HTC Desire 816 dual sim - How to customize ringtone
Connect HTC Desire 816 to computer
Open "HTC Desire 816 dual sim"
Open "Internal Storage"
Open "Ringtones"
Drag your ringtone into this folder
Back to "Internal Storage"
Open "Notifications"
Drag your notification sound into this folder
Use two fingers to swipe down from the notifications bar
Tap the "Settings" icon
Scroll down and tap "Sound"
You cannot change ringtone and notification sound when volume is zero
Tap "Slot 1 ringtone" to change ringtone of SIM slot 1
Choose the ringtone just put in "Ringtones" folder and tap "APPLY"
Tap "Slot 2 ringtone" to change ringtone of SIM slot 2
Choose the ringtone just put in "Ringtones" folder and tap "APPLY"
Tap "Notification sound"
Choose the notification sound just put in "Notifications" folder and tap "APPLY"
Easy way to delete(remove) audio from Video, add audio #John and Charlotte windows live movie maker
Hello everyone, welcome to another tutorial
by John and Charlotte
This peculiar tutorial has to do with removing
an audio from a video
That you already have so that you might add
an mp3 or another narration or
maybe you just need to correct the narration
by making another wave file
and this is an easy way to do it. I've imported
a video that I have already made,
Its a tutorial about how to upload mp3's to
YouTube.
So if you are interested in that you can see
the link in the description below.
So on with the tutorial!
I've open windows live movie maker, I've imported
the video I want to correct.
Then you go up here to video tools and edit
and then you go to volume.
Video volume right here and you take this
slider right here, and you movie it
all the way over to here. I'm going to move
it back so I can show to you that
I do have sound, on this video already. So
lets listen to a little bit of it.
In this video I would like too, OK, that's
enough, so I going to move my slider back,
just so I won't mess up my video and we can
get it all when we do it.
And so click on video volume, move the slider
all the way over, and that's all there is
to it. Now listen and see if there is any
sound, no there isn't. So I am
going to move it back, and then to add you
mp3 or your narration or your wave file. Then
you go back to home where it Say's add music
you know or narration.
You click on that and it will add the music
here and if it ends up down here just take
your cursor and drag it up to the top, you
know it just depends on where you have this
set. Well thank you for listening, God bless
you, I hope this was helpful and check out
our other video's please and subscribe.
Click on the video and it will go straight
to it. And please subscribe, click on the
subscribe button. God bless you.
Tuesday, December 15, 2015
Tips for Enhancing a Drum Loop in the Mix - How to Use Tape Saturation to Enhance a Mix
Tips for Enhancing a Drum Loop in the Mix
Hey, what's up guys? My name is David Glenn
of theproaudiofiles.com and davidglennrecording.com,
home of the free VIP mix training bundle.
If you haven't done so yet, go check that
out and join the list. You're going to get
two sets of multi-tracks, a whole slew of
impulse responses, two free video series,
and a ton more.
So I appreciate you for checking that out,
I know you're going to love it. It's free,
so no excuses, right? Moving into today's
video, we've got a drum loop, and I've called
this “Advanced Drum Loop Mixing.†Not
quite sure what to say about it, but I've
got a process that I went through for this
mix that I'm doing for themixacademy.com,
and I felt like it was worthy of a specific
tutorial video for The Pro Audio Files.
So I've got a loop here, and I'm going to
play you â€" maybe I'll solo the loop, and
then I'm going to breakdown and show you what
I've done. I've created a kick from the loop,
and then I've done a ton of processing to
get this to kind of come forward and shine
in this particular mix.
So here's the loop by itself.
[drum loop]
Okay. Here's what it sounded like before I
touched it.
[drum loop]
I'm going to boost the volume...
Okay. So I've labeled it DG loop, but that's
kind of selfish of me. This is not my loop.
I didn't record this, I didn't piece it together,
I don't know where it came from. It came to
me from the client.
What I wanted to do was in the mix â€" let
me actually play it for you in the mix and
see if you can...
[song plays]
Okay, so obviously, you can't really hear
it. There's a little bit of the kick thing
going on and some ghosting on the snare/hat
kind of thing, but it needed to come forward
and it needed to shine, and more than just
becoming brighter.
So I'm going to walk you through what I did
to it, and then what I did to it at the chorus
will be kind of a part two, second half of
the tutorial.
So anyways, first things first. Let me walk
you through the plug-ins. Nothing fancy here.
All I did with this was we have a kick drum,
we have a live drum kit separate from this
loop, so what I wanted to do was make sure
that none of this kick's bottom end interfered
with the live drum kit whenever that comes
in, so I filtered everything out below 85,
and that is very basically going to sound
like this. There's another reason why I did
this, but I'll show you in a second.
So here's before the filter.
[drum loop plays]
After.
[loop, filtered]
Okay. So you can here, we're just getting
rid of the sub in the kick for the most part
in the loop.
The second plug-in here in the chain is the
Kush Clariphonic, and this is the second revision
of it. We'll call it take two. It's updated
and it sounds incredible â€" it sounds nasty.
The first one sounded great. This one sounds
even better. The first one, it had a glitch
where it would crash Pro Tools. I don't know
if that was my fault, an update I missed or
something, but the second one sounds ridiculous,
so I highly recommend you go check this one
out.
I'm just boosting a ton of top end, and you'll
hear that this really comes forward in the
mix. Here's before.
[drum loop]
After.
[drum loop with Clariphonic]
Okay. So, a ton of top end. You can see I'm
using the Clarity, the Shimmer setting. Moving
on from that, I felt like it just needed to
be smashed. I just wanted to smash the loop
to my taste. I felt like I wasn't going to
go parallel so much, but I'm going to show
you one of my new favorite compressors.
To bring this forward, I smashed it, and then
I blended in some dry in parallel.
So let's check that out. Here's before and
after.
[loop, before and after compression]
Sounds nasty, right? Well, by itself, it may
not sound that great, but in the context of
the mix, it sounds incredible to my ears.
So I'm going to play it again, but before
and after â€" actually, I'll play before and
after for both of these.
[song, before and after plug-ins]
Okay, so you can really hear that loop is
a big part of this song, and the reference
track he gave me was Love Me Again from Jonathan
â€" I forget the guy's last name, but it was
a great track from like, 2013. I really loved
that song. Saturation, everything sounds incredible,
but the compression really helped it just
pull it forward and did amazing work.
That's the 10 dB compressor from Boz Digital
Labs, and my new friend David Bendeth. Love
the work that they're doing. Lots of great
stuff to come from them.
But for me, that wasn't enough. That wasn't
the end of it for this particular loop, because
I felt like it needed to be controlled a little
bit more. So the low end for me, if you listen
very carefully â€" let me bypass the Clariphonic
for now, just so we can hear the low end.
Focus on the lows. If you're on smaller speakers,
a laptop, your phone, you're probably not
going to hear this very well. Put in some
buds, some headphones, or a speaker system.
Possibly even with a sub.
But listen to the way that the low end just
kind of sustains and fills out â€" it's almost
got a tone to it where it just kind of resonates.
Check that out.
[song]
Forgive me, let me solo it.
[loop]
Okay, this is doing something that I don't
really care for, and I want to tighten that
up. We've got enough washy top end that I
wanted the bottom to be a little bit clearer
and a little bit clearer, a little more articulate,
punchy, whatever the word you want to use
is.
So here's before and after with the iZotope
multi-band transient designer, and I'm just
sucking out pretty much all of the low end
below 190Hz and give it a little bit of articulation
and a little bit of the transient back for
the attack, but for the most part, I'm just
pulling out that sustain from the bottom end.
Here's before.
[loop]
After.
[loop after transient designer]
Okay, and again, before, it's just taking
up too much real estate. The dynamics of it
are just all of the entire loop to be pumping
and sustaining like that. Totally unnecessary
to my ear and to my taste.
So I'm going to put the Clariphonic back,
and then we'll get to Pi in a second. If you're
not familiar, I've got Sound Radix Pi on here,
and the reason is we've got this loop â€" in
the chorus, I duplicated the loop, and I wanted
to have a little bit more punch, because the
kick in that loop pattern complements the
live kick.
We've got a four-on-the-floor live kick that
I'll play for you here. Let me solo this guy.
So this is the loop and the live kick together.
I'm going to go ahead and put Pi in.
[loop and drum plays]
And without the live kick.
[loop plays]
Okay, so the groove lies in the loop. The
live drums are really just holding down a
straight beat, and they really complement
each other well, so what I wanted to do was
I wanted to keep the live kick, but I wanted
to create a new kick for the loop that was
a little bit punchier and fit better with
a live kick.
So I'm blabbing, but here's what I did. I
duplicated the loop track, and I took it out
at the pre-chorus, but I made it to where
it comes in only at the actual chorus. There's
a lot of processing to get this one done.
I probably could've just copy and pasted samples
throughout the pattern here and been totally
fine. You know, a kick sample or something,
but I was experimenting and was having some
fun, and it might spark some creativity for
you, so let's take a look at what I did.
The first thing I did was I took the loop
â€" just to prove it's the same loop, let
me show you. Here's bypassed.
[loop]
Here's everything off.
[loop]
Cool. Same loop, right? And I just took out
the top end, so everything above 100-120Hz
is gone.
[filtered loop]
Okay, so now I have the sub, and we have just
what's going on with the kick.
After that, I went over to Alloy â€" I love
this thing â€" the multi-band transient designer
and sucked out the sustaining bottom end.
[filtered drum loop with transient designer]
We get the punch and the attack from the kick
now.
I'll bypass
it again.
Cool. So, we've got a more defined kick. However,
obviously that's not the world's best kick
drum, so I wanted to get a better kick drum
for the loop. I've got Drum Leveler on here,
and what I've done is I've set a high threshold
and a low threshold. I probably need to do
a tutorial all about this plug-in, because
it's ridiculous.
I've been using this a lot on loops, hi-hat,
snare drums, all kinds of stuff. It's really
great.
More on that later, but I've set a high threshold
and a low threshold. You'll see the kick kind
of coming across the screen here, and if I
bypass it...
[loop]
You kind of lose the kick drum, right? So
I'm bringing the kick forward, I'm setting
the threshold for picking up those subdivided
kicks, the pattern in the kick drum, the softer
hits and the harder hits, and I'm raising
the level and compressing to bring that forward.
Then, I'm taking this kick drum â€" call it
a kick drum sound â€" and I'm using Trigger
for what we've done to help Trigger out with
identifying what is kick and what isn't. Lastly,
I guess I forgot to mention there's between
29Hz and 109Hz that I have a side-chain filter
here, so this compressor is listening to only
those frequencies to determine what I want
it to listen to for the compression.
Horrible explanation, forgive me for that.
Trigger 2 I've got on, and I've gone to my
friends over at That Sound. Got an incredible
ton of kick drum libraries. All kinds of stuff
over there, go check those out. Iwantthatsound.com.
But kick06 I pulled in from one of the libraries,
but let's take a listen to what that is actually.
I hate that. There's a glitch that you have
to make it inactive and pull it back in, but
now you should be able to hear that. The reason
why, I have no idea.
It's still glitching on me. Let me solo it
and you can hear it.
[kick drum plays]
So before...
[drum loop kick plays]
After.
[sample]
Okay. So now, that kick, with a little bit
of help from our friend Lo-Fi, free with Pro
Tools...
[sample with Lo-Fi]
Okay. And Pi to make sure that the low end
from this kick, the low end from the loop,
and the low end from the original live kick
play nicely together. That is helping them
with phase coherence, and then that's not
all, but I'm going to hit play for you and
show you where we started with these two right
here.
[loop]
Forgive me, here's where we started.
[loop]
And where we ended up.
[loop after processing]
And without the kick we added... I could've
snuck that in a little bit sooner. Here's
with the kick, then I'll take it out.
[loop with and without kick]
Cool. I dig it with the kick. You may not,
but again, just showing you some of the options.
That's not all I did though. There's one last
step that I felt would help tighten up this
kick a little bit.
Let me pull â€" there we go. Track Spacer.
I had Pro Tools there, but...
Track Spacer I've pulled open, and lots of
plugs in this one, but if you come down here,
I've got kick side-chain, which is what I
use â€" it's a send that I use to send into
a multi-band compressor I have on my bass
on a lot of stuff I mix, and I'll push the
bass down in the sub frequencies with the
kick hits, and I've taken that same send and
I've set it up within Track Spacer.
So Track Spacer is going to receive the signal
from the kick, and it's going to push down
the frequency range I set here similar to
the multi-band compression, except this is
like a multi-band volume control. Kind of
interesting what's going on here.
But 20Hz to around 110-112Hz is going to be
pushed down every single time this live kick
hits. It's going to push down against the
loop kick when they play at the same time.
They don't always play at the same time, which
is why I wanted to create that loop kick,
but when they do hit at the same time, the
low end is going to be given to the kick in
the drum kit, not the kick in the loop.
I hope that makes sense. Maybe rewind that
and play it back a couple of times if I said
that wrong or if you heard it wrong, but anyways,
I'm all over the place. I'm still recovering
from being sick.
Anyways, here's what it sounds like. You can
see it on the screen. Whenever they hit, you're
going to see this dip.
[drum loop]
And without it.
[drum loop, sans Track Spacer]
Okay. The reason why that's such a big deal
is because when you have so much low end building
up, that's going to be â€" you got to be careful.
That might trigger your buss compression or
your pre-stereo buss compression, so that
extra build-up is not necessarily a great
thing.
So layering kicks can be a great thing if
you're adding sub or want more sub at a certain
section, but for me, I wanted to control that
sub so that the other kick would dominate
and it wouldn't trigger too much at the same
time.
So I rambled quite a bit on this one, but
I hope that you dig that. Let me play one
more time where we started from and I'll leave
everything in when we go here, and hit play.
Let's check this out. The way it was...
[music]
Okay, and then out here at the actual chorus.
[song]
Okay, then put that back where it goes, then
here's the improvements we made.
[song]
Very cool. I hope you enjoyed that. Davidglennrecording.com,
theproaudiofiles.com, and tons more to come.
We'll catch you in the next one. Thanks, guys.
How to Use Tape Saturation to Enhance a Mix
Greetings! My name is Ian Vargo, and I am
with The Pro Audio Files.
Today, I am going to be showing you how to
use tape saturation plug-ins â€" specifically
from Universal Audio â€" in an effort to make
your mixes sound more vintage and warm.
The track I'm going to be using is Ocean,
from the band, Sunny Love and the Moon Parade,
whose album I recorded, produced, mixed, and
mastered, which comes out later this week.
A lot of this band's songs have a vintage
vibe going on. Let's take a listen.
[mix]
Alright. So, for this project, although we
recorded in a good room with nice equipment,
we did not have the luxury of recording to
analog tape, which a lot of projects these
days don't.
So, fortunately, I had access to the Studer
A800, and the Ampex ATR-102 from Universal
Audio. So the way that I've been working lately
and on this project, is I have all of my drums
and percussion being sent â€" hard sent â€" through
an aux track. I've got all of my keys, guitars,
and bass going through an aux track, and all
of my vocals going through a separate aux
track.
On these aux tracks, I have the Studer A800
on each of them, using varying types and degrees
of tape saturation. Let's focus on the drums
for a minute.
[drums play]
Let's bypass the effect.
[drums, no tape saturation]
So, we're hearing a little bit of a boost
in volume in the drums. We're also hearing
slightly more punch, and a little bit of low
end drive that really affects the kick drum
in a cool way.
Something to keep an eye on with these effects
is basically just a balance between the input
and the output. I could really drive this
if I would like.
[drums, heavy tape saturation]
But I wanted to keep it pretty subtle. We
also have control of the inches per second.
If I change from 15 to 7.5, we're going to
hear a loss in high end.
[drums, adjusting inches per second]
That might be great if you want a really vintage
sound, or we could go up to 30 inches per
second for a very hi-fi sound.
[drums play at 30 inches per second]
I wanted to split the difference, so I kept
it at 15 inches per second, and we also have
different tape types.
Let's move over to the instrument buss, which
includes the guitars.
[instrument buss plays]
Definitely warms things up a little bit and
brings them forward in the mix.
Lastly, let's take a listen to the vocals.
[vocals]
And as you can see, I am driving this particular
instance of the plug-in a little bit harder
than the others, because I really wanted to
saturate the vocal and give it that sound.
Okay, so I have found that this plug-in really
does work great on individual instruments,
but I've been really loving it on these sub-aux
tracks that I have.
Let's move forward to the Master fader now,
and I'm going to show you a little bit about
how I use the Ampex ATR-102. Let's bypass
the effect.
[mix]
When I first demoed this effect, I had never
really heard any plug-in like it, so I had
to get it because it really helps with spatialization,
it helps the bass and drums sit together,
a little bit of a boost in volume, and really
just makes things sound a little bit more
round. Plus, there's so many options in terms
of types of tape here, inches per second...
Let's go down to 7.5.
[song at 7.5 inches per second]
Very versatile plug-in indeed.
So, I can't strongly recommend enough that
you at least demo the Universal Audio ATR-102
and Studer A800. If you have any questions,
e-mail me at ianvargo@gmail.com. Once again,
this has been Ian Vargo with The Pro Audio
Files. Make sure to check out Sunny Love and
the Moon Parade.
Thanks!
Hey, what's up guys? My name is David Glenn
of theproaudiofiles.com and davidglennrecording.com,
home of the free VIP mix training bundle.
If you haven't done so yet, go check that
out and join the list. You're going to get
two sets of multi-tracks, a whole slew of
impulse responses, two free video series,
and a ton more.
So I appreciate you for checking that out,
I know you're going to love it. It's free,
so no excuses, right? Moving into today's
video, we've got a drum loop, and I've called
this “Advanced Drum Loop Mixing.†Not
quite sure what to say about it, but I've
got a process that I went through for this
mix that I'm doing for themixacademy.com,
and I felt like it was worthy of a specific
tutorial video for The Pro Audio Files.
So I've got a loop here, and I'm going to
play you â€" maybe I'll solo the loop, and
then I'm going to breakdown and show you what
I've done. I've created a kick from the loop,
and then I've done a ton of processing to
get this to kind of come forward and shine
in this particular mix.
So here's the loop by itself.
[drum loop]
Okay. Here's what it sounded like before I
touched it.
[drum loop]
I'm going to boost the volume...
Okay. So I've labeled it DG loop, but that's
kind of selfish of me. This is not my loop.
I didn't record this, I didn't piece it together,
I don't know where it came from. It came to
me from the client.
What I wanted to do was in the mix â€" let
me actually play it for you in the mix and
see if you can...
[song plays]
Okay, so obviously, you can't really hear
it. There's a little bit of the kick thing
going on and some ghosting on the snare/hat
kind of thing, but it needed to come forward
and it needed to shine, and more than just
becoming brighter.
So I'm going to walk you through what I did
to it, and then what I did to it at the chorus
will be kind of a part two, second half of
the tutorial.
So anyways, first things first. Let me walk
you through the plug-ins. Nothing fancy here.
All I did with this was we have a kick drum,
we have a live drum kit separate from this
loop, so what I wanted to do was make sure
that none of this kick's bottom end interfered
with the live drum kit whenever that comes
in, so I filtered everything out below 85,
and that is very basically going to sound
like this. There's another reason why I did
this, but I'll show you in a second.
