Auto Filter, Audio Effects Rack – Boreta (Glitch Mob +)

http://blog.dubspot.com/ableton-tutorials-week-8-auto-filter-audio-effects-rack-boreta/

e Minor & A7 Chord Inversion Forum Tips

http://www.jazzguitar.be/forum/comping-chords-chord-progressions/12915-eminor-a7-chord-inversions.html#post132056

Playing Melodies with Vocal Samples

In this tutorial, producer/DJ and Dubspot Senior Logic Instructor Matt Shadetek shows you how to manipulate, re-pitch, and process vocal samples using Logic Pro 9’s ESX24 Sampler and Pitch Correction plug-in. Utilizing one of the vocal samples that comes with Logic, Shadetek slices each individual note of the sample, converts them into a sampler instrument. Shadetek delves into the ESX24 Instrument Editor, in order to re-pitch the vocal samples and make them playable across the keyboard. He then utilizes Logic’s Pitch Correction plug-in (similar to Antares Auto-tune), which he uses to refine the pitch of the re-pitched notes. At the end of the tutorial, you should have a strong grasp of how to take a sample and play your own melody with it in Logic’s EXS24 sampler.

http://blog.dubspot.com/logic-pro-video-tutorial-vocal-samples/

Mid-Side EQ

http://www.anthonyarroyodotcom.com/theabletoncookbook/2010/11/16/free-ableton-tutorial-on-mid-side-eq/

How to Add Interest to Your Chord Progression

Twice a month we revisit some of our reader favorite posts from throughout the history of Audiotuts+. This tutorial was first published in August 2008.
Sometimes we spend hours, days, even months, struggling to find the perfect chord progression to suit the lyrics we’ve written. And then we find it, only to get bored sick of the same chords being repeated over, and over, and over again.


If you listen to some of the great songwriters, you’ll notice that the chorus progressions, if not all progressions in the song, are constantly being varied in both subtle and obvious ways. This tutorial will take you through a bunch of ways to vary up your chord progressions to retain not only your own interest, but your listeners’ interest as well.

Note: this tutorial contains embedded audio that will not display in a feed reader. Click back to the site to read the tutorial with audio or download the Play Pack at the end of the tut.

Step 1

The first thing to do is get an initial chorus chord progression going. I’ve whipped something up here; nothing too fancy, just a few simple chords, but enough for the purposes of this tutorial. I added some bass and drums just so you don’t fall asleep listening!
This is a standard C – F – C – G progression.

AudioPlayer.embed("audioplayer_1", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/1MainProgression.mp3", titles: "Main Progression" });
Main Progression

Step 2

Try an inversion on a repeating chord. In this progression, C major is played twice, so we use a 1^st inversion by switching the order of the notes played from C – E – G to E – G – C. You can hear the added interest in the clip below.

AudioPlayer.embed("audioplayer_2", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/2Added1stInversionC.mp3", titles: "1st Inversion" });
1st Inversion

Step 3

Adding a 7^th to one of the chords can add interest. Frequently, musicians add a seventh to the final chord in the progression so that the transition back to the root chord is smoother. In this example, however, I added a 7^th to the second chord, the F.

AudioPlayer.embed("audioplayer_3", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/3Adda7th.mp3", titles: "Add a 7th" });
Add a 7th

Step 4

You can extend the chords beyond the intervals within the octave in order to add some higher pitches to the mix. Those intervals that sound terrible when played as a harmony, like the root note and the second, can often sound good when the minor second is lifted by an octave.
I’ve added some ninths; pay attention to the difference between the first C maj chord and the second. Because the second is a 1^st inversion, the extension isn’t so far away from the rest of the chord and sits in better. There’s also an extended note in the F maj.

AudioPlayer.embed("audioplayer_4", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/4ExtendingChordsBeyondtheOctave.mp3", titles: "Extending Chords" });
Extending Chords

Step 5

Altering the bass note can add some interest. When you’re using keys, it can be the bass note of the chord on the piano itself along with the bass guitar, though in guitar-driven music it tends to be just the bass guitar.
In this example I’m going to use both. You can hear it on the G maj at the end of the progression where I’ve used the major 3^rd, a B, as the bass note.

