[This guest blog post comes to us from EarthMoments.]
To journey into the realm of Middle Eastern music is to unveil a tradition that is inextricably linked to religion—a uniting factor that brought together people of several different countries, languages and cultures.
The prevalence of Islam enabled the Arabic influence to spread across areas including Morocco, Iran, Egypt, Turkey and North Africa from the 7th century onward—a cultural influence that also permeated the region’s musical framework. There are various elements that give Arabic music its distinctly otherworldly quality—the music often features quarter tones between notes, the Arabic scale is based on various maqamat or modes, and complex rhythmic patterns play an essential role in the tradition.
In order to connect producers to this region’s exotic spectrum of instruments and rich sonic diversity, EarthMoments has released a bundle that grants them exclusive access to an otherwise elusive musical tradition.
EarthMoments’ Hamsa Vol. 02 – Arabic Percussion showcases several percussion instruments from the Middle East, North Africa, and Arabic musical traditions.
Forming the mainstay of the percussive practice are a variety of hand drums, instruments like the dumbek—a classic goblet-shaped drum traditionally made of ceramic clay and with a deeply resonant sound; the darbuka – also ‘goblet’ shaped, and said to be a modern variation of the dumbek; and the riq—a frame drum with 5 sets of cymbals, usually skinned with goat or fish skin – all of which are included in the bundle.
These traditions are heavily steeped in rhythmic patterns that perhaps at first listen are unusual to the Western-trained ear—complex time signatures that evoke a sense of the mystical realm from which these sounds emerged. In creating the bundle, the EarthMoments team made it a point to go beyond a surface level depiction of the ‘exotic Orient’—and chose instead to showcase both traditional commonly heard rhythms, as well as less conventional, rare folk rhythms that stray far from the mainstream.
Included are rhythms like the Malfuf—a fast pattern that originates in Egypt and Lebanon and is often played as an intro for classical orchestral compositions, specially created for a belly dancer’s entrance and exit;
the Baladi – an urban folk rhythmic style, a derivative of which is the Maqsoum rhythm (the most common rhythm in Arabic belly dance music);
the Shiftateli – a hypnotic rhythm often used for the sensuous movements of the belly dancer such as undulations of the torso, floor work, or when the dancer moves with snake like arms;
and the Karachi – a fast rhythm that originated in Pakistan but is commonly found in modern Egyptian and North African music.
In unlocking this enigmatic world of sound, new doorways open up for the curious producer looking for unusual creative leads – and herein lies great potential to create truly unique, offbeat compositions.
There are a lot of filter responses: notch, bandpass, peak, allpass, high pass, lowpass, shelf…now let’s add the “table” response to the collection.
Parametric EQs can add peaks and cuts that are broad, narrow, or anywhere in between, but they all have slopes on either side of the filter frequency. The table response described here can boost or cut over a range of frequencies, with a flat response over that range. This avoids having to dedicate several overlapping parametric stages, which still doesn’t achieve quite the same result. The key to this response is combining shelving EQs.
Table Response Boost
To boost a frequency range, set the low- and high-shelf frequencies to the lowest and highest frequencies in the range (Fig. 1). Use the Shelf setting to determine how quickly the boosted section returns to the flat response. I’ve found the 12 and 24 dB settings works well, because the Q control comes into play. This can provide additional modifications to the response, which we’ll cover later. However, for the gentlest effect, 6 dB is valid in many situations as well.
Figure 1: This table response, inserted before a high-distortion amp sim, gives greater sensitivity to midrange notes and also trims the highs and lows for a “tighter” sound.
But we’re not done quite yet. To provide an actual boost, increase the output Gain control for the desired amount of boost. For example, if you want the table response to boost +12 dB, set the high and low shelf Gain settings to -12 dB, and the output Gain control to +12.
Table Response Cut
Similarly to the boost option, set the low- and high-shelf frequencies to the lowest and highest frequencies in the range you want to cut (Fig. 2). Again, use the Shelf setting to determine how quickly the boosted section returns to the flat response; the same general comments about how the shelf slope works with boosting apply here too.
