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.