So here's before the filter.
[drum loop plays]
After.
[loop, filtered]
Okay. So you can here, we're just getting
rid of the sub in the kick for the most part
in the loop.
The second plug-in here in the chain is the
Kush Clariphonic, and this is the second revision
of it. We'll call it take two. It's updated
and it sounds incredible â€" it sounds nasty.
The first one sounded great. This one sounds
even better. The first one, it had a glitch
where it would crash Pro Tools. I don't know
if that was my fault, an update I missed or
something, but the second one sounds ridiculous,
so I highly recommend you go check this one
out.
I'm just boosting a ton of top end, and you'll
hear that this really comes forward in the
mix. Here's before.
[drum loop]
After.
[drum loop with Clariphonic]
Okay. So, a ton of top end. You can see I'm
using the Clarity, the Shimmer setting. Moving
on from that, I felt like it just needed to
be smashed. I just wanted to smash the loop
to my taste. I felt like I wasn't going to
go parallel so much, but I'm going to show
you one of my new favorite compressors.
To bring this forward, I smashed it, and then
I blended in some dry in parallel.
So let's check that out. Here's before and
after.
[loop, before and after compression]
Sounds nasty, right? Well, by itself, it may
not sound that great, but in the context of
the mix, it sounds incredible to my ears.
So I'm going to play it again, but before
and after â€" actually, I'll play before and
after for both of these.
[song, before and after plug-ins]
Okay, so you can really hear that loop is
a big part of this song, and the reference
track he gave me was Love Me Again from Jonathan
â€" I forget the guy's last name, but it was
a great track from like, 2013. I really loved
that song. Saturation, everything sounds incredible,
but the compression really helped it just
pull it forward and did amazing work.
That's the 10 dB compressor from Boz Digital
Labs, and my new friend David Bendeth. Love
the work that they're doing. Lots of great
stuff to come from them.
But for me, that wasn't enough. That wasn't
the end of it for this particular loop, because
I felt like it needed to be controlled a little
bit more. So the low end for me, if you listen
very carefully â€" let me bypass the Clariphonic
for now, just so we can hear the low end.
Focus on the lows. If you're on smaller speakers,
a laptop, your phone, you're probably not
going to hear this very well. Put in some
buds, some headphones, or a speaker system.
Possibly even with a sub.
But listen to the way that the low end just
kind of sustains and fills out â€" it's almost
got a tone to it where it just kind of resonates.
Check that out.
[song]
Forgive me, let me solo it.
[loop]
Okay, this is doing something that I don't
really care for, and I want to tighten that
up. We've got enough washy top end that I
wanted the bottom to be a little bit clearer
and a little bit clearer, a little more articulate,
punchy, whatever the word you want to use
is.
So here's before and after with the iZotope
multi-band transient designer, and I'm just
sucking out pretty much all of the low end
below 190Hz and give it a little bit of articulation
and a little bit of the transient back for
the attack, but for the most part, I'm just
pulling out that sustain from the bottom end.
Here's before.
[loop]
After.
[loop after transient designer]
Okay, and again, before, it's just taking
up too much real estate. The dynamics of it
are just all of the entire loop to be pumping
and sustaining like that. Totally unnecessary
to my ear and to my taste.
So I'm going to put the Clariphonic back,
and then we'll get to Pi in a second. If you're
not familiar, I've got Sound Radix Pi on here,
and the reason is we've got this loop â€" in
the chorus, I duplicated the loop, and I wanted
to have a little bit more punch, because the
kick in that loop pattern complements the
live kick.
We've got a four-on-the-floor live kick that
I'll play for you here. Let me solo this guy.
So this is the loop and the live kick together.
I'm going to go ahead and put Pi in.
[loop and drum plays]
And without the live kick.
[loop plays]
Okay, so the groove lies in the loop. The
live drums are really just holding down a
straight beat, and they really complement
each other well, so what I wanted to do was
I wanted to keep the live kick, but I wanted
to create a new kick for the loop that was
a little bit punchier and fit better with
a live kick.
So I'm blabbing, but here's what I did. I
duplicated the loop track, and I took it out
at the pre-chorus, but I made it to where
it comes in only at the actual chorus. There's
a lot of processing to get this one done.
I probably could've just copy and pasted samples
throughout the pattern here and been totally
fine. You know, a kick sample or something,
but I was experimenting and was having some
fun, and it might spark some creativity for
you, so let's take a look at what I did.
The first thing I did was I took the loop
â€" just to prove it's the same loop, let
me show you. Here's bypassed.
[loop]
Here's everything off.
[loop]
Cool. Same loop, right? And I just took out
the top end, so everything above 100-120Hz
is gone.
[filtered loop]
Okay, so now I have the sub, and we have just
what's going on with the kick.
After that, I went over to Alloy â€" I love
this thing â€" the multi-band transient designer
and sucked out the sustaining bottom end.
[filtered drum loop with transient designer]
We get the punch and the attack from the kick
now.
I'll bypass
it again.
Cool. So, we've got a more defined kick. However,
obviously that's not the world's best kick
drum, so I wanted to get a better kick drum
for the loop. I've got Drum Leveler on here,
and what I've done is I've set a high threshold
and a low threshold. I probably need to do
a tutorial all about this plug-in, because
it's ridiculous.
I've been using this a lot on loops, hi-hat,
snare drums, all kinds of stuff. It's really
great.
More on that later, but I've set a high threshold
and a low threshold. You'll see the kick kind
of coming across the screen here, and if I
bypass it...
[loop]
You kind of lose the kick drum, right? So
I'm bringing the kick forward, I'm setting
the threshold for picking up those subdivided
kicks, the pattern in the kick drum, the softer
hits and the harder hits, and I'm raising
the level and compressing to bring that forward.
Then, I'm taking this kick drum â€" call it
a kick drum sound â€" and I'm using Trigger
for what we've done to help Trigger out with
identifying what is kick and what isn't. Lastly,
I guess I forgot to mention there's between
29Hz and 109Hz that I have a side-chain filter
here, so this compressor is listening to only
those frequencies to determine what I want
it to listen to for the compression.
Horrible explanation, forgive me for that.
Trigger 2 I've got on, and I've gone to my
friends over at That Sound. Got an incredible
ton of kick drum libraries. All kinds of stuff
over there, go check those out. Iwantthatsound.com.
But kick06 I pulled in from one of the libraries,
but let's take a listen to what that is actually.
I hate that. There's a glitch that you have
to make it inactive and pull it back in, but
now you should be able to hear that. The reason
why, I have no idea.
It's still glitching on me. Let me solo it
and you can hear it.
[kick drum plays]
So before...
[drum loop kick plays]
After.
[sample]
Okay. So now, that kick, with a little bit
of help from our friend Lo-Fi, free with Pro
Tools...
[sample with Lo-Fi]
Okay. And Pi to make sure that the low end
from this kick, the low end from the loop,
and the low end from the original live kick
play nicely together. That is helping them
with phase coherence, and then that's not
all, but I'm going to hit play for you and
show you where we started with these two right
here.
[loop]
Forgive me, here's where we started.
[loop]
And where we ended up.
[loop after processing]
And without the kick we added... I could've
snuck that in a little bit sooner. Here's
with the kick, then I'll take it out.
[loop with and without kick]
Cool. I dig it with the kick. You may not,
but again, just showing you some of the options.
That's not all I did though. There's one last
step that I felt would help tighten up this
kick a little bit.
Let me pull â€" there we go. Track Spacer.
I had Pro Tools there, but...
Track Spacer I've pulled open, and lots of
plugs in this one, but if you come down here,
I've got kick side-chain, which is what I
use â€" it's a send that I use to send into
a multi-band compressor I have on my bass
on a lot of stuff I mix, and I'll push the
bass down in the sub frequencies with the
kick hits, and I've taken that same send and
I've set it up within Track Spacer.
So Track Spacer is going to receive the signal
from the kick, and it's going to push down
the frequency range I set here similar to
the multi-band compression, except this is
like a multi-band volume control. Kind of
interesting what's going on here.
But 20Hz to around 110-112Hz is going to be
pushed down every single time this live kick
hits. It's going to push down against the
loop kick when they play at the same time.
They don't always play at the same time, which
is why I wanted to create that loop kick,
but when they do hit at the same time, the
low end is going to be given to the kick in
the drum kit, not the kick in the loop.
I hope that makes sense. Maybe rewind that
and play it back a couple of times if I said
that wrong or if you heard it wrong, but anyways,
I'm all over the place. I'm still recovering
from being sick.
Anyways, here's what it sounds like. You can
see it on the screen. Whenever they hit, you're
going to see this dip.
[drum loop]
And without it.
[drum loop, sans Track Spacer]
Okay. The reason why that's such a big deal
is because when you have so much low end building
up, that's going to be â€" you got to be careful.
That might trigger your buss compression or
your pre-stereo buss compression, so that
extra build-up is not necessarily a great
thing.
So layering kicks can be a great thing if
you're adding sub or want more sub at a certain
section, but for me, I wanted to control that
sub so that the other kick would dominate
and it wouldn't trigger too much at the same
time.
So I rambled quite a bit on this one, but
I hope that you dig that. Let me play one
more time where we started from and I'll leave
everything in when we go here, and hit play.
Let's check this out. The way it was...
[music]
Okay, and then out here at the actual chorus.
[song]
Okay, then put that back where it goes, then
here's the improvements we made.
[song]
Very cool. I hope you enjoyed that. Davidglennrecording.com,
theproaudiofiles.com, and tons more to come.
We'll catch you in the next one. Thanks, guys.
How to Use Tape Saturation to Enhance a Mix
Greetings! My name is Ian Vargo, and I am
with The Pro Audio Files.
Today, I am going to be showing you how to
use tape saturation plug-ins â€" specifically
from Universal Audio â€" in an effort to make
your mixes sound more vintage and warm.
The track I'm going to be using is Ocean,
from the band, Sunny Love and the Moon Parade,
whose album I recorded, produced, mixed, and
mastered, which comes out later this week.
A lot of this band's songs have a vintage
vibe going on. Let's take a listen.
[mix]
Alright. So, for this project, although we
recorded in a good room with nice equipment,
we did not have the luxury of recording to
analog tape, which a lot of projects these
days don't.
So, fortunately, I had access to the Studer
A800, and the Ampex ATR-102 from Universal
Audio. So the way that I've been working lately
and on this project, is I have all of my drums
and percussion being sent â€" hard sent â€" through
an aux track. I've got all of my keys, guitars,
and bass going through an aux track, and all
of my vocals going through a separate aux
track.
On these aux tracks, I have the Studer A800
on each of them, using varying types and degrees
of tape saturation. Let's focus on the drums
for a minute.
[drums play]
Let's bypass the effect.
[drums, no tape saturation]
So, we're hearing a little bit of a boost
in volume in the drums. We're also hearing
slightly more punch, and a little bit of low
end drive that really affects the kick drum
in a cool way.
Something to keep an eye on with these effects
is basically just a balance between the input
and the output. I could really drive this
if I would like.
[drums, heavy tape saturation]
But I wanted to keep it pretty subtle. We
also have control of the inches per second.
If I change from 15 to 7.5, we're going to
hear a loss in high end.
[drums, adjusting inches per second]
That might be great if you want a really vintage
sound, or we could go up to 30 inches per
second for a very hi-fi sound.
[drums play at 30 inches per second]
I wanted to split the difference, so I kept
it at 15 inches per second, and we also have
different tape types.
Let's move over to the instrument buss, which
includes the guitars.
[instrument buss plays]
Definitely warms things up a little bit and
brings them forward in the mix.
Lastly, let's take a listen to the vocals.
[vocals]
And as you can see, I am driving this particular
instance of the plug-in a little bit harder
than the others, because I really wanted to
saturate the vocal and give it that sound.
Okay, so I have found that this plug-in really
does work great on individual instruments,
but I've been really loving it on these sub-aux
tracks that I have.
Let's move forward to the Master fader now,
and I'm going to show you a little bit about
how I use the Ampex ATR-102. Let's bypass
the effect.
[mix]
When I first demoed this effect, I had never
really heard any plug-in like it, so I had
to get it because it really helps with spatialization,
it helps the bass and drums sit together,
a little bit of a boost in volume, and really
just makes things sound a little bit more
round. Plus, there's so many options in terms
of types of tape here, inches per second...
Let's go down to 7.5.
[song at 7.5 inches per second]
Very versatile plug-in indeed.
So, I can't strongly recommend enough that
you at least demo the Universal Audio ATR-102
and Studer A800. If you have any questions,
e-mail me at ianvargo@gmail.com. Once again,
this has been Ian Vargo with The Pro Audio
Files. Make sure to check out Sunny Love and
the Moon Parade.
Thanks!
How to Enhance 808s in a Hip-Hop Mix - Galaxy S3 Disassembly
How to Enhance 808s in a Hip-Hop Mix
Hey folks, Matt Weiss here, www.weiss-sound.com,
www.theproaudiofiles.com.
I'm going to combine a couple of different
ideas and relate them to one of
our favorite subjects in the world - 808 kick
drums. Now, this is a little
bit of a weird technique. It sort of involved
concepts learned in both the
mixing hip hop tutorial as well as the mixing
compression tutorial, but
it's going to show you how to approach an
808 a little differently. So
let's check out this 808 kick drum right here.
[Sound plays]
Now for me personally, the interest in an
808 kick drum is generally what's
living the upper octaves. The lower octave
is usually just sort of a fat
sine wave. The upper octaves are where the
distortion and character start
showing up. Now, what this tutorial that I'm
doing right now is going to
show you is how to bring out a lot of that
character in a very transparent,
but bold way. The thing you have to keep in
mind is that it's all
arrangement-dependent. So I'm going to play
the track real quick.
[Music plays]
When you have a very dense track that has
a lot of lower-mid content, or
even just general mid-range content, sometimes
you just want that sine wave
808, and that's fine. When you have a more
open arrangements that don't
have a lot going on, that's usually when you
want to play up the character
of the 808. Sometimes you find yourself in
an arrangement like this one
where it could kind of go either way, and
sometimes you've got to make a
judgement call.
I've made a clone of it because this is going
to be a type of parallel
processing and the idea here is to target
the tone of the 808. So the first
thing I'm going to do is I'm going this FabFilter
Pro-Q and I'm going to
throw on a high-pass filter and I'm going
to get rid of the subtones.
[Sound plays]
OK. So what I've done is here I'm high-passing
it around the 180 Hz and
what that does is it eliminates some of the
subtone. Now, this is the first
little tricky piece. If I were to play this
at the same time as the
original 808.
[Sound plays]
What happens is that the low low end ends
up getting sucked out. This is
because there is something called phase and
that's how EQs work. They work
based on phase change, but not a lot of people
necessarily know that, but
one of the thing that happens is that everything
that's happening below the
cut-off and a lot of what's happening above
the cut-off are coming out of
phase with itself.
Now, normally when you hear just one thing
you don't really hear phase, but
when you play it with something that has similar
sonic material, those
little phase differences make a big difference
and that's why the bottom
end of this 808 is just getting ripped out
when you play the two at the
same time. So I'm going to change this to
linear phase mode and what that
means is that the absolute phase of everything
is going to stay the same
and that's going to allow the low end to stay
more consistent when I play
them back-to-back.
[Sound plays]
Notice that the low end actually stays in
place now? That's good. That's
our first step. Okay. Now the next step is
that I really want to target
just the tone which is that sort of buzzy
distortion, but I don't want to
add extra punch to the 808 itself. What I'm
going to do now is I'm going to
pull up another FabFilter plugin called the
Pro-G which is a gate/expander
which has a very unique function called ducking.
And what ducking does is
it's kind of like compression, where when
the volume exceeds the threshold
it's going to pull the level down.
The difference between ducking and compression
is it's going to pull the
level down more than what a compressor could.
Instead of pulling it down
based on the level of the threshold, it's
going to pull down based on a
preset range. And if I set that range down
to 100 decibels, that means that
if it absolutely breaches the threshold, a
high ratio will pull it all the
way down to 100 decibels. So what we're doing
is trying to remove the
attack using this ducking mechanism.
[Sound plays]
Now, there's still a little bit of leading-edge
in there. You sort of hear
it like it's the sort of fluttery turning
on thing. I'm going to use a look-
ahead to get rid of that.
[Sound plays]
All right. Not bad. And now I'm going to turn
up the output volume.
[Sound plays]
So what I'm essentially done is I've isolated
the buzzy quality that's
coming out of the 808.
[Sound plays]
So here's without.
[Sound plays]
Here's with.
[Sound plays]
Now I'm going to listen to it in the context
of the mix and decide how much
of that extra buzz I want and if I need to
do anything else to it.
[Music plays]
So here's before.
[Music plays]
Here's after.
[Music plays]
Maybe still a touch too much.
[Music plays]
That's pretty cool. All right, guys. Until
next time.