AudioPlayer.embed("audioplayer_5", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/5ShiftBassNote.mp3", titles: "Shift Bass Note" });
Shift Bass Note

Step 6

Use a pad to fill out the progression, in this case, strings, since this allows you to build on the notes in the chord progression without adding even more to the piano, which is getting crowded. The root notes of the piano chords are really only used in the bassy bottom notes of the triads, so we can counter-act this emphasis this by using thirds on bottom and the root on top in the strings to fill out the higher frequencies.
However, because the second C maj is an inversion, the root note is actually on top, so I’ve used the root note on bottom with a third on top in the violin arrangement.
When I say “bottom” I’m talking about duplicates around C3 and C4 and the “top” is around C5, so we’re really focusing on the higher pitches that have largely been neglected until now.

AudioPlayer.embed("audioplayer_6", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/6PadtheTopEnd.mp3", titles: "Pad the Top End" });
Pad the Top End

Step 7

A fairly common method of shaking up a repetitive chord progression is to throw in a suspended chord. A suspended chord is one where the third has been lowered to a major second, or pushed up to a perfect fourth.
In our example, I’ve suspended the thirds in our G chord to become perfect fourths.

AudioPlayer.embed("audioplayer_7", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/7SuspendaThird.mp3", titles: "Suspend a Chord" });
Suspend a Chord

Step 8

What I hope you’ve noticed is that the example file is now sounding pretty busy and over-the-top. The trick to making a chord progression interesting is to use a couple of these tricks here and there and changing them up each time the progression repeats. If you make the same adjustments the whole way through the progression each time it plays, not only does it sound terribly busy, it’s just as boring because these tricks work by creating variations.
Always remember that these tricks are to be used only to add interest, not to become the foundation of the chord progression.
I’ll leave you with the before and after: our plain, vanilla progression that we started with, followed by the combination of our modifications.

AudioPlayer.embed("audioplayer_8", { soundFile: "http://d3vvl31cy8gagb.cloudfront.net/41_interestingprogressions/8BeforeAfter.mp3", titles: "Before and After" });
Before and After

Download the Play Pack for this tutorial (11.5MB)
Contents

• WAV Example Audio
• Printable PDF tutorial

SOURCE: http://feedproxy.google.com/~r/audiotuts/~3/F5VAyxxRfz8/?utm_source=feedburner&utm_medium=email

10 ways to make your lead guitar tone cut through the mix

Make your solos heard live with these top tips

http://www.musicradar.com/tuition/guitars/10-sure-fire-ways-to-make-your-lead-guitar-tone-cut-through-the-mix-389164?cpn=RSS&source=MRTUIT

Ableton Mid-Side EQ

This is a technique that will allow you to add punch and clarity to your mixes without paying for someone to master them for you. The way that this is done is by separating the middle of the stereo signal from the sides and EQing them separately so that you take advantage of the whole stereo range. While nothing can take the place of professional mastering, it is nice to be able to play your tracks out without worrying if they are going to get clobbered next to a professionally mastered track.

Quotes

Q. Do you use this always on your tracks?

A. Yup! Unless, of course, I am going for a more muddy sound (sometimes I do that for effect).

Q. surprised you advocate using Ableton’s equalizers to BOOST signals at the mastering levels… most mastering engineers would tell you that that you should always CUT content at the eq level, and then boost the track gain to make up for lost volume. this is a good way–especially on computers–of avoiding that “digital harshness” that has everyone running for analog equipment.

A. That is a great question! Here is my (somewhat half-brained) logic:

1) I’m trying to give people a way to do everything, literally everything, “In the box.” I would love to get every single clip I play out mastered by some NY bigshot masterer (word?) but the way that my workflow works doesn’t permit this. I am assuming others have a similar problem.

2) Whatever algorithm Ableton uses to raise gain is going to be the same throughout the program, I think, so it won’t matter if it is done in the EQ or by a Utility, or whatever.

3) When we talk about analog warmth, aren’t we really talking about distortion being added at certain frequency ranges? Different pieces of analog gear distort the sound at different frequency ranges, giving them a certain “color.” If this is the case, I would rather add the distortion by myself at some point.
Of course, everything I know about engineering I learned by messing a million things up, so I could be wrong.

SOURCE: http://www.anthonyarroyodotcom.com/theabletoncookbook/2010/11/16/free-ableton-tutorial-on-mid-side-eq/