Figure 2: This table response for a drum loop cuts back on the midrange a bit to help emphasize the kick and the snap/sizzle of the share and high-hats; it also reduces any “midrange mud,” and makes space in that frequency range for other instruments.
Cutting requires an equal and opposite approach to what we did for boosting. If you want the table response to cut 4 dB, then boost the shelf controls by +4 dB. Then, set the output gain control to -4 dB. This restores the shelf boosts to flat, and adds the desired amount of cut for the specified frequency range.
Using Q
When cutting with the low shelf or boosting with the high shelf, increasing resonance by turning up the Q control adds a peak just above the shelf’s corner frequency, and a dip below the corner frequency. When boosting with the low shelf or cutting with the high shelf, increasing Q adds a peak just below the shelf’s corner frequency, and a dip above the corner frequency. This emphasizes the extremes of the chosen frequency range, while also increasing the depth of the cuts near the corner frequency. Try adding resonance to the low shelf when using this technique for vocals, particularly narration (Fig. 3).
Figure 3: The table response adds a bit of a low-frequency boost (with Q) to give the “late night FM DJ sound,” but also cuts lower frequencies to reduce p-popping. Meanwhile, the high-frequency shelf emphasizes the voice’s articulation, while reducing extraneous highs, hiss, and sibilance.
Of course, the table response doesn’t replace a parametric. But sometimes, it might be just the response you need, and you’ll find it faster to dial in the right frequency range by moving the shelf controls than trying to make multiple stages of peak/boost EQ do what you want.
A physical guitar amp is more than a box with a speaker—it’s a box with a speaker being picked up by a mic in a room. Both the mic and room contribute to the overall sound. To better emulate the sound of a physical guitar amp, Ampire includes a Mic Edit Controls panel that allows making a variety of virtual mic adjustments.
Ampire doesn’t include room emulation, because you can emulate room sound with several of Studio One’s plug-ins—Room Reverb, Open Air Reverb, Mixverb, and Analog Delay. However, it’s best to avoid adding ambiance until most other tracks have been cut, so that the ambiance achieves the right balance. Too much ambiance can clutter the mix, or hog the stereo field.
The mics you choose, their levels with respect to each other, and whether you add delay can make a major difference in your amp’s sound. So, let’s investigate the Mic Edit Controls panel (Fig. 1).
Choosing the Mic Type
Many guitarists record with their amp cranked to really high levels, to get their “sound.” Dynamic mics are ideal because they can handle high levels, and the inexpensive Shure SM57 is the classic guitar cabinet mic—many engineers choose it even when cost is no object. Although dynamic mics may lack brightness compared to condenser mics (as modeled by Mic C), this doesn’t matter much with amp cabinets, which typically don’t have much energy above 5 kHz or so anyway. Mic A in the Mic Edit Controls panel has the SM57’s sonic character, and will likely be your go-to mic.
Mic B produces the sound associated with ribbon mics, which shows one of Ampire’s benefits: older ribbon mics tended to be fragile—but you can’t blow up a virtual mic. Ribbon mics have an inherently warm midrange. Royer’s R-121 mic is popular for miking cabs, and Mic B models its overall sonic character.
Mic C emulates the PreSonus PM-2 matched pair of condenser microphones. Condenser mics are often too sensitive for close-miking loud amps, but when moved a bit back from the cab, they can give a brighter, more “open” response that handles note attacks well. They’re also commonly used as room mics, which is why these two virtual mics are arranged in an X-Y miking configuration to give a stereo image.
Wait a Minute—Did You Say Stereo?
Guitars are mono signal sources, but taking full advantage of Ampire’s mics, as well as room ambiance plug-ins, requires a stereo signal. To convert the mono guitar into a dual mono signal (i.e., stereo, but with the same audio in the left and right channels), record the guitar with the Channel Mode set to Mono (one circle showing to the right of the Record Input selector). Although this means that any plug-ins will be in mono, that’s acceptable when tracking. After recording the track, change the Channel Mode to stereo (i.e., two circles showing to the right of the Record Input selector), select the event, and bounce it to itself (ctrl+B). Now the mono guitar is dual mono.