Galaxy S3 Disassembly & Assembly - Sim Tray - Loud Speaker - Buzzer - Earpiece Repair
To disassemble and reassemble your Samsung Galaxy S3
You will need a small Philips Screwdriver
A small bladed screwdriver
Possibly a pointed tool of some kind
And maybe a plastic separation tool or you can use your thumbnail
First of all make sure its switched off and remove the back cover
Take out your battery
remove your micro SD memory card and take out your micro sim card
Now we need to undo 10 Philips screws around the outside edge
you can skip this part by clicking the link
(next) at the top of the video
and do not worry about getting the screws mixed
up as they are all the same size
This is one of the moisture indicators which
will change colour if its been wet
Now we need to remove the back cover
so lift the centre up and keep lifting it up
and eventually the top will pop open
there is a single clip just here near the camera
keep lifting the back away
and that will come unclipped from the bottom as well
this cover contains another moisture sensor
and there is a GSM and 3g antenna at the bottom
and there is another antenna just up here at the top
if you are replacing the screen
its a good idea to test it before you disassemble the phone
start by releasing this main screen connector here
place a bit of sticky tape over the top to
stop it shorting out on the new screen
plug your new screen into this connector
replace your battery
and switch your phone on like you normally would do
once you are happy the screen is working OK
shut the phone down, as you normally would do
when it has shut down, remove the battery and take off the tape
if the screen is faulty then you can plug this back in
and get a replacement screen
if you need to replace the headphone socket or the loudspeaker
it comes as one complete unit
start by releasing this ribbon connector just here
and using your nail or a plastic tool
lift this up, and it comes away quite easily
this also contains 2 antenna's, the connections are in each corner here
and you can see the circuit going through there
if you need to replace your sim tray or your micro sd tray
then lift this ribbon connector up
being careful not to damage any components nearby
and its held on with double sided tape
so insert your blade here, just push it along until eventually it separates
and you can lift that away and replace that
if you are replacing the screen we need to remove all the components
that are attached to the metal frame
so we start by disconnecting the ribbon connectors at the top
this ones for your earpiece, power LED and your volume switches
so we unplug that
this connectors for your secondary camera and your proximity sensor
so lift that up
and coming down to the bottom
we have the main screen connector
fold that back
and we have a single black screw to undo at the bottom
its the only one there so you can't get it mixed up
and we have the antenna connection here
now when you disconnect this try not to lever from this side
because it pushes it up at an angle
so if you lift it off from this side
it does not put any stress on the plug
so carefully lift this out from the channel
and come all the way down to the top of the phone
and this little circuit is held on with double sided tape
so carefully get your screwdriver in there
and lift that up and put that aside
now we can lift the mainboard out
so carefully lift the camera and just ease the mainboard up
away from the body
now if you need to replace the camera
that is quite straight forward
lift the ribbon connector up
gently lift that up
and then you can replace the camera
offer your replacement up
and line that up as best you can
and plug that in
this is the secondary microphone at the top of the phone
this is your power switch
and various antenna connections
this is your main microphone at the bottom of the phone
and the micro USB socket
the other side
these are 2 antenna connections listed as W1 and W2 on the back cover
I think this provides external antenna's for the
GSM/3G radio and possibly Wi-Fi or GPS
and the LED flash is fixed to the board
the vibrating module can be removed by using a pointed tool
just insert it in there and gently lift that up
then carefully ease the ribbon connector off the board
held on with double sided tape again
get your screwdriver in there and lift that up
and put that aside..
and here is a microphone gasket
you may not get this with the new screen
so you might have to lift this out and
then put that into your new screen
its got a little tag at the bottom so
you cannot get it round the wrong way
coming up to the top we have got the secondary camera
and the proximity sensor, so undo this silver screw
and its quite a bit different from the others
so you cannot get it mixed up
now carefully lift the secondry camera and the proximity sensor out from the case
then we have the earpiece, power LED and volume switches
now to remove these you need to push this
volume key out from the back so
just get your screwdriver in here and push that out
top, bottom and middle and you will find that comes out reasonable easy
when you put it back in make sure you put
the slope towards the back of the phone
to release the volume switches, insert a thin blade
and carefully lift them away from the body
try and keep the double sided tape on the switch itself
once your happy that is released
come round and lift the ribbon cable up
gently lift it up towards the earpiece,
and there is another moisture sensor at the top here
come all the way along, just releasing the ribbon
eventually you should find that lifts out reasonably easy
now if your new screen does not come with this metal chassis
you will need to use heat to release the screen from the frame
and then put the new screen back in
I will try and make a video of this in the future
you may have to switch over this little gasket here
if your new screen does not come with that
and the power button, if you need to switch that over
then push out from the bottom here
give it a good push and it will come out
there you go..
and again when you replace it,
make sure the slope goes towards the back of the phone
push that back in again, there you go
so for reassembly
start by offering up the volume switch into the casing
so line that up as best you can
put that into place so the switches line up
nicely with the holes in the case there
once your happy that is in place
move this ribbon cable so it lines up with
the little pin on the case there
then offer up the power LED to the case
and then put the earpiece back in
and make sure the ribbon cable is pushed down
and finally make sure this little pin is lined up with the ribbon connector
and just give that a gentle push down into place
now we can replace the volume key
make sure the slope of the key goes towards the back of the phone
and offer that up into place
and make sure they feel ok
now we can replace the secondary camera and proximity sensor
offer up the camera into place
and the proximity sensor
once you are happy that is in, take that large silver screw
and just do that up finger tight
now we can replace the vibrating module
so offer that up into its hole
and making sure that the 2 little pins line up on the case there
give that a good push, make sure it is stuck down
now we can replace the mainboard
start by offering up the main camera
into the top, hold that ribbon cable back
and just carefully bring that down into place
bring it down all the way
and we will replace that small black screw in the bottom there
now we can reconnect the main screen ribbon
just pop that back into place
and the volume and earpiece ribbon
and the secondary camera
line it up as best you can and pop that into place
once you are happy they are all connected
we can put the sim tray back on again
so line up the holes in the sim
tray with the holes in the case
once you are happy they are all lined up, give it a gentle push
but do not push too hard on these
pieces because you will bend the casing
just push around the edge, just to stick it down
and then plug that ribbon back in again
now we need to replace the antenna cable
so start by offering up this circuit at the top here
and you have got 2 little holes that
line up with pins on the case
so make sure they line up
and just gently push that down, do not push too hard
just to get the double sided tape stuck down
then bring the cable down into this channel
gently pushing it down as you come along
lift that little bit of sticky tape up and get the cable in there
and put that sticky tape back down again
now take your time when you reconnect this
line it up as best you can
it can be a bit tricky
line up that head so it is nice
and square, then push it back down
if it is down properly you will see it sits nice and flat
I think it might be for Wi-Fi or Bluetooth
and make sure that cable goes back down
underneath that circuit board there, there you go
and now we can replace the loudspeaker and headphone assembly
so offer that up to the top, and push that down into place
once you are happy that is pushed in
offer up this ribbon connector as best you can and plug that in
just a final check to make sure everything is plugged in and in place
and now we can replace the back cover
so offer that up
and then push that down into place
there is a few clips at the bottom here, push them down
and now you can replace those 10 Philips screws
you can skip this stage by clicking on the
link (Next) at the top of the video
replace your battery
after replacing your sim card and your memory card
replace your back cover
and then you should have a fully repaired Galaxy S3
Thank you for watching
please subscribe and give me the thumbs UP
and I will do my best to make some more :-)
Hey folks, Matt Weiss here, www.weiss-sound.com,
www.theproaudiofiles.com.
I'm going to combine a couple of different
ideas and relate them to one of
our favorite subjects in the world - 808 kick
drums. Now, this is a little
bit of a weird technique. It sort of involved
concepts learned in both the
mixing hip hop tutorial as well as the mixing
compression tutorial, but
it's going to show you how to approach an
808 a little differently. So
let's check out this 808 kick drum right here.
[Sound plays]
Now for me personally, the interest in an
808 kick drum is generally what's
living the upper octaves. The lower octave
is usually just sort of a fat
sine wave. The upper octaves are where the
distortion and character start
showing up. Now, what this tutorial that I'm
doing right now is going to
show you is how to bring out a lot of that
character in a very transparent,
but bold way. The thing you have to keep in
mind is that it's all
arrangement-dependent. So I'm going to play
the track real quick.
[Music plays]
When you have a very dense track that has
a lot of lower-mid content, or
even just general mid-range content, sometimes
you just want that sine wave
808, and that's fine. When you have a more
open arrangements that don't
have a lot going on, that's usually when you
want to play up the character
of the 808. Sometimes you find yourself in
an arrangement like this one
where it could kind of go either way, and
sometimes you've got to make a
judgement call.
I've made a clone of it because this is going
to be a type of parallel
processing and the idea here is to target
the tone of the 808. So the first
thing I'm going to do is I'm going this FabFilter
Pro-Q and I'm going to
throw on a high-pass filter and I'm going
to get rid of the subtones.
[Sound plays]
OK. So what I've done is here I'm high-passing
it around the 180 Hz and
what that does is it eliminates some of the
subtone. Now, this is the first
little tricky piece. If I were to play this
at the same time as the
original 808.
[Sound plays]
What happens is that the low low end ends
up getting sucked out. This is
because there is something called phase and
that's how EQs work. They work
based on phase change, but not a lot of people
necessarily know that, but
one of the thing that happens is that everything
that's happening below the
cut-off and a lot of what's happening above
the cut-off are coming out of
phase with itself.
Now, normally when you hear just one thing
you don't really hear phase, but
when you play it with something that has similar
sonic material, those
little phase differences make a big difference
and that's why the bottom
end of this 808 is just getting ripped out
when you play the two at the
same time. So I'm going to change this to
linear phase mode and what that
means is that the absolute phase of everything
is going to stay the same
and that's going to allow the low end to stay
more consistent when I play
them back-to-back.
[Sound plays]
Notice that the low end actually stays in
place now? That's good. That's
our first step. Okay. Now the next step is
that I really want to target
just the tone which is that sort of buzzy
distortion, but I don't want to
add extra punch to the 808 itself. What I'm
going to do now is I'm going to
pull up another FabFilter plugin called the
Pro-G which is a gate/expander
which has a very unique function called ducking.
And what ducking does is
it's kind of like compression, where when
the volume exceeds the threshold
it's going to pull the level down.
The difference between ducking and compression
is it's going to pull the
level down more than what a compressor could.
Instead of pulling it down
based on the level of the threshold, it's
going to pull down based on a
preset range. And if I set that range down
to 100 decibels, that means that
if it absolutely breaches the threshold, a
high ratio will pull it all the
way down to 100 decibels. So what we're doing
is trying to remove the
attack using this ducking mechanism.
[Sound plays]
Now, there's still a little bit of leading-edge
in there. You sort of hear
it like it's the sort of fluttery turning
on thing. I'm going to use a look-
ahead to get rid of that.
[Sound plays]
All right. Not bad. And now I'm going to turn
up the output volume.
[Sound plays]
So what I'm essentially done is I've isolated
the buzzy quality that's
coming out of the 808.
[Sound plays]
So here's without.
[Sound plays]
Here's with.
[Sound plays]
Now I'm going to listen to it in the context
of the mix and decide how much
of that extra buzz I want and if I need to
do anything else to it.
[Music plays]
So here's before.
[Music plays]
Here's after.
[Music plays]
Maybe still a touch too much.
[Music plays]
That's pretty cool. All right, guys. Until
next time.
Galaxy S3 Disassembly & Assembly - Sim Tray - Loud Speaker - Buzzer - Earpiece Repair
To disassemble and reassemble your Samsung Galaxy S3
You will need a small Philips Screwdriver
A small bladed screwdriver
Possibly a pointed tool of some kind
And maybe a plastic separation tool or you can use your thumbnail
First of all make sure its switched off and remove the back cover
Take out your battery
remove your micro SD memory card and take out your micro sim card
Now we need to undo 10 Philips screws around the outside edge
you can skip this part by clicking the link
(next) at the top of the video
and do not worry about getting the screws mixed
up as they are all the same size
This is one of the moisture indicators which
will change colour if its been wet
Now we need to remove the back cover
so lift the centre up and keep lifting it up
and eventually the top will pop open
there is a single clip just here near the camera
keep lifting the back away
and that will come unclipped from the bottom as well
this cover contains another moisture sensor
and there is a GSM and 3g antenna at the bottom
and there is another antenna just up here at the top
if you are replacing the screen
its a good idea to test it before you disassemble the phone
start by releasing this main screen connector here
place a bit of sticky tape over the top to
stop it shorting out on the new screen
plug your new screen into this connector
replace your battery
and switch your phone on like you normally would do
once you are happy the screen is working OK
shut the phone down, as you normally would do
when it has shut down, remove the battery and take off the tape
if the screen is faulty then you can plug this back in
and get a replacement screen
if you need to replace the headphone socket or the loudspeaker
it comes as one complete unit
start by releasing this ribbon connector just here
and using your nail or a plastic tool
lift this up, and it comes away quite easily
this also contains 2 antenna's, the connections are in each corner here
and you can see the circuit going through there
if you need to replace your sim tray or your micro sd tray
then lift this ribbon connector up
being careful not to damage any components nearby
and its held on with double sided tape
so insert your blade here, just push it along until eventually it separates
and you can lift that away and replace that
if you are replacing the screen we need to remove all the components
that are attached to the metal frame
so we start by disconnecting the ribbon connectors at the top
this ones for your earpiece, power LED and your volume switches
so we unplug that
this connectors for your secondary camera and your proximity sensor
so lift that up
and coming down to the bottom
we have the main screen connector
fold that back
and we have a single black screw to undo at the bottom
its the only one there so you can't get it mixed up
and we have the antenna connection here
now when you disconnect this try not to lever from this side
because it pushes it up at an angle
so if you lift it off from this side
it does not put any stress on the plug
so carefully lift this out from the channel
and come all the way down to the top of the phone
and this little circuit is held on with double sided tape
so carefully get your screwdriver in there
and lift that up and put that aside
now we can lift the mainboard out
so carefully lift the camera and just ease the mainboard up
away from the body
now if you need to replace the camera
that is quite straight forward
lift the ribbon connector up
gently lift that up
and then you can replace the camera
offer your replacement up
and line that up as best you can
and plug that in
this is the secondary microphone at the top of the phone
this is your power switch
and various antenna connections
this is your main microphone at the bottom of the phone
and the micro USB socket
the other side
these are 2 antenna connections listed as W1 and W2 on the back cover
I think this provides external antenna's for the
GSM/3G radio and possibly Wi-Fi or GPS
and the LED flash is fixed to the board
the vibrating module can be removed by using a pointed tool
just insert it in there and gently lift that up
then carefully ease the ribbon connector off the board
held on with double sided tape again
get your screwdriver in there and lift that up
and put that aside..
and here is a microphone gasket
you may not get this with the new screen
so you might have to lift this out and
then put that into your new screen
its got a little tag at the bottom so
you cannot get it round the wrong way
coming up to the top we have got the secondary camera
and the proximity sensor, so undo this silver screw
and its quite a bit different from the others
so you cannot get it mixed up
now carefully lift the secondry camera and the proximity sensor out from the case
then we have the earpiece, power LED and volume switches
now to remove these you need to push this
volume key out from the back so
just get your screwdriver in here and push that out
top, bottom and middle and you will find that comes out reasonable easy
when you put it back in make sure you put
the slope towards the back of the phone
to release the volume switches, insert a thin blade
and carefully lift them away from the body
try and keep the double sided tape on the switch itself
once your happy that is released
come round and lift the ribbon cable up
gently lift it up towards the earpiece,
and there is another moisture sensor at the top here
come all the way along, just releasing the ribbon
eventually you should find that lifts out reasonably easy
now if your new screen does not come with this metal chassis
you will need to use heat to release the screen from the frame
and then put the new screen back in
I will try and make a video of this in the future
you may have to switch over this little gasket here
if your new screen does not come with that
and the power button, if you need to switch that over
then push out from the bottom here
give it a good push and it will come out
there you go..
and again when you replace it,
make sure the slope goes towards the back of the phone
push that back in again, there you go
so for reassembly
start by offering up the volume switch into the casing
so line that up as best you can
put that into place so the switches line up
nicely with the holes in the case there
once your happy that is in place
move this ribbon cable so it lines up with
the little pin on the case there
then offer up the power LED to the case
and then put the earpiece back in
and make sure the ribbon cable is pushed down
and finally make sure this little pin is lined up with the ribbon connector
and just give that a gentle push down into place
now we can replace the volume key
make sure the slope of the key goes towards the back of the phone
and offer that up into place
and make sure they feel ok
now we can replace the secondary camera and proximity sensor
offer up the camera into place
and the proximity sensor
once you are happy that is in, take that large silver screw
and just do that up finger tight
now we can replace the vibrating module
so offer that up into its hole
and making sure that the 2 little pins line up on the case there
give that a good push, make sure it is stuck down
now we can replace the mainboard
start by offering up the main camera
into the top, hold that ribbon cable back
and just carefully bring that down into place
bring it down all the way
and we will replace that small black screw in the bottom there
now we can reconnect the main screen ribbon
just pop that back into place
and the volume and earpiece ribbon
and the secondary camera
line it up as best you can and pop that into place
once you are happy they are all connected
we can put the sim tray back on again
so line up the holes in the sim
tray with the holes in the case
once you are happy they are all lined up, give it a gentle push
but do not push too hard on these
pieces because you will bend the casing
just push around the edge, just to stick it down
and then plug that ribbon back in again
now we need to replace the antenna cable
so start by offering up this circuit at the top here
and you have got 2 little holes that
line up with pins on the case
so make sure they line up
and just gently push that down, do not push too hard
just to get the double sided tape stuck down
then bring the cable down into this channel
gently pushing it down as you come along
lift that little bit of sticky tape up and get the cable in there
and put that sticky tape back down again
now take your time when you reconnect this
line it up as best you can
it can be a bit tricky
line up that head so it is nice
and square, then push it back down
if it is down properly you will see it sits nice and flat
I think it might be for Wi-Fi or Bluetooth
and make sure that cable goes back down
underneath that circuit board there, there you go
and now we can replace the loudspeaker and headphone assembly
so offer that up to the top, and push that down into place
once you are happy that is pushed in
offer up this ribbon connector as best you can and plug that in
just a final check to make sure everything is plugged in and in place
and now we can replace the back cover
so offer that up
and then push that down into place
there is a few clips at the bottom here, push them down
and now you can replace those 10 Philips screws
you can skip this stage by clicking on the
link (Next) at the top of the video
replace your battery
after replacing your sim card and your memory card
replace your back cover
and then you should have a fully repaired Galaxy S3
Thank you for watching
please subscribe and give me the thumbs UP
and I will do my best to make some more :-)
Pinnacle Studio 17
Pinnacle Studio 17 & 18 Ultimate - Audio / Volume Tutorial
[BOOM!]
How did you do that? Whoa! Holy Cow! He did it! Oh boy!
All you have to do is ask.
Hey guys, how ya'll doing out there? It's time for another tutorial
from PinnacleStudioPro.
Another basic tutorial request...Yes!
I have been getting so many request on how to adjust the volume
in Pinnacle Studio 17 ultimate so I'm bringing you
two quick and easy ways to edit the volume in the timeline
Let's get into it. First and foremost you need to have
either and audio track or clip
down in the timeline track or you need to have a video clip that has
audio and you can tell that the video clip has audio
by the waveform that you see here at the bottom
of the video clip
First thing I wanna show you is the audio mixer first thing you want to
do is you want to enable the track that has the video clip on it
Keep in mind all of the video clips
on this timeline track will be adjusted by the volume if
you use the audio mixer
So make sure if you only wanna just the clip for
one of your video clips then you wanna make sure thats the only one
on the track and don't put anything else on
the track after it if use this method
So, you wanna activate the track by left clicking on it once you do it'll
turn light gray, then you go here to the audio mixer, you click on this
& its gonna open up all of your settings, first you got your metering
to tell how high your volume if you go into
orange or red then you're going too high, your volume is way too high
All right, now the next thing you got is your master volume
you can just place your cursor over this
hold down the left mouse and drag it to the left or to the right to adjust
the volume or you can click in this little box with the number
and then you can change the number
Next you got adjust the volume up your current position on the clip
this only works if you have keyframes
enabled and I'll talk about enabling keyframes right now if I move it
it's gonna move the whole green line up and down which is changing
my whole volume is not really changing it just at that spot
All right, you gotta have keyframes enabled for that to work
Then you have your surround sound
or your stereo panning so if I click on this
I'm given some options here
I'm given some options here
So you got a few presets first you got center channel off
What that means is all of the speakers will be on except for the
center speaker you see the center speaker is grayed out
Then you got 5.1
5.1 now the center speaker is on as well as all the other speakers
& then you have dialogue mode, where only the center speaker
and the speakers behind the viewer will be on
Those are the presets but you have control
over how it works you can drag the little grab point here to the left
& then only the two left speakers will be on
or to the right & only the right speakers or you can't drag
this grab point down only the rear speakers will be on or the top
depending on what you doing here & then you can grab the center
& then you can have everything with the same
exact volume and people in the center
will be getting the lusciousness of beautiful volume
& then you also have the ability to keyframe this out
& add keyframes at certain points when you're making adjustments to
the volume let's say you want for one scene to be just
this speaker on you can drag the little blue dot down here if you just
want this speaker on you can do the same
you know so it's all over the place, good little thing here
I'm gonna go center channel off and I'm gonna remove what
keyframes I made and we're good to go.
