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Is turning the pitch knob the same as changing key?

serox wrote:Is turning the pitch knob the same as changing key?

key changing are set increments of pitching up or down.

Pedro Sánchez wrote:

serox wrote:Is turning the pitch knob the same as changing key?

key changing are set increments of pitching up or down.

Is there something like a picture that shows how it works?

Ahh still don't know how to multisample in FL. Always forget to look it up for once and find out

Been making stuff for about 1 & 1/2 years and still haven't gotten around to learning how to gate the reverb on snares or how to get a nice ping pong side-to-side delay with the logic stereo delay

vertx wrote:Been making stuff for about 1 & 1/2 years and still haven't gotten around to learning how to gate the reverb on snares

put gate after reverb, adjust level on gate to get desired effect.

i need to know wether what i'm donig is bad practice. my mastering is done within reason, and at the mo my main mixer goes into a compressor which cuts the peaks a bit, then a maximiser/limiter to give the volume, then into a stereo enhancer, making everything under a certain freq mono and widening up the end, and finally an eq cutting anything below 30hz and mildy boosting the hi's..

i also don't have a clue how to gate in reason and when i would actually have to use a gate effect...

if you don't know you need a gate then you probably don't. gates are mostly used to cut away noise when recording instruments. they are sometimes used creatively most notably with the gated reverb effect, so when the level gets to a certain point the gate cuts it all away.

the only thing close to a gate that i've used is a amp automation, whichi supposed is the same thing? from what i can see a gate is a fluctuation of volume, is that correct?

a gate doesn't fluctuate. imagine water flowing, now if the water gets to a certain level the gate is engaged and stops everything. this is useful when recording instruments as when there's a gap between phrases the inherent noise becomes noticeable so a gate is used to kill that noise.

RV7000 has a built in gate, in fact you could probably lower the reverb's decay to zero and wet to 100% to use it as just a gate. but since Reason is just a MIDI suite, nothing you play should need gating (besides reverb tails). anything else you just adjust the amp envelopes to where you want them.


As per amp automation, no.. a gate is more like a MUTE button that engages when the signal falls below the given threshold. riding the volume fader or automating "mute" can do the same thing, though.

for pattern gating, I've just used square wave LFO's on a filter/amp. but you could rig a matrix pattern sequencer to gate a signal for more rhythmic variation

sidechaining in ableton. its hard
and i still don't fully understand the concept of compression, despite using it liberally. i credit my knowledge of compression to distance's tutorials on utube

65L wrote:sidechaining in ableton. its hard
and i still don't fully understand the concept of compression, despite using it liberally. i credit my knowledge of compression to distance's tutorials on utube

What part are you having trouble with? I found sidechaining in ableton pretty simple for compression and filtering. Basically the compressor lowers the output volume based on the input signal, if the input volume goes over a threshold. For side chaining the output volume is lowered based on the volume of a signal that isn't the input, e.g. a kick drum.

Refuzed wrote:i need to know wether what i'm donig is bad practice. my mastering is done within reason, and at the mo my main mixer goes into a compressor which cuts the peaks a bit, then a maximiser/limiter to give the volume, then into a stereo enhancer, making everything under a certain freq mono and widening up the end, and finally an eq cutting anything below 30hz and mildy boosting the hi's..

that doesn't sound horribly wrong to me. Though i would set it up like this : Compressor > EQ > Stereo Imager >Limiter

you glue your track in the comp., then apply gentle corrective EQ to the compressed signal, THEN image it, as the stereo imager's behaviour is highly dependent on crossover frequencies and the content within each of the two bands ( i would set anything sub 100 Hz to mono and maybe gently widen the rest.) And finally, limit.

Just remember none of the devices in the mastering chain should be doing a great deal of work. For example if you're doing a lot stereo imaging on the master chain, you are prob better off revisiting the mix and work on panning the tracks better and/or applying a stereo imager to one or two instruments individually with more dramatic settings

same with compression and EQ and volume, if you're boosting the volume a lot maybe you should just raise the volume of all the tracks in the mix
anyway just experiment and listen to different versions of the master on your stereo, figure out what you like

65L wrote:sidechaining in ableton. its hard
and i still don't fully understand the concept of compression, despite using it liberally. i credit my knowledge of compression to distance's tutorials on utube

WOAH!

sidechaining in ableton using the native compressor is easily the simplest way to sidechain.

if you don't understand the concept of sidechaining then fair enough, but say you want to sidechain the bass to the kick. you stick a compressor on the bass track, click the arrow on the top bar of the compressor, click the sidechain button and pick the kick track from the drop down menu in the newly revealed section of the compressor, that's it.

i've never used any 3rd party compressors to sidechain, i'm sure that is probably more complicated, unnecessary in my mind though cos the ableton compressor is a good workhorse compressor and takes care of 70-80% of my compression needs.

quite honestly i was so excited to learn everything about ableton when i first started using it that i just never spent the time to learn how to sidechain haha. i'm aware there is a sidechain option embedded in the native compressor, i just haven't gotten the feel for it. it is humorous

i've always been partial to fl studio's sidechaining algorithm, that one was easy to fine tune, imo

I think now a days, as far as the technical side of producing goes, the thing I need to really buckle down and learn is Compression. I still don't fully understand how to make full use of it. I've always meant to spend more time studying it, but every time I start I just lose my concentration and go elsewhere.

I've owned the PSP Vintage Warmer plugin for years now and I still can't quite figure it out properly.

I basically just use it to add warmth and saturation, but can't get to grips with it as a compressor/limiter.

I don't know what most of the controls actually do, such as 'Speed', 'Release' and 'ceiling'. And what do 'auto' and 'long' do when they're on?

The EQ section on the right sounds lovely though.