Mic Control Applications
Each mic has three controls: level, mute button (which makes it easy to evaluate what a particular mic contributes to the overall sound), and phase switch (the Ø button). Also, Mics B and C have Delay controls.
Often when miking a physical amp with more than one mic, you’ll vary their blend to find the right mix. The Mic Mix Link button toward the extreme left simplifies this process. When enabled, altering one mic’s level adjusts the levels of the other mics oppositely. For example, turning up Mic A turns down Mics B and C, or turning up Mic B turns down Mics A and C.
The Phase buttons and Delay controls can make major differences in the overall sound. There’s no right or wrong phase or delay setting; use whatever sounds best to you. Try the following to hear how these controls affect the sound. (Bear in mind that amp sims do a lot of calculations, so moving the controls will sound “choppy.” This is because Ampire has to recalculate constantly to reflect the changing settings.)
Now check out how Mic C creates a stereo spread. With Mic Mix Link off, adjust Mic A and/or Mic B for the desired sound. Bring up Mic C’s Level control slowly, and you’ll hear the stereo image bloom. Again, the Delay control and Phase reverse button make a big difference in the sound.
Clean Sounds, Too
One of my favorite mic applications is with clean guitar sounds (cabinet only, no amp). Mic C is particularly useful, because its brightness gives the cabinet’s tone a useful lift, and creates a stereo image. Finally, note that if you change the Channel Mode from mono to stereo (or the reverse), the sound may mute. Varying one of the Mic level controls restores the sound. Of course, it’s easy enough to call up an Ampire preset, and just start playing… but becoming proficient with the Mic Edit Controls opens up a wealth of possibilities.
This just in from Ralf over at Nektar! This tutorial series shows how Nektar DAW Integration software lets you control Studio One from Panorama T4 and T6 MIDI controllers—everything from setup to mixer mode to instrument mode is covered. Check it out!
Part 1 (Basics and Overview)
Part 2 (Mixer Mode)
Part 3 (Instrument Mode)
[This guest blog post comes to us from EarthMoments.]
Street style: ecstatic South Indian ceremonial drumming, and raw and primal beats from the gullies of South India. This is a wildly unconventional bundle now made accessible to producers worldwide.
EarthMoments’ collection – Indian Street Drummers – Indian Percussion – showcases the heart and soul of the streets of India with the original, largely undocumented sounds of Tapattam street drummers.
Our prep work is in order: in part 1 we integrated the Komplete keyboard as a DAW navigation control surface, and in part 2, explored how to create general-purpose MIDI control surface templates. In the thrilling conclusion of this trilogy (soon to be a major motion picture!), we’ll now find out how to control non-NKS instruments and effects, running within Studio One, from the Komplete keyboard hardware control surface.
BUT FIRST: FOCUS VS. GLOBAL MAPPING
Because we’ll be mapping hardware controls to software parameters, it’s important to understand the difference between Studio One’s Focus and Global control mapping functions. When you program a controller in Global mode, it affects aspects common to all songs, like faders, pan, etc. In Focus mode, you program a controller for a specific instrument or effect. Focus mode has two wonderful attributes: You can program different settings on the same instrument or effect in the same project, and Studio One remembers this assignment for other songs. For example, I made a Komplete keyboard Mojito template so whenever I call up Mojito in any song or any instance in a single song, it has a hardware control surface.
To choose Focus mode (Fig. 1), click the gear button toward an instrument or effect’s upper right. From the drop-down menu to the right of the gear symbol, choose MIDI-OX (the MIDI utility we installed back in Part 1 of the series because it lets the Komplete keyboard talk to non-NKS plug-ins). You’ll also need to choose Focus mode for an instrument or effect when you want to use a previously created template.