So thats your first option just adjusting the whole video clips or video
clip on a track with the master volume and the audio mixer
Second option over here to the right
on the toolbar right underneath the preview window you have little
squiggly line looks like a S
or whatever, this is called the volume keyframing button
when you click on and activate it, it turns orange
and now I can add keyframes and adjust my volume
by clicking on the green volume bar
in the waveform...beautiful
Click on it and you add a keyframe once you do you can
once you have more than one keyframe you can start changing
the volume cause you can't just change it with one
If I changed it now it'll just change the volume of everything
it'll just drag it up or down
but if I add another keyframe
here let's say, and I pull straight down then I will cause the faded
everything after his will be down at the bottom
and if I create another keyframe here
& then another keyframe after it I can drag it back
up & now I have a position where it fades down to the bottom and
fades back up, if I wanna change my fades I can just move these bars
up a little bit and add more volume to it
Let's say I had a part in the scene where there was some
mistake that I made but I still want to have the screen up
this wouldn't really be something you'd do a lot but I can add a
keyframe here, here, and drag this one all the way down
& then drag it right under it & it'll lock into place magnetically
& this means that my volume will stop at this point
If I make another keyframe here & another keyframe after that
I can't drag his last one up & above the other one
and now this part will be completely muted so let's see how it sounds.
Easy, Peasy, Lemon Squeezy!
There you go, two ways to adjust the volume
in Pinnacle Studio 17 Ultimate.
All right peeps you know what to do for me.
Haz me un favor, por favor
The thumb, the one that's pointed in the up upward direction
Click it, like it, live it, love it, HUG IT!
Comments, I love your comments
Good, bad, indifferent, I don't care, I love 'em!
If you need help I'll get back to you
if I can't help you I'll point you in the right direction
to get you the help you deserve.
And last, but definitely not least,
Don't you ever forget to...
Subscribe baby.
Thanks for watching, we'll see you again soon.
[MUSIC]
Samsung Galaxy Note 2 Tips & Tricks Episode 61: Ring Volume Locker & Flash Notification for Calls
hello everyone Michael here with the
daily note 2 youtube channel and
welcome to another episode
i've received a few questions on people
asking me whether if there's any way to
lock the volume controls on the
samsung galaxy note 2
because they would accidentally hit the
volume controls and they would sometimes
miss their phone calls there is a perfect
app for that and it's free and it
works something like
trying to change display setting on a computer
let me show you how to get
that app just go to that play store
just search for volume locker
here it is with this logo
so install it and open it
when you first open it you will need
to enable volume locker so let's do
that
you will notice that you have this
persistent notification there
I personally don't like app's doing that
so you could disable that
and you will notice that
in notification settings
you could
turn on pop up notification so
I actually prefer that
lets you turn on pop up notification and
by default the notification timeout is
30 seconds
I don't think that's necessary I think
10 is adequate so let's set it on that
we have all that set
let's test this real quick
I'm going to turn down the volume
as you could see I have a pop up with the
timer that will revert it if i don't
pressing anything or I could quickly revert it
by pressing the revert button
or I could click on the save changes
when you actually intended on
changing the volume
let's look at what other settings
that this app has
you can see that it could lock the volumes
for all these different types of
things
maybe the lock music volume if you find
that the galaxy note 2 changes a
volume because it depresses on something
in the pocket when you're listening to music
you could try enabling that or the lock system
volume i've only had this problem two
or three times but i'll sometimes find
that the system volume
is that backs volume and when I try typing
it is like
extremely loud and i don't think
system volume will ever need to be less
than minimum so i could probably enable
that
but i haven't tested to see if there's
any adverse effects to that so
I'll try that out but with that said
it looks like they've done
the research for you for any kind of
conflicts that you might encounter
I'm just very surprised how sophisticated
this app is because it's free
that's volume locker
but i just want to note that
apps like this
do have a background process
that runs all the time
i haven't heard in the comments of
anybody complaining about
memory usage or draining the batteries
so i think we're safe in that regard
with that said if you're not having
any problems with controlling the
ringer volume then i wouldn't worry
about it but if you do
encounter that problem in the future
just know that there is an app for this
that seems to work very well
while we're on the topic i want to show you
one more cool feature when you
go to settings
then you go to accessibility
and towards bottom i think
this might be a feature in 4.1.2
because I don't remember seeing it but
there is a feature called flash
notification
it just says camera light blinks
when you receive a phone call
it says notification but i think this only
applies to
when you get a phone call
let's see how this works
i'm just making a test call to myself
that's how it looks like
when you get a phone call
maybe you like blaring music with earphones on
or you're at work and you
would prefer to use slient mode for phone
calls and you find that the vibration
noise is too loud
or maybe you're just a little hard of hearing it
you could use another visual
cue that phone call's coming in
or maybe just think it looks cool
for those reasons you might want to
enable a feature like this
that's the end of today's episode
and i hope you got some useful
tips out of it
if you haven't been to my channel yet
please come to my channel and check out my
hundred-plus videos on the
samsung galaxy note 2
if you haven't subscribed please
subscribe because I create a video
a day so that you could get the most out of
your samsung galaxy note 2 once again
thank you for watching
[BOOM!]
How did you do that? Whoa! Holy Cow! He did it! Oh boy!
All you have to do is ask.
Hey guys, how ya'll doing out there? It's time for another tutorial
from PinnacleStudioPro.
Another basic tutorial request...Yes!
I have been getting so many request on how to adjust the volume
in Pinnacle Studio 17 ultimate so I'm bringing you
two quick and easy ways to edit the volume in the timeline
Let's get into it. First and foremost you need to have
either and audio track or clip
down in the timeline track or you need to have a video clip that has
audio and you can tell that the video clip has audio
by the waveform that you see here at the bottom
of the video clip
First thing I wanna show you is the audio mixer first thing you want to
do is you want to enable the track that has the video clip on it
Keep in mind all of the video clips
on this timeline track will be adjusted by the volume if
you use the audio mixer
So make sure if you only wanna just the clip for
one of your video clips then you wanna make sure thats the only one
on the track and don't put anything else on
the track after it if use this method
So, you wanna activate the track by left clicking on it once you do it'll
turn light gray, then you go here to the audio mixer, you click on this
& its gonna open up all of your settings, first you got your metering
to tell how high your volume if you go into
orange or red then you're going too high, your volume is way too high
All right, now the next thing you got is your master volume
you can just place your cursor over this
hold down the left mouse and drag it to the left or to the right to adjust
the volume or you can click in this little box with the number
and then you can change the number
Next you got adjust the volume up your current position on the clip
this only works if you have keyframes
enabled and I'll talk about enabling keyframes right now if I move it
it's gonna move the whole green line up and down which is changing
my whole volume is not really changing it just at that spot
All right, you gotta have keyframes enabled for that to work
Then you have your surround sound
or your stereo panning so if I click on this
I'm given some options here
I'm given some options here
So you got a few presets first you got center channel off
What that means is all of the speakers will be on except for the
center speaker you see the center speaker is grayed out
Then you got 5.1
5.1 now the center speaker is on as well as all the other speakers
& then you have dialogue mode, where only the center speaker
and the speakers behind the viewer will be on
Those are the presets but you have control
over how it works you can drag the little grab point here to the left
& then only the two left speakers will be on
or to the right & only the right speakers or you can't drag
this grab point down only the rear speakers will be on or the top
depending on what you doing here & then you can grab the center
& then you can have everything with the same
exact volume and people in the center
will be getting the lusciousness of beautiful volume
& then you also have the ability to keyframe this out
& add keyframes at certain points when you're making adjustments to
the volume let's say you want for one scene to be just
this speaker on you can drag the little blue dot down here if you just
want this speaker on you can do the same
you know so it's all over the place, good little thing here
I'm gonna go center channel off and I'm gonna remove what
keyframes I made and we're good to go.
So thats your first option just adjusting the whole video clips or video
clip on a track with the master volume and the audio mixer
Second option over here to the right
on the toolbar right underneath the preview window you have little
squiggly line looks like a S
or whatever, this is called the volume keyframing button
when you click on and activate it, it turns orange
and now I can add keyframes and adjust my volume
by clicking on the green volume bar
in the waveform...beautiful
Click on it and you add a keyframe once you do you can
once you have more than one keyframe you can start changing
the volume cause you can't just change it with one
If I changed it now it'll just change the volume of everything
it'll just drag it up or down
but if I add another keyframe
here let's say, and I pull straight down then I will cause the faded
everything after his will be down at the bottom
and if I create another keyframe here
& then another keyframe after it I can drag it back
up & now I have a position where it fades down to the bottom and
fades back up, if I wanna change my fades I can just move these bars
up a little bit and add more volume to it
Let's say I had a part in the scene where there was some
mistake that I made but I still want to have the screen up
this wouldn't really be something you'd do a lot but I can add a
keyframe here, here, and drag this one all the way down
& then drag it right under it & it'll lock into place magnetically
& this means that my volume will stop at this point
If I make another keyframe here & another keyframe after that
I can't drag his last one up & above the other one
and now this part will be completely muted so let's see how it sounds.
Easy, Peasy, Lemon Squeezy!
There you go, two ways to adjust the volume
in Pinnacle Studio 17 Ultimate.
All right peeps you know what to do for me.
Haz me un favor, por favor
The thumb, the one that's pointed in the up upward direction
Click it, like it, live it, love it, HUG IT!
Comments, I love your comments
Good, bad, indifferent, I don't care, I love 'em!
If you need help I'll get back to you
if I can't help you I'll point you in the right direction
to get you the help you deserve.
And last, but definitely not least,
Don't you ever forget to...
Subscribe baby.
Thanks for watching, we'll see you again soon.
[MUSIC]
Samsung Galaxy Note 2 Tips & Tricks Episode 61: Ring Volume Locker & Flash Notification for Calls
hello everyone Michael here with the
daily note 2 youtube channel and
welcome to another episode
i've received a few questions on people
asking me whether if there's any way to
lock the volume controls on the
samsung galaxy note 2
because they would accidentally hit the
volume controls and they would sometimes
miss their phone calls there is a perfect
app for that and it's free and it
works something like
trying to change display setting on a computer
let me show you how to get
that app just go to that play store
just search for volume locker
here it is with this logo
so install it and open it
when you first open it you will need
to enable volume locker so let's do
that
you will notice that you have this
persistent notification there
I personally don't like app's doing that
so you could disable that
and you will notice that
in notification settings
you could
turn on pop up notification so
I actually prefer that
lets you turn on pop up notification and
by default the notification timeout is
30 seconds
I don't think that's necessary I think
10 is adequate so let's set it on that
we have all that set
let's test this real quick
I'm going to turn down the volume
as you could see I have a pop up with the
timer that will revert it if i don't
pressing anything or I could quickly revert it
by pressing the revert button
or I could click on the save changes
when you actually intended on
changing the volume
let's look at what other settings
that this app has
you can see that it could lock the volumes
for all these different types of
things
maybe the lock music volume if you find
that the galaxy note 2 changes a
volume because it depresses on something
in the pocket when you're listening to music
you could try enabling that or the lock system
volume i've only had this problem two
or three times but i'll sometimes find
that the system volume
is that backs volume and when I try typing
it is like
extremely loud and i don't think
system volume will ever need to be less
than minimum so i could probably enable
that
but i haven't tested to see if there's
any adverse effects to that so
I'll try that out but with that said
it looks like they've done
the research for you for any kind of
conflicts that you might encounter
I'm just very surprised how sophisticated
this app is because it's free
that's volume locker
but i just want to note that
apps like this
do have a background process
that runs all the time
i haven't heard in the comments of
anybody complaining about
memory usage or draining the batteries
so i think we're safe in that regard
with that said if you're not having
any problems with controlling the
ringer volume then i wouldn't worry
about it but if you do
encounter that problem in the future
just know that there is an app for this
that seems to work very well
while we're on the topic i want to show you
one more cool feature when you
go to settings
then you go to accessibility
and towards bottom i think
this might be a feature in 4.1.2
because I don't remember seeing it but
there is a feature called flash
notification
it just says camera light blinks
when you receive a phone call
it says notification but i think this only
applies to
when you get a phone call
let's see how this works
i'm just making a test call to myself
that's how it looks like
when you get a phone call
maybe you like blaring music with earphones on
or you're at work and you
would prefer to use slient mode for phone
calls and you find that the vibration
noise is too loud
or maybe you're just a little hard of hearing it
you could use another visual
cue that phone call's coming in
or maybe just think it looks cool
for those reasons you might want to
enable a feature like this
that's the end of today's episode
and i hope you got some useful
tips out of it
if you haven't been to my channel yet
please come to my channel and check out my
hundred-plus videos on the
samsung galaxy note 2
if you haven't subscribed please
subscribe because I create a video
a day so that you could get the most out of
your samsung galaxy note 2 once again
thank you for watching
Nexus 5 Audio Speaker problems and solutions - Androidizen - Export an mp3 from GarageBand
Nexus 5 Audio Speaker problems and solutions - Androidizen
Hello everyone,
OK, there's been a lot of chatter about
the Nexus 5
sound quality and in my original sound review
and so on, I seem to have caught a lot of flak
with people saying
Oh, you're wrong, the sound quality on the
Nexus 5 is rubbish etcetera, etcetera, etcetera.
Anyway, what I'm going to do now, I'm just going to round up some of the issues that people
have discovered
with the sound quality and where we kind of
lie with the fix.
Now, what you have to bear in mind is
that when a device is produced brand new
coming out of the factory
they tend to produce quite quickly and
sometimes things go
wrong. And that can be a software issue
so Google did a bit of programming
mistake and it can also be a physical
manufacturing issue. Now we actually have
two problems with the Nexus 5 right now.
One is how the software on the device
individual applications are working
with the sound driver effectively, the DSP of
the Nexus 5 and the other issue is a
manufacturing issue.
Now in my tests I use Google Music
and I use the YouTube app, OK?
And in both of those tests I found the audio
quality to be absolutely fine.
Now interestingly enough if you try and
play back some mp3
audio from another application or directly from the
device itself you can hear the sound
quality has gone
thin. It loses some of its punchiness. Effectively it sounds
like the equalizer is not being used to in anyway
enhance the sound quality. It feels flat. So
that's the first issue. Now we know Google are
working on a fix for that.
That should hopefully filter down over the coming weeks,
maybe before Christmas would be great. So
let's put that problem aside for a moment.
Effectively that's a software issue,
if you're having that problem where in
Google Music or on YouTube things sound great
there's kicking off
then that's the problem -
software bug. Now the next issue is a
physical hardware problem. What some
developers
have found over on the XDA developers
forum is
that when the device is being manufactured, this speaker grille at the
bottom
effectively too much glue has been used
and it's ended up blocking some of the
egress holes that let the sound out.
Now what one enterprising developer did
was took his Nexus 5 apart,
took out the speaker array,got a hot needle that he basically heated up with a lighter
and poked some extra holes into the
speaker grille. This effectively allowed more
sound
out, thus everything was fine. So your
choices are this. If you feel the Nexus 5 sound quality is sub-par
especially in the Google Music app and
the YouTube app
then you may very well have a physical
manufacturing problem with glue bunging
up those
speaker holes. RMA your device. However if
you find that the
audio quality is great in Google Music
great in YouTube and some other apps
but awful in all your other apps, then
you've got the software issue -
just hold fire it's going to get fixed. So
there's really two problems
as I say that we're kind of dealing with here. One is a software issue
the other is this physical hardware
issue with too much glue being used in the
speaker array. Basically the glue is
being used to kind of hold all of the
components in place. There is not a
major problem with the Nexus 5 speakers,
there is not a major problem with the
Nexus 5 audio quality. What we have is some
slight
teething problems that probably should have been picked up at QA but weren't.
Like I say, if you find that the sound quality is
great in
Google Music but sucks in every other
app, wait for the software update.
If you find though that the audio
quality sucks in Google Music
then you may very well need to RMA your device to have it swapped out because you've got glue
bunging up that speaker array. What I'm
going to do is I'm going to drop
some links into the description on this
video so you can go and explore this problem in
more detail.
But like I say, don't declare the Nexus 5 sound quality to be
absolutely atrocious just yet. There is a bit
more work to do in fixing this up and you
may very well just have
a defective unit from manufacture.
Export an mp3 from GarageBand
okay in this short video I'm going to explain
how to export file from garage band
now this is assuming that you finished
all of your editing you've listened to it it
sounds good it's the way you want it so you can export
it as an mp3
the last thing before you export
is to make sure
the end of projects marker this little
purple or pink triangle here
is placed
at the end of your audio if you don't do this
there will be
a lot of dead space at the end of the
mp3 so one that's set you go under share
at the top of the page
you're going to choose export podcast to disk
once you do that you'll see compress
using mp3 encoder
audio settings spoken podcast
select export
hit continue
then you're going to rename
the
podcast depending on what your name was
already so
this would be sample
mp3
export
save that
and then you're done
you'll want to of course check in your finder to
make sure that the mp3 file is
there so that's how you export
your project from garageband
Hello everyone,
OK, there's been a lot of chatter about
the Nexus 5
sound quality and in my original sound review
and so on, I seem to have caught a lot of flak
with people saying
Oh, you're wrong, the sound quality on the
Nexus 5 is rubbish etcetera, etcetera, etcetera.
Anyway, what I'm going to do now, I'm just going to round up some of the issues that people
have discovered
with the sound quality and where we kind of
lie with the fix.
Now, what you have to bear in mind is
that when a device is produced brand new
coming out of the factory
they tend to produce quite quickly and
sometimes things go
wrong. And that can be a software issue
so Google did a bit of programming
mistake and it can also be a physical
manufacturing issue. Now we actually have
two problems with the Nexus 5 right now.
One is how the software on the device
individual applications are working
with the sound driver effectively, the DSP of
the Nexus 5 and the other issue is a
manufacturing issue.
Now in my tests I use Google Music
and I use the YouTube app, OK?
And in both of those tests I found the audio
quality to be absolutely fine.
Now interestingly enough if you try and
play back some mp3
audio from another application or directly from the
device itself you can hear the sound
quality has gone
thin. It loses some of its punchiness. Effectively it sounds
like the equalizer is not being used to in anyway
enhance the sound quality. It feels flat. So
that's the first issue. Now we know Google are
working on a fix for that.
That should hopefully filter down over the coming weeks,
maybe before Christmas would be great. So
let's put that problem aside for a moment.
Effectively that's a software issue,
if you're having that problem where in
Google Music or on YouTube things sound great
there's kicking off
then that's the problem -
software bug. Now the next issue is a
physical hardware problem. What some
developers
have found over on the XDA developers
forum is
that when the device is being manufactured, this speaker grille at the
bottom
effectively too much glue has been used
and it's ended up blocking some of the
egress holes that let the sound out.
