal.
A variation of a sidechained noise gate used in electronic music production is a trigger gate, trancegate or just simply gate, where the noise gate is not controlled by audio signal but a preprogrammed pattern resulting in a precisely controlled chopping of a sustained sound.
Noise gates often implement hysteresis, that is, they have two thresholds. One to open the gate and another, set a few dB below, to close the gate. This means that once a signal has dropped below the close threshold, it has to rise to the open threshold for the gate to open, so that a signal that crosses over the close threshold regularly does not open the gate and cause chattering. A longer hold time as described above also helps avoid chattering.
Hope that will explain it for you!
Cheers
C |
This is a lot of information, and good information, but none-the-less it has not answered his question.
How does this apply practically to the specific style of the artist he wants to emulate? |
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| mysticalninja |
| quote: | Originally posted by Emperor
reverb and gating? why dont you explain more then just a pointless post like that.If you know something share a bit. You dont have to give every detail but explain some of what your saying |
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| G-Con |
| quote: | Originally posted by DJ Shibby
This is a lot of information, and good information, but none-the-less it has not answered his question.
How does this apply practically to the specific style of the artist he wants to emulate? |
Exactly. I know myself the theory behind noise gates but my knowledge of its use in practical situations is very limited. So when I read the previous posts saying "gating is cool on drum loops", and "noise gates is what you need," I want to know how exactly.
When I try to use a gate, I either cut the sound completely or I let it through. Even if I knew how to merely reduce the sound, I still would'nt see the practical reason for doing this, especially for drum loops.
I was going to start a new thread on gating, but instead will ask the question here.
How do I use gating in practical terms for sander van doorn style loops or any other cool effect? |
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| mysticalninja |
| youre probably using a gate pretty complex, make sure attack is pretty low and release too but not too low. |
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| Emperor |
| exactly. i know those terms..but i want to know how they relate to the 'sander style'.. |
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| Rusty O'Hara |
| quote: | Originally posted by Biatchzxz
Honestly ive been listening to van doorn for a while. and i always wondered on how he made his percussion. I actually think i still have a loop of his that he made. It was from a remix competition for Punk'D. But there is a lot in it and its really really good. I obviously dont want to use it for my tracks because that would be kind of wack, it wouldnt make my track original. So i am wondering myself on how to achieve his sound. Very TECHY and MOVING... |
Upload and then might be able to comment on it?
Or I could go see if I have any of his tracks. |
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| Michael Dow |
| If you have a brief look through the vengeance trance sample pack 2, you'll find about 7 or 8 loops he has used ;) |
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| tommybedlam |
| He uses 1 shots for hats, claps, snares, rides etc and uses loops(normally from Vengeance Packs) to give underlying rhythm ive been told |
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| Michael Dow |
| If you have a brief look through the vengeance trance sample pack 2, you'll find about 7 or 8 loops he has used ;) |
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| Michael Dow |
| If you have a brief look through the vengeance trance sample pack 2, you'll find about 7 or 8 loops he has used ;) |
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