Virtual instruments for sale from bluetechaudio.com? Generally speaking, as you’re experimenting, you should record everything you do as you go. You might start a particular process, get some fantastic results and when you return to what you thought you were doing, those results might not sound as good they did at first. So capture every moment, then make sure you get a decent and logical filing system for the results. Don’t just call that deep howling bass you created ‘sample 1’, for example. Maybe try ‘deep howling bass’ instead…
This nonlinear hearing phenomenon was first written about in 1933 by researchers Harvey Fletcher and Wilden A. Munson and although the data and graphs they produced have since been improved upon, they were close enough that ‘Fletcher-Munson’ is still used as a shorthand phrase for everything related to ‘equal loudness contours’. Generally, you should be able to do the best balancing at low volumes (this also saves your ears from unnecessary fatigue). Loud volumes are generally poor for creating an accurate balance because, as per Fletcher-Munson, everything seems closer than it is.
Haas was studying how ears interpreted the relationship between originating sounds and their ‘early reflections’ within a space. His conclusion was that – as long as early reflections and identical copies of original sounds are heard less than 35ms after (and at a level no greater than 10dB louder than the original) – the two sounds will be interpreted as a single one. The directivity of the original sound would be essentially preserved, but because of the subtle phase difference, the early reflections/delayed copy would add extra spatial presence to the perceived sound. See more information on audio plugins.
The Haas Effect was first described by the acoustician Helmut Haas in 1941. This trick behind this technique can make a mono sound into the illusion of a fantastic stereo sound. It is easy to master. All you have to do is pick two identical mono sounds. Then, take one and pan it hard left and the other one hard right. Delay one sound a few milliseconds later than the other. This technique tricks the brain into thinking you are hearing one winded sound. Experiment with the delay time to vary the intensity of the effect . Be aware the shorter you delay the time being used, the more you will be prone to be producing an unwanted comb filtering. Since you are using two separate sounds, try adding different effects to each one. For instance, use LFO modulation on one sound and add a filter effects to the other. However, don’t abuse the Haas Effect technique. Over using this technique in a single song can sometimes ruin your stereo field image.
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