Now what one enterprising developer did
was took his Nexus 5 apart,
took out the speaker array,got a hot needle that he basically heated up with a lighter
and poked some extra holes into the
speaker grille. This effectively allowed more
sound
out, thus everything was fine. So your
choices are this. If you feel the Nexus 5 sound quality is sub-par
especially in the Google Music app and
the YouTube app
then you may very well have a physical
manufacturing problem with glue bunging
up those
speaker holes. RMA your device. However if
you find that the
audio quality is great in Google Music
great in YouTube and some other apps
but awful in all your other apps, then
you've got the software issue -
just hold fire it's going to get fixed. So
there's really two problems
as I say that we're kind of dealing with here. One is a software issue
the other is this physical hardware
issue with too much glue being used in the
speaker array. Basically the glue is
being used to kind of hold all of the
components in place. There is not a
major problem with the Nexus 5 speakers,
there is not a major problem with the
Nexus 5 audio quality. What we have is some
slight
teething problems that probably should have been picked up at QA but weren't.
Like I say, if you find that the sound quality is
great in
Google Music but sucks in every other
app, wait for the software update.
If you find though that the audio
quality sucks in Google Music
then you may very well need to RMA your device to have it swapped out because you've got glue
bunging up that speaker array. What I'm
going to do is I'm going to drop
some links into the description on this
video so you can go and explore this problem in
more detail.
But like I say, don't declare the Nexus 5 sound quality to be
absolutely atrocious just yet. There is a bit
more work to do in fixing this up and you
may very well just have
a defective unit from manufacture.
Export an mp3 from GarageBand
okay in this short video I'm going to explain
how to export file from garage band
now this is assuming that you finished
all of your editing you've listened to it it
sounds good it's the way you want it so you can export
it as an mp3
the last thing before you export
is to make sure
the end of projects marker this little
purple or pink triangle here
is placed
at the end of your audio if you don't do this
there will be
a lot of dead space at the end of the
mp3 so one that's set you go under share
at the top of the page
you're going to choose export podcast to disk
once you do that you'll see compress
using mp3 encoder
audio settings spoken podcast
select export
hit continue
then you're going to rename
the
podcast depending on what your name was
already so
this would be sample
mp3
export
save that
and then you're done
you'll want to of course check in your finder to
make sure that the mp3 file is
there so that's how you export
your project from garageband
How to Increase Headphone volume - Pedalboard demo for Ambient Guitar (playing)
How to Increase Headphone volume
Hi guys
Back with an other tutorial.
As you can see , i'm in new windows 8.1 preview mode.
Today i'm gonna show you how to set headphone volume level at maximum.
Or maximum your onboard sound card can afford.
I'm using Sennheiser HD 439 headphones. which are pretty new.
Its has good bass & crsip sound.
Now, You need to download the latest drivers from realtek website.
otherwise,this may not work.
And importantly a decent enough headphone with 32 ohm or less.
Anything higher ohm's may have even lower sound than this one.!
Open Realtek audio manager.
Do excatly what i've done here.
Always set it to living room. selecting room will reduce headphone quality.
Now, Download dfx audio enhancer,
This is not a free software. you have to either buy it or find the cracks .
DFX audio enhancer increases or boost sound and bass !
its a pretty cool software !
Also maximises every bit of your onboard sound card.
Install the software. you may need a restart.
Now, you will find an extra volume controller alongside realtek.
2 volume controllers can only be found if and when playing a video/mp3 file.
Open realtek speaker properties.
Check if everything is at maximum.
Now,open dfx audio enhancer.
Adjust the various levels according to the music or movie.
Now, refer to my increase bass video to put bass levels at maximum.
This is very important step to increase the volume and sound loud and clear.
Hope this tutorial helps,
if u have any doubts comment down below.!
Pedalboard demo for Ambient Guitar (playing)
Alright, so in this video, I will
play more through the pedals!
This was my clean signal, so let's see
with the compressor
so the compressor is really fat, and
I like to use a conservative
compressor sound, because I don't like
really compressed sounds so you
can really do whatever you want with this pedal
and you have a really healthy
boost of volume
So, after... I'm sure what you really want
to know
the most about are the delays ! I use them
together, like I said the other video
so the Diamond is set also pretty
conservative, not a lot of trails.
Yeah, there are a lot, finally !
but, the El Capistan is even more (*longer repeats) !
but the repeats are faster and more a type of
drum saturation, drum wash sound. So together
the tempo is really important because
together
they clash to make
an even sound.
So, when I use my volume pedal,
it's nice and even when I use them together
and I put the Tremolo Pedal in between
those to delays so I can have
different types of sound. so I can have
Tremolo processed by the delay
and into another delay its hard to
explain
but let me demonstrate it
its delay with a tremolo after it
but here's the tremolo with the delay after
it's a
its a different kind of sound really so
yeah and... there's the organizer too !
which I like to use
with both delays and it sounds like this
so really it sounds a lot like the micro
POG but
it has its own sound quality. I think it's really unique !
the micro POG tracks better but I use
is it more for to swells, so that
doesn't matter for me
hum, I said, my overdrives
and this one is more for the modern
open type of sound, so let me
demonstrate it
on the pedal, you also have a ''MORE''
button
which is a volume boost
it makes my amp overdrive a lot more
but, I don't know if can see, but I
really put the gain and tone knobs
all the way up so the pedal is really
working hard!!!
so compared to The Rat, which is really more
compressed but
also good for sustaining leads
and I can combine both to do like
Petrucci-like-leads
but they are really noisy together haha!
then, I didn't talk about the Stereo WET
which I use like... even if I have to Big
Sky, I use it like 90% of the time
this is just my favorite pedal ever
just hear this
I can play with it like
so many hours per day
this is just the most beautiful pedal I have
ever played
so I also have the Big Sky which
I store my own presets on banks, let's
say...
0 to 5. Here I have my
wet Bloom, which I think is my number one sound
I also have my number 2 sound here
emulating the Micro POG
I also have the Cloud sound
or even... the one with the Zelda video
Really great so, go see those videos if you haven't seen
them
and lastly I have my Boomerang for all
my looping in my videos, so let's
end the video with a little jam !
Hi guys
Back with an other tutorial.
As you can see , i'm in new windows 8.1 preview mode.
Today i'm gonna show you how to set headphone volume level at maximum.
Or maximum your onboard sound card can afford.
I'm using Sennheiser HD 439 headphones. which are pretty new.
Its has good bass & crsip sound.
Now, You need to download the latest drivers from realtek website.
otherwise,this may not work.
And importantly a decent enough headphone with 32 ohm or less.
Anything higher ohm's may have even lower sound than this one.!
Open Realtek audio manager.
Do excatly what i've done here.
Always set it to living room. selecting room will reduce headphone quality.
Now, Download dfx audio enhancer,
This is not a free software. you have to either buy it or find the cracks .
DFX audio enhancer increases or boost sound and bass !
its a pretty cool software !
Also maximises every bit of your onboard sound card.
Install the software. you may need a restart.
Now, you will find an extra volume controller alongside realtek.
2 volume controllers can only be found if and when playing a video/mp3 file.
Open realtek speaker properties.
Check if everything is at maximum.
Now,open dfx audio enhancer.
Adjust the various levels according to the music or movie.
Now, refer to my increase bass video to put bass levels at maximum.
This is very important step to increase the volume and sound loud and clear.
Hope this tutorial helps,
if u have any doubts comment down below.!
Pedalboard demo for Ambient Guitar (playing)
Alright, so in this video, I will
play more through the pedals!
This was my clean signal, so let's see
with the compressor
so the compressor is really fat, and
I like to use a conservative
compressor sound, because I don't like
really compressed sounds so you
can really do whatever you want with this pedal
and you have a really healthy
boost of volume
So, after... I'm sure what you really want
to know
the most about are the delays ! I use them
together, like I said the other video
so the Diamond is set also pretty
conservative, not a lot of trails.
Yeah, there are a lot, finally !
but, the El Capistan is even more (*longer repeats) !
but the repeats are faster and more a type of
drum saturation, drum wash sound. So together
the tempo is really important because
together
they clash to make
an even sound.
So, when I use my volume pedal,
it's nice and even when I use them together
and I put the Tremolo Pedal in between
those to delays so I can have
different types of sound. so I can have
Tremolo processed by the delay
and into another delay its hard to
explain
but let me demonstrate it
its delay with a tremolo after it
but here's the tremolo with the delay after
it's a
its a different kind of sound really so
yeah and... there's the organizer too !
which I like to use
with both delays and it sounds like this
so really it sounds a lot like the micro
POG but
it has its own sound quality. I think it's really unique !
the micro POG tracks better but I use
is it more for to swells, so that
doesn't matter for me
hum, I said, my overdrives
and this one is more for the modern
open type of sound, so let me
demonstrate it
on the pedal, you also have a ''MORE''
button
which is a volume boost
it makes my amp overdrive a lot more
but, I don't know if can see, but I
really put the gain and tone knobs
all the way up so the pedal is really
working hard!!!
so compared to The Rat, which is really more
compressed but
also good for sustaining leads
and I can combine both to do like
Petrucci-like-leads
but they are really noisy together haha!
then, I didn't talk about the Stereo WET
which I use like... even if I have to Big
Sky, I use it like 90% of the time
this is just my favorite pedal ever
just hear this
I can play with it like
so many hours per day
this is just the most beautiful pedal I have
ever played
so I also have the Big Sky which
I store my own presets on banks, let's
say...
0 to 5. Here I have my
wet Bloom, which I think is my number one sound
I also have my number 2 sound here
emulating the Micro POG
I also have the Cloud sound
or even... the one with the Zelda video
Really great so, go see those videos if you haven't seen
them
and lastly I have my Boomerang for all
my looping in my videos, so let's
end the video with a little jam !
Monday, December 14, 2015
How to Whistle with Your Fingers - Panasonic HD Visual Communications system, HDVC Demonstration
How to Whistle with Your Fingers
How to Whistle with Your Fingers. The finger
whistle may seem difficult, but with a little
practice, anyone can master it. You will need
Clean fingers A mouth and a mirror. Step 1.
Form a U shape with your thumb and forefinger
or middle finger. Use a mirror to perfect
your form and technique. Step 2. Place your
fingers partly inside your mouth, wrapping
your lips tightly across your teeth. Only
the outer edges of your lips should be visible.
Angle fingertips toward the center of your
tongue. Step 3. Flatten your tongue to cover
the bottom portion of your mouth. The tip
of your tongue will touch the lower jaw just
behind the bottom row of teeth. Step 4. Inhale
deeply and blow forcefully across the top
of your tongue and lower lip. Push your fingers
downward and outward, onto your lips and teeth.
Step 5. Adjust the position of your fingers,
tongue, and jaw for optimal whistling. Regulate
the force of air for maximum effect and volume.
Step 6. Practice regularly until your desired
whistle is achieved. Did you know Louisburg,
North Carolina, is the world’s whistling
capital.
Panasonic HD Visual Communications system, HDVC Demonstration
Thank you for joining us at Panasonic Showcase
in Fukuoka, Japan.
Today, I will make a demonstration of Panasonic
HD Visual Communications system.
First of all, let me explain briefly about
the system structure. This HD Video Conferencing
Unit here is connected with 2 cameras. One
is the main camera, and the other one is the
sub camera. You can connect a camcorder as
a sub camera with the HDMI cable. It fs pretty
convenient when you want to zoom up and show
something at hand.
And this microphone right here is also connected
to the unit. And from this unit, it fs connected
right straight to the internet through the
router by optical fiber cable.
Now, you can see the crisp images of this
Panasonic logo in the front to my face, and
to the poster in the back.
There is also a special feature about the
audio in this system. There are 4 microphone
elements in this boundary microphone and these
elements automatically calculate the position
of the person speaking, so it gives not only
the right and left stereo, but it also gives
the 360 degrees stereophonic audio. Let me
show you what it actually means.
I fm now standing on the left side of the
camera.
Now, let me walk to the left corner of the
room, turn right, move forward to the right
corner, and then back to the right side of
the camera. Did you see my voice came along
with me as I walked around the room? This
is made possible by the 4 microphone elements
in this boundary microphone detecting the
direction of the voice.
Let me switch to the sub camera. You are now
looking at a zoomed view of a PCB board. The
scale shows 0.5mm, so the actual size is very
small, but you can still see the details very
precisely. You can also show something bigger
by zooming out. Here fs an example. You can
see the skin texture of this cute little hippo
as if it fs right in front of you.
Next, this is a piece of ceramic material
used for house walls. Since it fs painted
all in white, it fs difficult to identify
the subtle tone of its surface with naked
eyes, but by zooming in and out, you can see
the specific feature of the surface of the
material. This is very useful when discussing
about product design by showing from every
angle among multiple remote locations. This
makes the decision making easier and shorter.
Also, you could use for quality controls,
for example sampling inspection, between factory
and product development division.
Or you could also share videos. This is a
video that I took over the weekend near my
house with the camcorder. The resolution is
full HD, 1080 by 1920. The images are being
compressed on our side then sent to your side.
Since the images are crisp and vivid, you
can obtain necessary information from the
video without actually going to the spot.
All you need to do is to have your staff record
the video in advance. This is a new way of
using the video conferencing system.
Let me switch back to the PC.
This is a composite image with my laptop PC
screen on the left side and other sides f
images on the right side. Right now, there
are only 2, but it can show up to 4 remote
locations including self image.
Because you can see the participants f facial
expression while you explain the data, you
can go back and give further explanations
if they are not with you. Also, since the
resolution is full HD, small letters or pictures
can be clearly seen. Other than these power
point materials, you can also share these
technical drawings, pictures, or medical data.
Now, let me explain to you the 3 main features
of Panasonic HDVC system.
First one is the high image quality.
Panasonic offers wide range of products from
the professional full HD cameras that are
used in London Olympic Games, to home use
camcorders, Viera, or blu-ray Diga. All of
these products are equipped with Panasonic
proprietary UniPhier system LSI. Both hardware
and software are developed in-house, so Panasonic
fs expertise in both professional and home-use
cutting-edge compression technology is all
combined and adopted into this HDVC system.
This leads to clear, life-like images that
clearly show the facial expressions of people
in remote locations as if they were in the
same room.
The second feature of the system is the high
quality audio. The HDVC system uses unique
echo canceller technology which separates
the echoes of the voices and the speaker's
actual voice. This echo canceller enables
several people speaking at the same time without
dropping off the voice. Also, this system
automatically controls all particicpants f
voice volumes. For example, it adjusts the
voice of a person with soft voice to bigger
voice and a person with loud voice to a softer
voice while maintaining the 360 degrees stereophonic
sound. It can also adjust the speaker fs voice
when there is some back ground noise. Let
me show you what it means with
a music.
--- Start music ---
If I start talking, the volume level of the
music goes down and makes my voice bigger.
If I stop talking, the music goes back to
its original volume.
--- Stop music ---
This system is so smart that it can adjust
the voices to suitable ones at any condition.
And finally, the third feature is the QoS
technology. QoS stands for quality of service
and it makes it possible to exchange clear
voices and images over the internet, where
packet loss occurs and available bandwidths
fluctuate. The HDVC system monitors the bandwidth
33 times a second and it adjusts the bandwidth
6 times a second. And it automatically adjusts
the resolution and frame rate depending upon
the condition of the bandwidth. And if the
bandwidth recovers, then it switches back
to full HD 1080, so the audio and video will
not be dropped out. This is Panasonic fs key
strength QoS technology.
And last but not least, this remote control
is well accepted by our actual users for its
very simple and easy operation designed under
Panasonic fs universal design philosophy.
Thank you very much for your time and have
a good day!
How to Whistle with Your Fingers. The finger
whistle may seem difficult, but with a little
practice, anyone can master it. You will need
Clean fingers A mouth and a mirror. Step 1.
Form a U shape with your thumb and forefinger
or middle finger. Use a mirror to perfect
your form and technique. Step 2. Place your
fingers partly inside your mouth, wrapping
your lips tightly across your teeth. Only
the outer edges of your lips should be visible.
Angle fingertips toward the center of your
tongue. Step 3. Flatten your tongue to cover
the bottom portion of your mouth. The tip
of your tongue will touch the lower jaw just
behind the bottom row of teeth. Step 4. Inhale
deeply and blow forcefully across the top
of your tongue and lower lip. Push your fingers
downward and outward, onto your lips and teeth.
Step 5. Adjust the position of your fingers,
tongue, and jaw for optimal whistling. Regulate
the force of air for maximum effect and volume.
Step 6. Practice regularly until your desired
whistle is achieved. Did you know Louisburg,
North Carolina, is the world’s whistling
capital.
Panasonic HD Visual Communications system, HDVC Demonstration
Thank you for joining us at Panasonic Showcase
in Fukuoka, Japan.
Today, I will make a demonstration of Panasonic
HD Visual Communications system.
First of all, let me explain briefly about
the system structure. This HD Video Conferencing
Unit here is connected with 2 cameras. One
is the main camera, and the other one is the
sub camera. You can connect a camcorder as
a sub camera with the HDMI cable. It fs pretty
convenient when you want to zoom up and show
something at hand.
And this microphone right here is also connected
to the unit. And from this unit, it fs connected
right straight to the internet through the
router by optical fiber cable.
Now, you can see the crisp images of this
Panasonic logo in the front to my face, and
to the poster in the back.
There is also a special feature about the
audio in this system. There are 4 microphone
elements in this boundary microphone and these
elements automatically calculate the position
of the person speaking, so it gives not only
the right and left stereo, but it also gives
the 360 degrees stereophonic audio. Let me
show you what it actually means.
I fm now standing on the left side of the
camera.
Now, let me walk to the left corner of the
room, turn right, move forward to the right
corner, and then back to the right side of
the camera. Did you see my voice came along
with me as I walked around the room? This
is made possible by the 4 microphone elements
in this boundary microphone detecting the
direction of the voice.
Let me switch to the sub camera. You are now
looking at a zoomed view of a PCB board. The
scale shows 0.5mm, so the actual size is very
small, but you can still see the details very
precisely. You can also show something bigger
by zooming out. Here fs an example. You can
see the skin texture of this cute little hippo
as if it fs right in front of you.
Next, this is a piece of ceramic material
used for house walls. Since it fs painted
all in white, it fs difficult to identify
the subtle tone of its surface with naked
eyes, but by zooming in and out, you can see
the specific feature of the surface of the
material. This is very useful when discussing
about product design by showing from every
angle among multiple remote locations. This
makes the decision making easier and shorter.
Also, you could use for quality controls,
for example sampling inspection, between factory
and product development division.
Or you could also share videos. This is a
video that I took over the weekend near my
house with the camcorder. The resolution is
full HD, 1080 by 1920. The images are being
compressed on our side then sent to your side.
Since the images are crisp and vivid, you
can obtain necessary information from the
video without actually going to the spot.
All you need to do is to have your staff record
the video in advance. This is a new way of
using the video conferencing system.
Let me switch back to the PC.
This is a composite image with my laptop PC
screen on the left side and other sides f
images on the right side. Right now, there
are only 2, but it can show up to 4 remote
locations including self image.
Because you can see the participants f facial
expression while you explain the data, you
can go back and give further explanations
if they are not with you. Also, since the
resolution is full HD, small letters or pictures
can be clearly seen. Other than these power
point materials, you can also share these
technical drawings, pictures, or medical data.
Now, let me explain to you the 3 main features
of Panasonic HDVC system.
First one is the high image quality.
