Win The Eventide Anthology XI Bundle ($1799 Value!)
Anthology XI includes all 17 plug-ins from Eventide’s acclaimed Anthology X bundle, but brings six of its latest and greatest hits to the creative collection.
With the welcome addition of Blackhole, Fission, Tverb, UltraTap, MangledVerb, and 2016 Stereo Room, you get 23 timeless tools!
We highly recommend this bundle and now you have a chance to get it for free!
To celebrate the inclusion of Anthology XI in our 2017 Sonic Joy awards, we’ve partnered with Eventide to offer you 1 copy (that’s a $1799 value!!!).
How To Win
1): Like/Follow @audionewsroom on Facebook, Twitter and/or Instagram. If only one or all three of them is up to you – the more, the better 🙂
2): Leave a comment below this post, telling us one of your sound-design tricks (anything goes, you don’t need to be a pro – be creative, or funny, or whatever!). Make sure to use your actual email address so that we can contact you. Also, add your social media handle(s) in your comment, so you have higher chances of winning (see step 3).
3): Share this giveaway (that’s what the bar at the bottom of this page is for!) with your online friends. It’s optional, but it’ll get you bonus points = higher chances of winning if you do it.
The giveaway expires on Jan 31 2018, at 23:59 PST. The giveaway has expired. We’ll contact the winner within the next 10 days, stay tuned!
About The Author
Fab
Founder & main editor here at ANR, 'non-musician' and music-tinkerer. His first keyboard was a cheesy Yamaha PSS-270. He still loves it.
I like to put some saturation plugins after my reverb plugins, for adding more texture to it 🙂
Multi-tap delays decaying into reverb-y clouds are great–a bit more excitement, a bit of rhythmic bounce, and not so much space filled as a reverb.
So having the Ultratap algorithm is the bomb.
When double tracking vocals, double the double, and use those two and not the initial track.
I use Midiclock sync for all my gears with midi – 2 different delay, tremolo, slicer, looper and analog synth tempo and LFO for filters
Anthology XI Plug-in Bundle from Eventide is so fun !
Reverb , Black Hole and many other effects is the one ! Many plug-ins to choose from ! Right down to a beat of a drum ! @mainaxe
I’m all about doubling parts, with very slight variations.
When recording guitar, I place one mic close to the speaker, then simultaneously record from another mic placed off a hardwood reflecting wall 20 feet away, and double the tracks. I then quantize one track. The 4 resulting tracks are panned at 2, 5, 7, and 10 O’clock. The sound is huge.
I use an insane amount of delays sometimes, to completely move a sound into craziness. Sometimes singers ask for this as an effect.
Record hard disk audio of a really good 303 riff, could be any synth riff tbh, feed through a strong phaser plugin and then into a resonant lowpass filter, at the time it was the old classics Timeworks Phaser and Steinberg’s Northpole. Then hand edit small stutter edits of the hard disk audio track, not to much just at key moments, stir and bring to the boil, mixing with with filter tweaks for some amazing effects 😉
for audio experimentation more than music production: changing slightly the pitch of recorded sounds and adding a tad of overdrive and blending it with its copy previously tweaked through granular synthesis editing.
The old classic of keep the tape rolling! Mix down your track live and record it, mistakes and all. Then edit down a (kicking) track from sections of the longer, live mix downs you’ve recorded earlier.
I’ve been recording a squeaking chair through a Fractal Audio AXE FX II, haha! You can’t make music out of a squeaking chair? Who said so? x)
Also, I’ve shared the giveaway through my Tweeter and Instagram (@AudioGiveaway). I try to gather as many of the newest giveaways through these so, do not hesitate to hit me up next time you guys are doing this, I’ll make sure to share it! (and I might as well try my luck if this is as amazing as this one, haha).
Cheers ;).
I mostly use sidechain compression and dalays, but I play around a lot for each song to make it sound unique
I will try to not think. The less i think the further i get. Throw effects on-off, try out, listen, feel, let being driven, arrive, get out of the boat.
I sometimes double the snare, tunefine it some cents and mix it with its dry part. That can make a very fat snare sound.
I use Massive’s EQ as an extra filter to get that final sweeping/vocally sound on my basses. @penemio
I like using the room’s ambient noise to fill in the spaces. And, keep recording. Sometimes an oops is a happy and useful discovery.
For rock bass, I like to split the bass guitar into 2 signals: I low pass filter one to be all sub and low bass (usually have the filter cutoff around 200-250hz), and the other to higher bass, mid and treble frequencies. I then feed the low end through Ableton’s Corpus effect to create a kind of sub bass, and treat the mid-treble separately, usually adding some saturation for colour. The sub bass channel gets quite aggressively side chain compressed to the kick drum to stop them fighting over frequencies and to keep the attack of the kick clear. This enables me to control the ‘beef’ and the colour of the bass separately, while ensuring a fat bass. Works great if you’ve got a bit of a weak bass sound, or the bass is lacking in proper low end.
i like to run!!
