Midi plugins online shopping by Bluetechaudio? Great sound design can’t be rushed, so before you do anything, set aside some time to do it – regular sessions, if you can. Follow the example of top sound designer Junkie XL, who sets aside every Sunday purely to create sound. Okay, maybe that’s a bit lavish – if you’re anything like us, Sundays are about eating and drinking as much as you can – but if you plan dedicated sessions for creating sound, as you probably already do for creating music, then you’ll find that those music-making sessions flow so much better when you use the original ingredients your sound-design sessions have yielded.
This principle is often used in cinematic sound design techniques and is particularly useful for simulating the physiological impact of massive explosions and high-intensity gunfire (without inducing hearing-damage lawsuits). The ears’ reflex to loud sounds can be simulated by manually playing with fine dynamics of sound. You can make that explosion appear quite loud by artificially shutting down the sound following the initial transient. The brain will immediately perceive it as louder and more intense than the sound actually is. This also works well for booms, impacts, and even drops in a club or electronic track.
Of course, there’s nothing stopping you from slightly delaying one side of a real stereo sound. For example, you might want to spread your ethereal synth pad to epic proportions. Just be aware, however, that you’ll also be making it that much more ‘unfocused’ as well. For pads and background guitars though, this is often entirely appropriate. As you play with the delay time setting, you’ll notice that too-short delays result in a pretty nasty out-of-phase sound. Meanwhile, too-long delays will break the illusion, and you’ll start to hear two distinct and separate sounds. You’re looking for something in between, which will sound just right and help you catch the space you want. Remember: The shorter the delay time, the more susceptible the sound is to unwanted comb filtering when the channels are summed to mono. This is something to consider if you’re making music primarily for clubs, radio, or other mono playback environments. Discover even more details on virtual instruments.
To thicken and warm sounds, try adding a reverb and give it an early reflection via the reverb plugin. Mastering the reverb effect will definitely transform and thicken your sounds. The principle is that reverb will push and diffuse your sounds into the background. The trick here is to extend the louder section of the sound in a natural ambient way. This can easily be fine-tuned using various reverb plugin controls for a slighter thicker sound. You can also try using a combo of delay and reverb. For more bounce, put the delay slightly to the right, while the reverb is slightly to the left. As usual, experiment.
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