Panasonic offers wide range of products from
the professional full HD cameras that are
used in London Olympic Games, to home use
camcorders, Viera, or blu-ray Diga. All of
these products are equipped with Panasonic
proprietary UniPhier system LSI. Both hardware
and software are developed in-house, so Panasonic
fs expertise in both professional and home-use
cutting-edge compression technology is all
combined and adopted into this HDVC system.
This leads to clear, life-like images that
clearly show the facial expressions of people
in remote locations as if they were in the
same room.
The second feature of the system is the high
quality audio. The HDVC system uses unique
echo canceller technology which separates
the echoes of the voices and the speaker's
actual voice. This echo canceller enables
several people speaking at the same time without
dropping off the voice. Also, this system
automatically controls all particicpants f
voice volumes. For example, it adjusts the
voice of a person with soft voice to bigger
voice and a person with loud voice to a softer
voice while maintaining the 360 degrees stereophonic
sound. It can also adjust the speaker fs voice
when there is some back ground noise. Let
me show you what it means with
a music.
--- Start music ---
If I start talking, the volume level of the
music goes down and makes my voice bigger.
If I stop talking, the music goes back to
its original volume.
--- Stop music ---
This system is so smart that it can adjust
the voices to suitable ones at any condition.
And finally, the third feature is the QoS
technology. QoS stands for quality of service
and it makes it possible to exchange clear
voices and images over the internet, where
packet loss occurs and available bandwidths
fluctuate. The HDVC system monitors the bandwidth
33 times a second and it adjusts the bandwidth
6 times a second. And it automatically adjusts
the resolution and frame rate depending upon
the condition of the bandwidth. And if the
bandwidth recovers, then it switches back
to full HD 1080, so the audio and video will
not be dropped out. This is Panasonic fs key
strength QoS technology.
And last but not least, this remote control
is well accepted by our actual users for its
very simple and easy operation designed under
Panasonic fs universal design philosophy.
Thank you very much for your time and have
a good day!
Samsung Galaxy Note 2 Tips
Samsung Galaxy Note 2 Tips & Tricks (Episode 16: Voice Control For Calls, Alarm, Camera, Music)
hello everyone I'm Michael from the
daily note 2 youtube channel and welcome
to another episode of galaxy note 2
tips and tricks episode sixteen
the Samsung Galaxy Note 2 comes with vice
commands that are separated from google
and google vice search
so I will quickly run through them and i'll
show you how to enable and disable them
because those settings are not easy to
find
so here we go, reject
answer
snooze
snooze
snooze, stop
capture, shoot
smile, cheese
next
previous, pause, play
volume up
volume down
mute
next, mute, pause, play, stop
as you could see it did pretty well there
I couldn't get the snooze
for the alarm clock but
I got it to everything else
another thing is i would say mute
and it would go back to previous
so i thought that's interesting
considering it doesn't recognize other
words but seem to recognize mute
but it wants to go back a track so
anyway
so to trigger as voice by doing double tap
if you did turn that off you could
find S voice in your apps and
you would do the same thing then go to
settings..hit menu and go to settings
and then you're going to see
control apps
and then if you have it off
all of these functions that we saw
would be disabled
and maybe it would save you some battery
as well
but
let me show you one
interesting troubleshooting tips before
we move on
say that
say that we had this turned off
because you don't want any kind of like
alarm voice controll or music voice control
but say you go to the camera app
you go to the camera app
and you want to use those voice
functions
.
take photos
using voice and you want to turn that on
when you turn that on the entire
voice control
turns on. so let me show you
so when you turn that on this whole
switch flips
and it is not just the camera
that gets enabled
it's whatever you had set before
so
just letting you know
you might be turning something on
by indirectly switching
switch on the camera app
this episode was
inspired by somebody who commented that
they really like this feature on the
galaxy S3 and they had a really hard time
finding it
even called samsung and they didn't even
know how to do it so he told me about it
and i think it's a great feacher i have it on
and I think it would be great for music
one thing is
when you answer a phone call
by voice it automatically turns out the
speakers so i think that's very
intuitive
so anyway
there you go i want to show you
how to turn it on or maybe you want to turn it off
so save some battery
and how to get to it because it is not obvious
you cannot go to settings and it
is not anywhere in here so i think
it's definitely worth pointing out
so if you haven't been to my channel yet
please come by and check it out
if you haven't been to my chennel recently
I've reorganized everything because
I used to have all the videos together at once
but now i have sorted through
all of them so maybe you want to watch
videos from a specific category where at
where it's a tips and tricks series or
just accessory and
peripheral reviews and demos
so please come by and check it out
and if you haven't subscribed at
please subscribe because i'm planning to
put out more videos on a daily basis
and i'm doing this so that
you could get the most out of the
samsung galaxy note 2
once again thank you for watching
Tips for Mixing Programmed Hi-Hats
Hey guys, Matt Weiss here, www.weiss-sound.com,
www-theproaudiofiles.com. You are probably
wondering why I look like I’m shrouded in
mystery. That is because right before recording
this the light bulb in my studio exploded,
so tonight we’re going to be gathered around
the campfire in order to talk about hi-hats.
We’re going to be talking specifically about
programmed hi-hats as opposed to actual played
hi-hats in the context of a hip-hop record.
But a lot of these ideas will expand into
other genres as well.
Alright, let’s play some music.
[music]
Ok, there’s a couple of hi-hats in there.
First of all, context is everything. The hi-hats
don’t need to be front and center in this
record so much. There’s a lot of musical
stuff going on that I would rather the attention
of the ear go to. But the hi-hats are in fact
an important part of it. So, we can’t complete
ignore them either. The first basic move is
just some simple EQ, and I’ll give you an
example of that.
Here is the Q curve I’ve put on the hi-hat.
I’m gonna bypass it and then I’m gonna
bring it in an you’ll hear the difference
[beat without EQ]
You barely hear the closed hi-hat at all
[beat with EQ]
Now I wouldn’t say the hi-hat is exactly
jumping out at you but at least now we’re
really hearing it. And the way that worked
is simple because the hi-hat’s focus of
energy was a little bit more around the 1k
zone, so I dipped that out a bit here and
I enhanced the 2.5k where there was a bit
more sonic space. Where the tone of the hat
could pop through a little more and it just
became a little bit easier to hear. Nothing
crazy bout that.
Now, in terms of the actual top end of the
hats, both the open and hi-hat I felt had
enough of that top frequency that, you know,
15-16k for the particular context of this
track. Now if this was more of a trap-oriented
record, I’d probably be boosting a little
bit more. If this was an EDM record I’d
probably be pushing a little bit more 15-16k
into the hi-hats. But it’s not, it’s a
hip hop track, it’s got a darker kind of
cooler feel. So I didn’t feel that I necessarily
needed that. Ok let’s check out some other
stuff.
[music]
At the end of that you hear this little trill.
This quick 16th note run. Well, I think it’s
actually 32nd note run. And it pops out a
little bit. That’s not an accident. That’s
because I actually have some automated panning
going on here. When we get to that trill,
I have the hi-hat move to hard right.
[music]
And what that does is it helps it stand out
without having to make it any louder than
what it already is. Panning with hi-hats is
a really cool thing. You can do a lot with
it. A lot of times with a trap style record
where the hi-hat is holding down either an
8th note or a 16th note I might pan the hi-hat
a little out of center and then automate the
pan to go back and forth like this. And what
happens is the ear doesn’t necessarily hear
a panning going on, but we feel a new dynamic
show up. And that helps kind of increase the
energy of the record without having to boost
anything. Without having to change any of
the dynamics. In other words it’s a way
of almost making the hi-hat more energized
without having to turn it up.
So anyway, let’s demonstrate a little bit
of a cool stuff you can do with some panning
in this next section.
[beat]
Alright, so you see that I have another automated
pan thing going on here. This is not as complicated
as it looks. It’s basically just on the
quarter note down beat, the 1 and the 3, the
hi-hat is right in the center. And in the
2 and the 4 it’s off to the right. So it
sounds like this.
[hi-hats]
Nothing crazy. But what’s going on is I
actually have the ride cymbal kind of doing
the opposite thing. It’s starting in the
center and moving to the left. So here’s
the two of those together.
[hi-hat ride cymbal panning]
So what it does is it creates this feeling
of the whole record kind of opening up a little
bit on the 2 and 4 beat, which makes the 2
and 4 beat a little bit more dramatic and
increases that push/pull, push/pull kind of
sense of this section. I’ll play it again.
[hi-hat ride cymbal panning]
Now this is actually a variation on a technique
that I use in EDM quite a bit. I just sort
of borrowed it from what I was doing in those
records and put it into a hip-hop track because
I thought it was cool and it worked and it
sort of provided a little breath of fresh
air to the section. Just gave it a little
extra dynamic. And dynamic is the key to everything
when it comes to hi-hats. Frequency and everything
like that, that’s just making it fit for
the context of the track. But with dynamics
â€" dynamics is really everything. Dynamic
literally means change. So if you have a programmed
hi-hat where it’s literally the same velocity,
exactly on the grid, hitting again and again
and again it’s going to sound very flat.
And unless the style of music calls for that
kind of flat syncopation and dynamic, you
probably want to avoid that. You can get some
more excitement out of it.
Now this record was produced by Samik “The
Symphony.†He’s brilliant with the way
he works his hi-hats. I didn’t need to do
any kind of volume adjustment or anything.
He plays them very dynamically, exactly how
they need to be. But if I was working on a
record that didn’t have that sense of dynamic
in the hi-hats â€" it was just going tick,
tick, tick, tick, tick â€" I might, you know,
make a decision like ok, which beat do I really
want to emphasize? Maybe I want to emphasize
the swing of it: tick tick, tick tick, tick
tick. Or maybe I want the downbeat to be emphasized:
Tick, tick, Tick, tick. Like whatever it needs
to be, I would draw in volume automation to
outline that groove and maybe add a little
bit of panning to give it a little bit extra
energy. Whatever I need to do basically to
make the hi-hat swing, move and feel more
energized. Alright guys, that’s a little
lesson on programmed hi-hats. Hope you learned
something. Hope it gave you great food for
thought, and take care.
hello everyone I'm Michael from the
daily note 2 youtube channel and welcome
to another episode of galaxy note 2
tips and tricks episode sixteen
the Samsung Galaxy Note 2 comes with vice
commands that are separated from google
and google vice search
so I will quickly run through them and i'll
show you how to enable and disable them
because those settings are not easy to
find
so here we go, reject
answer
snooze
snooze
snooze, stop
capture, shoot
smile, cheese
next
previous, pause, play
volume up
volume down
mute
next, mute, pause, play, stop
as you could see it did pretty well there
I couldn't get the snooze
for the alarm clock but
I got it to everything else
another thing is i would say mute
and it would go back to previous
so i thought that's interesting
considering it doesn't recognize other
words but seem to recognize mute
but it wants to go back a track so
anyway
so to trigger as voice by doing double tap
if you did turn that off you could
find S voice in your apps and
you would do the same thing then go to
settings..hit menu and go to settings
and then you're going to see
control apps
and then if you have it off
all of these functions that we saw
would be disabled
and maybe it would save you some battery
as well
but
let me show you one
interesting troubleshooting tips before
we move on
say that
say that we had this turned off
because you don't want any kind of like
alarm voice controll or music voice control
but say you go to the camera app
you go to the camera app
and you want to use those voice
functions
.
take photos
using voice and you want to turn that on
when you turn that on the entire
voice control
turns on. so let me show you
so when you turn that on this whole
switch flips
and it is not just the camera
that gets enabled
it's whatever you had set before
so
just letting you know
you might be turning something on
by indirectly switching
switch on the camera app
this episode was
inspired by somebody who commented that
they really like this feature on the
galaxy S3 and they had a really hard time
finding it
even called samsung and they didn't even
know how to do it so he told me about it
and i think it's a great feacher i have it on
and I think it would be great for music
one thing is
when you answer a phone call
by voice it automatically turns out the
speakers so i think that's very
intuitive
so anyway
there you go i want to show you
how to turn it on or maybe you want to turn it off
so save some battery
and how to get to it because it is not obvious
you cannot go to settings and it
is not anywhere in here so i think
it's definitely worth pointing out
so if you haven't been to my channel yet
please come by and check it out
if you haven't been to my chennel recently
I've reorganized everything because
I used to have all the videos together at once
but now i have sorted through
all of them so maybe you want to watch
videos from a specific category where at
where it's a tips and tricks series or
just accessory and
peripheral reviews and demos
so please come by and check it out
and if you haven't subscribed at
please subscribe because i'm planning to
put out more videos on a daily basis
and i'm doing this so that
you could get the most out of the
samsung galaxy note 2
once again thank you for watching
Tips for Mixing Programmed Hi-Hats
Hey guys, Matt Weiss here, www.weiss-sound.com,
www-theproaudiofiles.com. You are probably
wondering why I look like I’m shrouded in
mystery. That is because right before recording
this the light bulb in my studio exploded,
so tonight we’re going to be gathered around
the campfire in order to talk about hi-hats.
We’re going to be talking specifically about
programmed hi-hats as opposed to actual played
hi-hats in the context of a hip-hop record.
But a lot of these ideas will expand into
other genres as well.
Alright, let’s play some music.
[music]
Ok, there’s a couple of hi-hats in there.
First of all, context is everything. The hi-hats
don’t need to be front and center in this
record so much. There’s a lot of musical
stuff going on that I would rather the attention
of the ear go to. But the hi-hats are in fact
an important part of it. So, we can’t complete
ignore them either. The first basic move is
just some simple EQ, and I’ll give you an
example of that.
Here is the Q curve I’ve put on the hi-hat.
I’m gonna bypass it and then I’m gonna
bring it in an you’ll hear the difference
[beat without EQ]
You barely hear the closed hi-hat at all
[beat with EQ]
Now I wouldn’t say the hi-hat is exactly
jumping out at you but at least now we’re
really hearing it. And the way that worked
is simple because the hi-hat’s focus of
energy was a little bit more around the 1k
zone, so I dipped that out a bit here and
I enhanced the 2.5k where there was a bit
more sonic space. Where the tone of the hat
could pop through a little more and it just
became a little bit easier to hear. Nothing
crazy bout that.
Now, in terms of the actual top end of the
hats, both the open and hi-hat I felt had
enough of that top frequency that, you know,
15-16k for the particular context of this
track. Now if this was more of a trap-oriented
record, I’d probably be boosting a little
bit more. If this was an EDM record I’d
probably be pushing a little bit more 15-16k
into the hi-hats. But it’s not, it’s a
hip hop track, it’s got a darker kind of
cooler feel. So I didn’t feel that I necessarily
needed that. Ok let’s check out some other
stuff.
[music]
At the end of that you hear this little trill.
This quick 16th note run. Well, I think it’s
actually 32nd note run. And it pops out a
little bit. That’s not an accident. That’s
because I actually have some automated panning
going on here. When we get to that trill,
I have the hi-hat move to hard right.
[music]
And what that does is it helps it stand out
without having to make it any louder than
what it already is. Panning with hi-hats is
a really cool thing. You can do a lot with
it. A lot of times with a trap style record
where the hi-hat is holding down either an
8th note or a 16th note I might pan the hi-hat
a little out of center and then automate the
pan to go back and forth like this. And what
happens is the ear doesn’t necessarily hear
a panning going on, but we feel a new dynamic
show up. And that helps kind of increase the
energy of the record without having to boost
anything. Without having to change any of
the dynamics. In other words it’s a way
of almost making the hi-hat more energized
without having to turn it up.
So anyway, let’s demonstrate a little bit
of a cool stuff you can do with some panning
in this next section.
[beat]
Alright, so you see that I have another automated
pan thing going on here. This is not as complicated
as it looks. It’s basically just on the
quarter note down beat, the 1 and the 3, the
hi-hat is right in the center. And in the
2 and the 4 it’s off to the right. So it
sounds like this.
[hi-hats]
Nothing crazy. But what’s going on is I
actually have the ride cymbal kind of doing
the opposite thing. It’s starting in the
center and moving to the left. So here’s
the two of those together.
[hi-hat ride cymbal panning]
So what it does is it creates this feeling
of the whole record kind of opening up a little
bit on the 2 and 4 beat, which makes the 2
and 4 beat a little bit more dramatic and
increases that push/pull, push/pull kind of
sense of this section. I’ll play it again.
[hi-hat ride cymbal panning]
Now this is actually a variation on a technique
that I use in EDM quite a bit. I just sort
of borrowed it from what I was doing in those
records and put it into a hip-hop track because
I thought it was cool and it worked and it
sort of provided a little breath of fresh
air to the section. Just gave it a little
extra dynamic. And dynamic is the key to everything
when it comes to hi-hats. Frequency and everything
like that, that’s just making it fit for
the context of the track. But with dynamics
â€" dynamics is really everything. Dynamic
literally means change. So if you have a programmed
hi-hat where it’s literally the same velocity,
exactly on the grid, hitting again and again
and again it’s going to sound very flat.
And unless the style of music calls for that
kind of flat syncopation and dynamic, you
probably want to avoid that. You can get some
more excitement out of it.
Now this record was produced by Samik “The
Symphony.†He’s brilliant with the way
he works his hi-hats. I didn’t need to do
any kind of volume adjustment or anything.
He plays them very dynamically, exactly how
they need to be. But if I was working on a
record that didn’t have that sense of dynamic
in the hi-hats â€" it was just going tick,
tick, tick, tick, tick â€" I might, you know,
make a decision like ok, which beat do I really
want to emphasize? Maybe I want to emphasize
the swing of it: tick tick, tick tick, tick
tick. Or maybe I want the downbeat to be emphasized:
Tick, tick, Tick, tick. Like whatever it needs
to be, I would draw in volume automation to
outline that groove and maybe add a little
bit of panning to give it a little bit extra
energy. Whatever I need to do basically to
make the hi-hat swing, move and feel more
energized. Alright guys, that’s a little
lesson on programmed hi-hats. Hope you learned
something. Hope it gave you great food for
thought, and take care.
How To Clean-Up Audio from your iPhone or Mobile Video Clip - Clear Communication: How to Improve Speech and Pronuciation
How To Clean-Up Audio from your iPhone or Mobile Video Clip
As you may or may not know,
I shoot all these videos
on my iPhone 5.
And I'm going to show guys
today how I clean up that audio
and make it sound way better
than the audio does natively
just on the iPhone.
That's coming up.
[MUSIC PLAYING]
Hey, guys.
My name is Tim Schmoyer.
And it's Thursday-- time
to do some more YouTube
Q&A with you guys.
One of you guys sent
me a video of yourself
asking this question.
Hey Time, my name
is Brad and I've
been following this show
for a couple months now.
My question for
you is how do you
get rid of all the
background noise?
I know you work out
of your basement
and you have a large
family, so what's
your secret to keeping all
the noise out of your videos?
So there's a couple
things that I
do with the audio that comes
straight from my iPhone
here in my basement.
One is that I make sure it's
very quiet when I record.
My kids are taking
naps right now.
I've turned off the
air-conditioning
so it's not making
any background noise.
And I'm obviously in a
room that's well-padded.
There are carpet and
couches, and just stuff
that really absorb
the sound in the room
so there's not a lot of echoing
and things like that going on.
I'm also not sitting very
far away from you guys.