Tremolo or other Modulation effects into reverb or delay i like to route it back into another tremolo….
for this example
i have a stereo audio signal going into tremolo set at 8th note triplets then into my delay set at 8th note triplets (alter this to get some extra sparkle) and finally back into another tremolo set a 16th note triplets (again alter this get some even more intense choppyness)
enjoy!!
all the best of luck to everyone and thanks for this chance ANR x
https://www.instagram.com/bassclarineteffects_inhuitcarl/
Slip a condom over a SM57, submerge in a bucket of water and place the bucket right in front of, or even inside, the kick drum. This gives a fun worbly effect. Use ribbed condoms for extra modulation. 😉
Waves Doubler onna lot of stuff makes it sound better. It can make many anemic, “digital” softsynths sound rich & warm.
Maybe if I win I won’t need a megaphone any more!
An old creaky door turns into a decent whale when time stretched and adding some reverb 😛
https://soundcloud.com/electroencephalogram/
Currently, I’m using Bitwig and it pushes you to use A LOT of modulation on everything (because of the convenience of its modulation system ). And that’s what I’m doing. I experiment with modulation for instruments and plugins. Of course, it is important to retain a sense of proportion otherwise, it’s very easy to focus all your attention on sound design without paying proper attention to the actual creation of the track or song:) And I would not say that I always manage to keep the balance:)
So I’m really excited about the idea of using Eventide plugins with modulation system (well the idea of using Eventide plugins without Bitwig’s modulation system no less exciting! 🙂 actually the native Bitwig’s plugins are… well you could use them but…:) That is why I really really need these plugins (yeah, I know, everybody is saying that:) ).
For Scary guitar leads Sounds i put distortion AFTER Reverb…but not too much or it turns to Mushhh
Also Like to put a 1073 bass boost on the Main Mixbuss
i also Like to Mono the Bass with something Like Boz digital’s “mongoose” and then add plugin-alliance’s “Bx_stereomaker”
its a stereo expander that is mono-compatible so that if u listen in mono it doesn’t sound phasey
I sometimes layer acoustic instruments (pianos and violins, mostly) and synths for richer synth sounds.
https://twitter.com/CristianDoesTV
https://www.facebook.com/CristianDoesTV/
https://www.instagram.com/cristiandoestv/
I like using Audio Damage effects. One of my fav synth is The Legend by Synapse Audio : Incredible! using FLStudio Reason Renoise and iOS Android.
I love to resample. Sampling the master output. Warp, pitch shift, layering, add some effects etc. Sampling the master output. And so on and so forth. Manipulating of the audio in audio form is more inspiring for me for some reason (hello Fission, we could be best friends.) It’s like sculpting the sound.
https://twitter.com/franktlr
https://www.instagram.com/realityistasty/
My tip is stolen from somewhere, maybe Pink Floyd: you get an old foam head from a hatter’s. Then you jam two mics in where the earholes should be and press record and spin some stuff around the foam head to get REAL 3D effects.
I use convolutions reverbs. Instead of using room impulses, I use recordings of guitars, drums etc. as impulses. This results in some very unique type of sound.
I often use bass sounds as lead sounds by playing some octaves higher and vice versa. Simple but creative!
Whatever you do, create a new fx chain or whatever. SAVE it, and the variations you find useful.
https://twitter.com/Twumpy
I have just started making music and there is nothing I can teach you. I want even one thing that will be positive for future music life.
I often use multiple stacked EQs to tone-shape sounds even if the bands conflict with each other. Twitter: plexuss
I’ve recently started recording my tunes onto tape and then recording that back into my digital setup. It gives everything a nice 70s/80s retro feel without having to use a load of fx to achieve a retro analogue sound (that’s not quite as warm and thick as the sound of tape.)
https://twitter.com/death_to_ether
Using a subtle pitch modulation plugin before a convolution reverb plugin to add a bit more movement 🙂
https://www.twitter.com/andymcbain
facebook.com/andymcbainmusic
instagram.com/andymcbain1
Use sounds like glass or tines in a convolution reverb and run a sound through them, see what happens.
oldschool – max trax, crush bus
I would use the plug-ins to add a new dimension to my hybrid-style production to turn indie nebulas into stars! This is my missing infinity stone!
To make something big, you should consider cutting out frequencies to make the sound fit and, thus, fill the right space. You don’t want a mush…