It's like, what, one foot and 8
inches, so what, like 20 inches
or so away from the camera?
So I'm relatively close to
you so that the phone picks up
good audio as I'm talking.
But the iPhone and most other
mobile devices by themselves
don't capture very good audio,
just generally speaking.
So there is a
couple things that I
do to enhance it a little bit,
and the main problem I have
is actually that the levels
are just really horrible.
Even though I'm only about
20 inches away from my phone
right now, when I go to
edit this video, which
is the native audio that's
recording right now,
it's going to be
relatively quiet compared
to the volume I could be
getting out of the audio here.
Also, for another example, I
could be talking right here.
You can hear me just fine
because I'm only 20 inches away
from you, but if someone
came down the stairs
and said something
way over there,
they'll be very, very
quiet and you could barely
make out what they're saying.
And the discrepancy
between levels,
between multiple people
talking to the camera,
it's just really bad.
My old flip camera
did a way better job
at doing this than
the iPhone does, even
with all its
microphone technology.
So here's what I do to fix it.
The first thing I do is I
take all the video files
from my phone and I'm just going
to extract just the audio out
of them.
Then drag them over here.
I use this little program.
It's called Convert to AIFF.
Basically I just need to get
the raw uncompressed audio out
of it.
AIFF is Apple's
format, but you could
go to WAV, which would
be Microsoft's format.
Just to extract all
the audio from it,
and you can see here
it's going to do this
to each of these video files.
And then, it'll save just
the audio by themselves
without the video right
here in my Finder.
Now, you don't have
use this program.
This is just a
little widget-thingy
that came with Call
Recorder that I
used to record my
Skype interviews.
So you could use that, but you
could really just use anything.
There's lots of
different things that
will extract just the audio out
so you can work with the audio
by itself.
So here's the first file that
came from that movie file.
And then, we'll go ahead and
do the rest of these here.
Now that it's done, you can see
I've got all these AIFF files.
They're just the
audio files that
was extracted from
these movie files.
And I'm done with this.
I can close that.
Now, this is the Levelator tool.
This is free.
It's for Windows,
Linux, and Mac.
You can downloaded it
for free at the link
I put in the description
text below this video.
But basically, all this does
is you just drag and drop
a WAV or an AIFF file on here
and it's going to go through
and it can analyze and
level each of your files.
So I'm just going to drag
all of my audio files,
just right on to there.
And this is going to
go through and process
each and every one of these.
And when it's done--
you can see here,
it's creating output files.
These are the same as
the original audio files,
but now they've
all been levelized
so that the audio between
all the different voices
is equal so that if
one person's shouting,
they've been quieted
to be at the same level
as someone who's whispering
at the other side of the room.
And so all the audio is equal.
When it's finished, you'll see
this little thing right here.
It says Complete.
That means it's
done so we can just
go ahead and exit out of that.
Now, the audio you extracted,
not the output ones
that Leveler created, but
the ones that you extracted,
you're done with those.
So you can just go ahead
and delete all those,
so don't have to keep
those taking up this space.
Then, you go to
whatever editor you use.
I happen to use
Adobe Premiere Pro.
And I will just
take all these clips
and drag them into my project.
Now, the clips
are in my project.
I'm going to take each of
these or I'll highlight it.
I'm going to go to right here.
Automate this sequence.
And we're going by
the same order that
are sorted over
here, sequentially.
Click OK.
And it just drops all
those clips right here
into my timeline.
Now, I'm going to also then come
over, here get the audio that I
have selected from before,
drop that into my project.
And then, take all those, also
sort them the same way by name.
OK, now I have
them all selected,
I'm going to do same
thing as before.
Automate this sequence.
Make sure this Overlay Edit
is selected and click OK.
And now you can see
each of my audio clips
lined up perfectly
with each one.
So you can also see, if
I zoom out a little bit,
here's what the phone
audio looks like.
And here's what it looks like
after it's been levelized.
So you can see
that right here is
really quiet in
the original audio.
then it's like someone
shouted right here.
Let's see.
You know you already
[INAUDIBLE] [SHOUTING] See,
my kids started
yelling right there.
So you can see-- but up
here, that [INAUDIBLE]
been normalized.
It's been leveled.
So it's the same volume
as this quiet stuff.
So everything's the same.
I do that too all my videos.
So all I have to do
now is come back here.
Just select all these clips.
Just unlink them, and then I can
just delete all this audio here
because I don't need it anymore.
And now I have my new audio,
all ready to go, right in sync
with the clips.
Now, what if the audio you're
recording on your phone
or whatever happens
to be outside
and there's cars and
airplanes driving by,
or your air-conditioner
happens to be running
and you want to filter
out all that white noise?
You can do that with
the tool from Adobe
called Adobe Audition, and
it's the audio editing tool
that comes with
that whole suite.
And you can tell it to take a
blank piece of audio that just
has the white noise
in the background
that you want to filter out.
Say, listen to this.
You tell it to listen
to that portion
and then you tell it, erase
that from the whole part
of this audio clip.
And it'll go through,
analyze your clip
and remove those frequencies
from your entire clip
so you can filter out and
clean up some that audio.
I could show you how
to do that, but that'll
be a different video.
If you guys want to show you
how to do that, comment below.
Let me know.
And maybe I'll make a
video about that coming up
in the future.
Or send me another
video question
of you asking me to do that
if you happen to do that.
If you do have a
question that you
would like me to answer for
you in an upcoming video,
there's a link in
the description
text below this
video here on YouTube
or you can submit
your video to me.
I'd be happy to
put you right here
and answer your question
the best that I can.
I hope this has been helpful
for you guys a little bit today.
If this is your first here,
I'd love to have you subscribe.
Every Thursday, I take a
question from one of you guys
and do my best to
answer to help you out
with your YouTube efforts.
On Tuesdays, we take a look
at online video news and talk
about the implications it has
for the content we're creating
and the audiences
we're developing
and the communities that we're
crafting here on YouTube.
And then on
Wednesdays, I give you
guys just some YouTube
tips, ideas, suggestions,
just to help you guys
who have a message,
help you guys communicate it
as effectively as you can here
on this platform so
it changes the lives
of the people who need to
hear what you have to say.
So thank you for letting
me help you with that.
I love being a part of what
you guys are doing here.
Subscribe.
And I'll see you guys again
next week for more awesomeness.
See you then, bye.
Clear Communication: How to Improve Speech and Pronuciation
Occasionally, someone will say to me, “I
get so tired of repeating myself, why can’t
people get what I say the first time?†Remember
you had the advantage of knowing what you
are going to say before you say it, so it’s
easy to overlook the clarity of your delivery.
Communication isn't just about content, it’s
about caring for the listener and making sure
they get the message. Addressing potential
obstacles to clarity gets you understood consistently.
Fast rate is one of the most common causes
of unclear speech. Vowel sounds get shortened
and words become a jumble of consonants. Slowing
the rate of your speech gives you time to
form sounds accurately and gives your listeners
time to absorb what you’ve said. Learning
to breathe while speaking is one of the most
effective strategies for slowing down naturally.
Mumbling often goes hand in and hand with
fast speech. When you speak quickly, your
mouth doesn't have time to open very far.
Speech sounds get distorted being squeezed
through your teeth. Practicing jaw and tongue
relaxation creates more openness in your mouth
and encourages more precision in the formation
of vowels and consonants. A soft voice often
contributes to a lack of clarity. Sound is
the medium for verbal communication. When
you’re not putting enough sound out there,
your listeners have nothing to work with.
Using more breath, feeling sound vibrations
in your body, and allowing your voice to fill
a room will generate more power without straining
. Remember, your voice will seem louder to
you than it sounds to your listeners. Get
used to it. Speaking with an accent can make
it difficult for others to understand you.
Most accents lend personality and character
to communication, but sometimes they lead
to confusion and even frustration. Learning
to improve a few strategically selected language
skills will often produce dramatic improvements
in clarity. An experienced speech coach can
help you identify those critical elements
that will give you leverage for progress.
Failure to speak clearly is not a minor inconvenience.
It has serious implications for your personal
image and your professional success. Addressing
underlying causes enables you to communicate
fluently and distinctly. By effortlessly connecting
with your listeners, you increase your confidence
and make them more responsive to your message.
For some basic training that will help you
slow the rate of your speech, strengthen your
voice, and relax your jaw and tongue, go to
the products page at voiceandspeech.com and
purchase the mp3 training Your Confident Voice.
As you may or may not know,
I shoot all these videos
on my iPhone 5.
And I'm going to show guys
today how I clean up that audio
and make it sound way better
than the audio does natively
just on the iPhone.
That's coming up.
[MUSIC PLAYING]
Hey, guys.
My name is Tim Schmoyer.
And it's Thursday-- time
to do some more YouTube
Q&A with you guys.
One of you guys sent
me a video of yourself
asking this question.
Hey Time, my name
is Brad and I've
been following this show
for a couple months now.
My question for
you is how do you
get rid of all the
background noise?
I know you work out
of your basement
and you have a large
family, so what's
your secret to keeping all
the noise out of your videos?
So there's a couple
things that I
do with the audio that comes
straight from my iPhone
here in my basement.
One is that I make sure it's
very quiet when I record.
My kids are taking
naps right now.
I've turned off the
air-conditioning
so it's not making
any background noise.
And I'm obviously in a
room that's well-padded.
There are carpet and
couches, and just stuff
that really absorb
the sound in the room
so there's not a lot of echoing
and things like that going on.
I'm also not sitting very
far away from you guys.
It's like, what, one foot and 8
inches, so what, like 20 inches
or so away from the camera?
So I'm relatively close to
you so that the phone picks up
good audio as I'm talking.
But the iPhone and most other
mobile devices by themselves
don't capture very good audio,
just generally speaking.
So there is a
couple things that I
do to enhance it a little bit,
and the main problem I have
is actually that the levels
are just really horrible.
Even though I'm only about
20 inches away from my phone
right now, when I go to
edit this video, which
is the native audio that's
recording right now,
it's going to be
relatively quiet compared
to the volume I could be
getting out of the audio here.
Also, for another example, I
could be talking right here.
You can hear me just fine
because I'm only 20 inches away
from you, but if someone
came down the stairs
and said something
way over there,
they'll be very, very
quiet and you could barely
make out what they're saying.
And the discrepancy
between levels,
between multiple people
talking to the camera,
it's just really bad.
My old flip camera
did a way better job
at doing this than
the iPhone does, even
with all its
microphone technology.
So here's what I do to fix it.
The first thing I do is I
take all the video files
from my phone and I'm just going
to extract just the audio out
of them.
Then drag them over here.
I use this little program.
It's called Convert to AIFF.
Basically I just need to get
the raw uncompressed audio out
of it.
AIFF is Apple's
format, but you could
go to WAV, which would
be Microsoft's format.
Just to extract all
the audio from it,
and you can see here
it's going to do this
to each of these video files.
And then, it'll save just
the audio by themselves
without the video right
here in my Finder.
Now, you don't have
use this program.
This is just a
little widget-thingy
that came with Call
Recorder that I
used to record my
Skype interviews.
So you could use that, but you
could really just use anything.
There's lots of
different things that
will extract just the audio out
so you can work with the audio
by itself.
So here's the first file that
came from that movie file.
And then, we'll go ahead and
do the rest of these here.
Now that it's done, you can see
I've got all these AIFF files.
They're just the
audio files that
was extracted from
these movie files.
And I'm done with this.
I can close that.
Now, this is the Levelator tool.
This is free.
It's for Windows,
Linux, and Mac.
You can downloaded it
for free at the link
I put in the description
text below this video.
But basically, all this does
is you just drag and drop
a WAV or an AIFF file on here
and it's going to go through
and it can analyze and
level each of your files.
So I'm just going to drag
all of my audio files,
just right on to there.
And this is going to
go through and process
each and every one of these.
And when it's done--
you can see here,
it's creating output files.
These are the same as
the original audio files,
but now they've
all been levelized
so that the audio between
all the different voices
is equal so that if
one person's shouting,
they've been quieted
to be at the same level
as someone who's whispering
at the other side of the room.
And so all the audio is equal.
When it's finished, you'll see
this little thing right here.
It says Complete.
That means it's
done so we can just
go ahead and exit out of that.
Now, the audio you extracted,
not the output ones
that Leveler created, but
the ones that you extracted,
you're done with those.
So you can just go ahead
and delete all those,
so don't have to keep
those taking up this space.
Then, you go to
whatever editor you use.
I happen to use
Adobe Premiere Pro.
And I will just
take all these clips
and drag them into my project.
Now, the clips
are in my project.
I'm going to take each of
these or I'll highlight it.
I'm going to go to right here.
Automate this sequence.
And we're going by
the same order that
are sorted over
here, sequentially.
Click OK.
And it just drops all
those clips right here
into my timeline.
Now, I'm going to also then come
over, here get the audio that I
have selected from before,
drop that into my project.
And then, take all those, also
sort them the same way by name.
OK, now I have
them all selected,
I'm going to do same
thing as before.
Automate this sequence.
Make sure this Overlay Edit
is selected and click OK.
And now you can see
each of my audio clips
lined up perfectly
with each one.
So you can also see, if
I zoom out a little bit,
here's what the phone
audio looks like.
And here's what it looks like
after it's been levelized.
So you can see
that right here is
really quiet in
the original audio.
then it's like someone
shouted right here.
Let's see.
You know you already
[INAUDIBLE] [SHOUTING] See,
my kids started
yelling right there.
So you can see-- but up
here, that [INAUDIBLE]
been normalized.
It's been leveled.
So it's the same volume
as this quiet stuff.
So everything's the same.
I do that too all my videos.
So all I have to do
now is come back here.
Just select all these clips.
Just unlink them, and then I can
just delete all this audio here
because I don't need it anymore.
And now I have my new audio,
all ready to go, right in sync
with the clips.
Now, what if the audio you're
recording on your phone
or whatever happens
to be outside
and there's cars and
airplanes driving by,
or your air-conditioner
happens to be running
and you want to filter
out all that white noise?
You can do that with
the tool from Adobe
called Adobe Audition, and
it's the audio editing tool
that comes with
that whole suite.
And you can tell it to take a
blank piece of audio that just
has the white noise
in the background
that you want to filter out.
Say, listen to this.
You tell it to listen
to that portion
and then you tell it, erase
that from the whole part
of this audio clip.
And it'll go through,
analyze your clip
and remove those frequencies
from your entire clip
so you can filter out and
clean up some that audio.
I could show you how
to do that, but that'll
be a different video.
If you guys want to show you
how to do that, comment below.
Let me know.
And maybe I'll make a
video about that coming up
in the future.
Or send me another
video question
of you asking me to do that
if you happen to do that.
If you do have a
question that you
would like me to answer for
you in an upcoming video,
there's a link in
the description
text below this
video here on YouTube
or you can submit
your video to me.
I'd be happy to
put you right here
and answer your question
the best that I can.
I hope this has been helpful
for you guys a little bit today.
If this is your first here,
I'd love to have you subscribe.
Every Thursday, I take a
question from one of you guys
and do my best to
answer to help you out
with your YouTube efforts.
On Tuesdays, we take a look
at online video news and talk
about the implications it has
for the content we're creating
and the audiences
we're developing
and the communities that we're
crafting here on YouTube.
And then on
Wednesdays, I give you
guys just some YouTube
tips, ideas, suggestions,
just to help you guys
who have a message,
help you guys communicate it
as effectively as you can here
on this platform so
it changes the lives
of the people who need to
hear what you have to say.
So thank you for letting
me help you with that.
I love being a part of what
you guys are doing here.
Subscribe.
And I'll see you guys again
next week for more awesomeness.
See you then, bye.
Clear Communication: How to Improve Speech and Pronuciation
Occasionally, someone will say to me, “I
get so tired of repeating myself, why can’t
people get what I say the first time?†Remember
you had the advantage of knowing what you
are going to say before you say it, so it’s
easy to overlook the clarity of your delivery.
Communication isn't just about content, it’s
about caring for the listener and making sure
they get the message. Addressing potential
obstacles to clarity gets you understood consistently.
Fast rate is one of the most common causes
of unclear speech. Vowel sounds get shortened
and words become a jumble of consonants. Slowing
the rate of your speech gives you time to
form sounds accurately and gives your listeners
time to absorb what you’ve said. Learning
to breathe while speaking is one of the most
effective strategies for slowing down naturally.
Mumbling often goes hand in and hand with
fast speech. When you speak quickly, your
mouth doesn't have time to open very far.
Speech sounds get distorted being squeezed
through your teeth. Practicing jaw and tongue
relaxation creates more openness in your mouth
and encourages more precision in the formation
of vowels and consonants. A soft voice often
contributes to a lack of clarity. Sound is
the medium for verbal communication. When
you’re not putting enough sound out there,
your listeners have nothing to work with.
Using more breath, feeling sound vibrations
in your body, and allowing your voice to fill
a room will generate more power without straining
. Remember, your voice will seem louder to
you than it sounds to your listeners. Get
used to it. Speaking with an accent can make
it difficult for others to understand you.
Most accents lend personality and character
to communication, but sometimes they lead
to confusion and even frustration. Learning
to improve a few strategically selected language
skills will often produce dramatic improvements
in clarity. An experienced speech coach can
help you identify those critical elements
that will give you leverage for progress.
Failure to speak clearly is not a minor inconvenience.
It has serious implications for your personal
image and your professional success. Addressing
underlying causes enables you to communicate
fluently and distinctly. By effortlessly connecting
with your listeners, you increase your confidence
and make them more responsive to your message.
For some basic training that will help you
slow the rate of your speech, strengthen your
voice, and relax your jaw and tongue, go to
the products page at voiceandspeech.com and
purchase the mp3 training Your Confident Voice.
Oregon Scientific Toys | Barbie B Book Toy Review - How to Nokia Lumia 530 hard reset
Oregon Scientific Toys | Barbie B Book Toy Review
Hi, I'm Priyanka and I'm going to share
why I like the Oregon Scientific -- Barbie
B Book
This toy laptop resembles a grown-up laptop
with a QWERTY keyboard and mouse pad. The
laptop has 9 activity themes which little
girls can choose with the press of a button.
The activities focus on basic skills like
grammar, math, logic, memory and music, blended
in Barbie play patterns of fashion and beauty.
The laptop comes with a volume and contrast
control button. Earphones connect to the laptop
for more advanced play.
What I really like about this toy is that
you can actually customize the toy for Barbie
to greet your daughter by her name. The toy
helps my 6 year old boost and develop her
keyboarding skills.
Trust you found this useful. See you later!
How to Nokia Lumia 530 hard reset
!!!Warning!!!! It deletes all data from the phone memory after reset.
First step is to power off your phone
Press the power button and immediately after the phone vibrates, press the volume down button until the display shows exclamation mark.
Click in this order, volume up, volume down, power button, volume down
Wait until the phone restarts
Hi, I'm Priyanka and I'm going to share
why I like the Oregon Scientific -- Barbie
B Book
This toy laptop resembles a grown-up laptop
with a QWERTY keyboard and mouse pad. The
laptop has 9 activity themes which little
girls can choose with the press of a button.
The activities focus on basic skills like
grammar, math, logic, memory and music, blended
in Barbie play patterns of fashion and beauty.
The laptop comes with a volume and contrast
control button. Earphones connect to the laptop
for more advanced play.
What I really like about this toy is that
you can actually customize the toy for Barbie
to greet your daughter by her name. The toy
helps my 6 year old boost and develop her
keyboarding skills.
Trust you found this useful. See you later!
How to Nokia Lumia 530 hard reset
!!!Warning!!!! It deletes all data from the phone memory after reset.
First step is to power off your phone
Press the power button and immediately after the phone vibrates, press the volume down button until the display shows exclamation mark.
Click in this order, volume up, volume down, power button, volume down
Wait until the phone restarts
Sweet String Guitar - Marc Ahlfs of Skreddy Pedals at Summer NAMM 2013! - How to Mix Acoustic Guitar w/ EQ and Compression
Sweet String Guitar - Marc Ahlfs of Skreddy Pedals at Summer NAMM 2013!
Sweet String Guitar (Normal, IL) Spoke to
Cynthia and Marc Ahlfs of Skreddy Pedals (http://skreddypedals.com/
Sacramento, CA) this week at Summer NAMM 2013!
They told us about some amazing pedals they
have available!
Signal chain=Little Miss Sunshine Lunar Module
Mini Deluxe Hybrid Fuzz Driver P19 Screw Driver
Mini Deluxe Echo Vintage Hi-Watt amp (I believe),
into a 2X12 Jackson
Your volume doesn't change when you engage
it.
I made sure it's compatible with other pedals,
and it doesn't change the tone when I turn
it on and off.
SSG: There's no volume drop.
It doesn't screw up the other pedals, lots
of headroom.
If you put something in front of that, when
you distort it--it would just keep the same
tone.
This one here, (Lunar Module Mini Deluxe)
(It's the) heart of a "Silicon Fuzz Face"
It's got an extra gain stage in front of it,
and...actually five--to control different
aspects of it.
So um, (plays Lunar Module Mini Deluxe)...So
you can set it up like a vintage,..almost
like a "Tone Bender" at this setting with
the extra gain stage in it (plays)
SSG: I like that setting!
You can make it a lot more polite. (changes
tone)
SSG: ...Still creamy.
Nice volume clean up.
This one is (Screw Driver Mini Deluxe)
Still got a lot of modern sounding drive,
still a silky kind of sound.
Got a lot of articulation (plays Hybrid Screwdriver)
SSG: Sounds like it's cutting, but not abrasive.
SSG: The Screwdriver, (nudge) cool!
You get more of like a..you get kind of a
"Tube Screamer-y" sound out of it.
So far and beyond what it's supposed to do
(i think is what he said here)
You can get some blues out of it too.
SSG: That's my favorite pedal so far.
This one is based on a Big Muff--1973, 74
era (plays P19)
It's set up to play like "The Wall" --David
Gilmour is a guitarist and vocalist with British
rock band Pink Floyd
As opposed to like SP. Smashing Pumpkins is
an American alternative rock band from Illinois,
Formed by frontman Billy Corgan (lead vocals,
lead guitar)
SSG: Over saturated?
if you play "Pumpkins", it wouldnt sound very
"Pumpkinsy"
(plays "Today" riff)
SSG: I think it needs, hmm...put this before
it? (adds Hybrid Fuzz Driver)
(continues playing SP riff then blues with Echo Pedal)
SSG: Big fat "Echoplex"
SSG: Sounds good!
http://skreddypedals.com/
How to Mix Acoustic Guitar w/ EQ and Compression
Hey, Matt Weiss â€" theproaudiofiles.com,
weiss-sound.com. And today we’re going to
be looking at some acoustic guitars. Now,
I have a record here, it is called Borrowed
Hearts. it is by Hezekiah Jones and it was
part of the weathervane project, which is
run and managed by my friend Brian Mctier,
over at Miner Street Studios. Amazing studio,
particularly for indie rock, or really any
kind of acoustic sound. Fantastic studio,
I really recommend it. We have this:
[unmixed song]
Sounds pretty nice, but we want to get it
to here:
[mixed song]
Okay, so how do we do that? Well, there’s
a lot that goes into a mix. And for this little
tutorial, I’m just gonna show you what I’m
doing with the guitar. The acoustic guitar
in this is extremely important. It is the
backbeat of the entire song. It plays throughout.
And in parts, it’s really the arrangement
is as stripped down as vocals, acoustic guitar,
drums. That’s it. And then a bass comes
in. And then there’s some ear candy stuff
that comes in later. But if we don’t get
the acoustic guitars right, the whole record
is just not going to work.
So before even treating anything, I have to
make a decision. What kind of sound am I going
for? Am I going for something that’s bright
and poppy? Am I going for something that’s
dirty and vintagey? Am I going for something
in the middle? Am I reconciling both? I kind
of feel like in this song I’m reconciling
both. I want it to sound modern, but I want
to have the qualities of analog recordings
to still be in there. The things that we like
about the analog recordings let’s keep.
The things that we don’t like let’s try
not to have.
So bearing that in mind, we have to use a
little bit of judgement. Let’s start with
this acoustic.
[acoustic guitar playing]
That’s a good sounding acoustic. I don’t
know how John tracked it, I have a few methods
that I like, but whatever he did, he did it
right. There are a couple of things that stick
out to me as things to consider. The first
is that in terms of a modern recording, it’s
a little bit on the duller side. But not much.
Then there’s also sort of a ringy kind of
tone that’s in there, and the low end is
a little bit loose maybe.
[acoustic guitar playing]
Let’s loop this up. You hear that “ahhhâ€
kind of tone that’s coming out. If we were
going for an earthy organic feel we might
leave that in. If we’re going for a more
polished type of sound we’re probably going
to want to take that out. And here’s why.
Our ear can only hear so much at the same
time. If we can take that out it’s going
to enhance both the strum and the body and
fundamental tone of the guitar. So I think
I am going to do that. And here’s what I
do with it.
[guitar]
Okay so first let’s find the tone. It sounds
pretty close to a test tone to me, so I’m
thinking it’s gonna be somewhere around
1k, but by boosting this narrow frequency,
and kind of knowing what I want to hear, you
gotta know what you want to hear. By knowing
that I know when it jumps out at me, that’s
what I want to get rid of.
[acoustic guitar]
So with taking out a tone like that, you generally
want as narrow of a frequency as possible
to get rid of the whole tone. This is a little
wider than some resonances, but it’s not
as wide as I’ve got the Q set right now.
[acoustic guitar]
Nice. Alright, so next step fairly easy.
[guitar playing]
All I’m doing is I’m boosting up a little
bit of that strum. The attack of this is going
to become very important because not only
is the acoustic guitar providing the melody
and melodic bed, but it’s also providing
the rhythmic bed “dum dum, dum dum dum.â€
If we don’t have that rhythm, we’re gonna
lose the drive of the sound. So through all
of this we’re going to be trying to bring
that up in as nice of a way as possible.
[acoustic guitar playing]
And just tighten up some low end.
[acoustic guitar playing]
I’m just rolling out, there’s a little
bit of extra rumble down there, and there’s
a little bit â€" like I don’t really need
all of the bass in this acoustic guitar, I
mean it’s nice to have that very rounded
sound, but there’s gonna be a bass in there,
there’s a kick drum in there. I can take
a little bit of the bass down and it’s okay.
Especially if it’ll help focus in on that
body and that stum.
Alright, next step: compression. This is the
Kush Audio UBK-1. Compression and acoustic
guitars are kind of like rats and rabbits
on the Chinese zodiac. They’re not enemies
but they’re not necessarily friends. So
let’s go over my process for doing this.
Now you’re going to hear a huge volume different,
and it’s because that’s what compression
kind of does. It makes things appear louder.
Okay so there’s a trade off there. If I
was going for a natural sound, that would
be too much. Like I screwed the pooch on that
one. But I’m not necessarily going for a
natural sound. What I want to do is I want
to enhance the musically of what’s happening.
Which means I need to bring up both the color
of the acoustic guitar and the body of the
acoustic guitar, and retain as much of the
strum of the acoustic guitar as possible.
[acoustic guitar strumming]
So the UBK-1 is divided into three separate
plugins basically. A saturation section, a
compression section and a density section.
Saturation is basically going to add color.
[acoustic guitar strum]
So what I’m doing â€" everything has a parallel
knob. So I’m actually blending in the amount
of color that I want. Let’s turn it down
just a touch.
[acoustic guitar strum]
I still want it to feel like the original
recording, but I don’t want it to â€" I
want it to come a little bit more alive, a
little more colored.
[acoustic guitar strum]
Alright so in the compression section â€" what’s
tough about this is there’s a number of
curves to the compressions: splat, smooth,
glue, squish and crush. And it’s really
hard to tell which one is going to be best.
In this particular instance I’m using the
crush one, which I think was designed for
making drums really sound like super pumpy
and choppy. It’s a really cool and very
colored setting. What’s happening is there’s
a very short kind of release that has some
â€" because of the release timing, there’s
a little bit of this kind of distortion effect.
And also the length of the attack actually
brings the strumming out. And that’s what
I really liked about this.
[acoustic guitar strum]
You get a little bit of extra bite on the
attack of the guitar. Which is good because
I want to bring up the sustain but I also
want the attack to be really present. And
those are almost conflicting ideas. So the
crush setting really worked here.
[acoustic guitar]
The density setting I think is the coolest
setting on this thing. It either works or
it doesn’t. And I love it when things either
work or don’t because then I don’t have
to think too hard. In this particular case,
it’s really bringing the top end of the
guitar to life. It’s sort of like a multiband
compressor. The treble range â€" because of
how it’s set â€" is just becoming a lot
more dense as the density knob would indicate.
[music]
Now the body â€" the color of the sustain
in particular â€" has really come to life
using this. And that’s what I wanted to
do with this. I do think that just because
this is a rhythmic driving element, a little
bit of transient enhancement â€" and I’m
not really doing much â€" I’m doing about
3 decibels here. And that’s fairly moderate
duration: about 30 milliseconds on how long
it stay active and about 40 milliseconds on
how long it takes to decay.
[music]
And that is how I get my acoustic guitar sound
for this record.
Sweet String Guitar (Normal, IL) Spoke to
Cynthia and Marc Ahlfs of Skreddy Pedals (http://skreddypedals.com/
Sacramento, CA) this week at Summer NAMM 2013!
They told us about some amazing pedals they
have available!
Signal chain=Little Miss Sunshine Lunar Module
Mini Deluxe Hybrid Fuzz Driver P19 Screw Driver
Mini Deluxe Echo Vintage Hi-Watt amp (I believe),
into a 2X12 Jackson
Your volume doesn't change when you engage
it.
I made sure it's compatible with other pedals,
and it doesn't change the tone when I turn
it on and off.
SSG: There's no volume drop.
It doesn't screw up the other pedals, lots
of headroom.
If you put something in front of that, when
you distort it--it would just keep the same
tone.
This one here, (Lunar Module Mini Deluxe)
(It's the) heart of a "Silicon Fuzz Face"
It's got an extra gain stage in front of it,
and...actually five--to control different
aspects of it.
So um, (plays Lunar Module Mini Deluxe)...So
you can set it up like a vintage,..almost
like a "Tone Bender" at this setting with
the extra gain stage in it (plays)
SSG: I like that setting!
You can make it a lot more polite. (changes
tone)
SSG: ...Still creamy.
Nice volume clean up.
This one is (Screw Driver Mini Deluxe)
Still got a lot of modern sounding drive,
still a silky kind of sound.
Got a lot of articulation (plays Hybrid Screwdriver)
SSG: Sounds like it's cutting, but not abrasive.
SSG: The Screwdriver, (nudge) cool!
You get more of like a..you get kind of a
"Tube Screamer-y" sound out of it.
So far and beyond what it's supposed to do
(i think is what he said here)
You can get some blues out of it too.
SSG: That's my favorite pedal so far.
This one is based on a Big Muff--1973, 74
era (plays P19)
It's set up to play like "The Wall" --David
Gilmour is a guitarist and vocalist with British
rock band Pink Floyd
As opposed to like SP. Smashing Pumpkins is
an American alternative rock band from Illinois,
Formed by frontman Billy Corgan (lead vocals,
lead guitar)
SSG: Over saturated?
if you play "Pumpkins", it wouldnt sound very
"Pumpkinsy"
(plays "Today" riff)
SSG: I think it needs, hmm...put this before
it? (adds Hybrid Fuzz Driver)
(continues playing SP riff then blues with Echo Pedal)
SSG: Big fat "Echoplex"
SSG: Sounds good!
http://skreddypedals.com/
How to Mix Acoustic Guitar w/ EQ and Compression
Hey, Matt Weiss â€" theproaudiofiles.com,
weiss-sound.com. And today we’re going to
be looking at some acoustic guitars. Now,
I have a record here, it is called Borrowed
Hearts. it is by Hezekiah Jones and it was
part of the weathervane project, which is
run and managed by my friend Brian Mctier,
over at Miner Street Studios. Amazing studio,
particularly for indie rock, or really any
kind of acoustic sound. Fantastic studio,
I really recommend it. We have this:
[unmixed song]
Sounds pretty nice, but we want to get it
to here:
[mixed song]
Okay, so how do we do that? Well, there’s
a lot that goes into a mix. And for this little
tutorial, I’m just gonna show you what I’m
doing with the guitar. The acoustic guitar
in this is extremely important. It is the
backbeat of the entire song. It plays throughout.
And in parts, it’s really the arrangement
is as stripped down as vocals, acoustic guitar,
drums. That’s it. And then a bass comes
in. And then there’s some ear candy stuff
that comes in later. But if we don’t get
the acoustic guitars right, the whole record
is just not going to work.
So before even treating anything, I have to
make a decision. What kind of sound am I going
for? Am I going for something that’s bright
and poppy? Am I going for something that’s
dirty and vintagey? Am I going for something
in the middle? Am I reconciling both? I kind
of feel like in this song I’m reconciling
both. I want it to sound modern, but I want
to have the qualities of analog recordings
to still be in there. The things that we like
about the analog recordings let’s keep.
The things that we don’t like let’s try
not to have.
So bearing that in mind, we have to use a
little bit of judgement. Let’s start with
this acoustic.
[acoustic guitar playing]
That’s a good sounding acoustic. I don’t
know how John tracked it, I have a few methods
that I like, but whatever he did, he did it
right. There are a couple of things that stick
out to me as things to consider. The first
is that in terms of a modern recording, it’s
a little bit on the duller side. But not much.
Then there’s also sort of a ringy kind of
tone that’s in there, and the low end is
a little bit loose maybe.
[acoustic guitar playing]
Let’s loop this up. You hear that “ahhhâ€
kind of tone that’s coming out. If we were
going for an earthy organic feel we might
leave that in. If we’re going for a more
polished type of sound we’re probably going
to want to take that out. And here’s why.
Our ear can only hear so much at the same
time. If we can take that out it’s going
to enhance both the strum and the body and
fundamental tone of the guitar. So I think
I am going to do that. And here’s what I
do with it.
[guitar]
Okay so first let’s find the tone. It sounds
pretty close to a test tone to me, so I’m
thinking it’s gonna be somewhere around
1k, but by boosting this narrow frequency,
and kind of knowing what I want to hear, you
gotta know what you want to hear. By knowing
that I know when it jumps out at me, that’s
what I want to get rid of.
[acoustic guitar]
So with taking out a tone like that, you generally
want as narrow of a frequency as possible
to get rid of the whole tone. This is a little
wider than some resonances, but it’s not
as wide as I’ve got the Q set right now.
[acoustic guitar]
Nice. Alright, so next step fairly easy.
[guitar playing]
All I’m doing is I’m boosting up a little
bit of that strum. The attack of this is going
to become very important because not only
is the acoustic guitar providing the melody
and melodic bed, but it’s also providing
the rhythmic bed “dum dum, dum dum dum.â€
If we don’t have that rhythm, we’re gonna
lose the drive of the sound. So through all
of this we’re going to be trying to bring
that up in as nice of a way as possible.
[acoustic guitar playing]
And just tighten up some low end.
[acoustic guitar playing]
I’m just rolling out, there’s a little
bit of extra rumble down there, and there’s
a little bit â€" like I don’t really need
all of the bass in this acoustic guitar, I
mean it’s nice to have that very rounded
sound, but there’s gonna be a bass in there,
there’s a kick drum in there. I can take
a little bit of the bass down and it’s okay.
Especially if it’ll help focus in on that
body and that stum.
Alright, next step: compression. This is the
Kush Audio UBK-1. Compression and acoustic
guitars are kind of like rats and rabbits
on the Chinese zodiac. They’re not enemies
but they’re not necessarily friends. So
let’s go over my process for doing this.
Now you’re going to hear a huge volume different,
and it’s because that’s what compression
kind of does. It makes things appear louder.
Okay so there’s a trade off there. If I
was going for a natural sound, that would
be too much. Like I screwed the pooch on that
one. But I’m not necessarily going for a
natural sound. What I want to do is I want
to enhance the musically of what’s happening.
Which means I need to bring up both the color
of the acoustic guitar and the body of the
acoustic guitar, and retain as much of the
strum of the acoustic guitar as possible.
[acoustic guitar strumming]
So the UBK-1 is divided into three separate
plugins basically. A saturation section, a
compression section and a density section.
Saturation is basically going to add color.
[acoustic guitar strum]
So what I’m doing â€" everything has a parallel
knob. So I’m actually blending in the amount
of color that I want. Let’s turn it down
just a touch.
[acoustic guitar strum]
I still want it to feel like the original
recording, but I don’t want it to â€" I
want it to come a little bit more alive, a
little more colored.
[acoustic guitar strum]
Alright so in the compression section â€" what’s
tough about this is there’s a number of
curves to the compressions: splat, smooth,
glue, squish and crush. And it’s really
hard to tell which one is going to be best.
In this particular instance I’m using the
crush one, which I think was designed for
making drums really sound like super pumpy
and choppy. It’s a really cool and very
colored setting. What’s happening is there’s
a very short kind of release that has some
â€" because of the release timing, there’s
a little bit of this kind of distortion effect.
And also the length of the attack actually
brings the strumming out. And that’s what
I really liked about this.
[acoustic guitar strum]
You get a little bit of extra bite on the
attack of the guitar. Which is good because
I want to bring up the sustain but I also
want the attack to be really present. And
those are almost conflicting ideas. So the
crush setting really worked here.
[acoustic guitar]
The density setting I think is the coolest
setting on this thing. It either works or
it doesn’t. And I love it when things either
work or don’t because then I don’t have
to think too hard. In this particular case,
it’s really bringing the top end of the
guitar to life. It’s sort of like a multiband
compressor. The treble range â€" because of
how it’s set â€" is just becoming a lot
more dense as the density knob would indicate.
[music]
Now the body â€" the color of the sustain
in particular â€" has really come to life
using this. And that’s what I wanted to
do with this. I do think that just because
this is a rhythmic driving element, a little
bit of transient enhancement â€" and I’m
not really doing much â€" I’m doing about
3 decibels here. And that’s fairly moderate
duration: about 30 milliseconds on how long
it stay active and about 40 milliseconds on
how long it takes to decay.
[music]
And that is how I get my acoustic guitar sound
for this record.
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