After entering Focus mapping mode, parameter and Control fields appear between the header and plug-in. This is where we do our hardware-control-to-parameter Control Link assignments. To complete a Control Link assignment, click on the arrow that points from a control to a parameter. This causes the arrow to flash yellow in Focus mode, or blue in Global mode.
Okay, let’s return to creating our control surface. To start with a clean slate, close MIDI-OX and Studio One if open, and turn off the Komplete Kontrol keyboard.
After creating these templates, you won’t want to lose them—which you will if your hard drive crashes. Or maybe you’re going to do a re-install, or want your templates on a different computer. For more information, a helpful document on the NI web site tells where to find the Komplete Kontrol MK2 settings.dat file so you can copy it, or back it up.
NATIVE INSTRUMENTS/STUDIO ONE SYNERGY
If you have multiple templates and want to switch among them to control various instruments and effects while you work in a song, here’s the procedure.
You can switch between controlling an instrument loaded in Komplete Kontrol, and a Studio One instrument that uses the currently selected template. This is pretty much automatic; when you select a track with Komplete Kontrol, the PLUG-IN button toward the keyboard’s upper right lights. When you select a non-NKS track, the MIDI button lights. However, you do need to change templates if you switch to an instrument or effect that doesn’t use the currently selected template.
Note that when you want to use the Komplete keyboard as a hardware controller, or to test your programming, the stand-alone app’s MIDI button must be turned off. Then you can press the keyboard’s MIDI button to communicate with the instrument or effect.
GETTING CREATIVE WITH YOUR TEMPLATES
If you’re tweaking one parameter at a time, arguably just grabbing the mouse, clicking on a parameter, and dragging is easier. But where hardware control really comes into its own is being able to adjust multiple parameters at the same time, like varying filter gain and frequency, envelope parameters, or compressor controls that interact, like threshold and ratio.
Also note that knobs can control drop-down menus. For example, in the Pro EQ, you can choose the LC and HC slopes, or the LF and HF filter types, with knobs. Another trick is redundancy. With my Pro EQ template, the filter parameters are spread over different pages. However, the 7 active/bypass switches for the filter stages are available on every page. That way, no matter which filter stage I’m adjusting, it’s possible to bypass or enable any other stage for diagnostic or comparative purposes.
Yes, it takes a bit of effort to program templates for everything you might want to control. While this may seem arduous at first, you need to create a template only once (although of course you can edit it if needed). After a while it becomes second-nature to switch over to the Komplete Kontrol stand-alone application, choose the desired template, minimize Komplete Kontrol, and carry on tweaking parameters. And, a particularly outstanding feature is that you don’t need to switch templates when controlling the same plug-in. A good use case is adjusting EQ during the mixing process. Call up your Pro EQ template, and it can apply to whichever EQ you select.
So now we can use the Komplete keyboard’s control surface not only to tweak NKS-format plug-ins, but virtually any plug-ins from any manufacturer—it even works with prehistoric wrapped DX and DXi plug-ins. Pretty cool!
In Part 1 (“A New Hope”) of the NI Kontroller trilogy, we covered how to integrate the DAW functions from Native Instruments’ Komplete Kontrol keyboards with Studio One. Let’s take this another step further.
In theory, Komplete Kontrol’s MIDI control surface application is only for stand-alone use, and requires using both an external power supply and the keyboard’s 5-pin DIN MIDI connectors for I/O. With a live rig, this makes sense; for use with a DAW, you have the NKS spec communicating over USB. But wouldn’t it be great to be able to use the Komplete keyboard’s control surface with non-NKS instruments, and even effects, in Studio One over USB? Well, you can.
GETTING STARTED
For Windows, install MIDI-OX. This utility is key to letting us re-direct the MIDI messages at the Komplete keyboard’s external output to Studio One.
For Macs running Catalina, I currently don’t know of any way to use the MIDI Patchbay utility. This is similar to MIDI-OX, but hasn’t been updated since 2008, and system requirements stop at Mac OS X 10.14. You can try using it with pre-Catalina systems; if Apple’s Gatekeeper blocks the installation, you’ll need to allow it under Security & Privacy. Once you get it installed, it should work similarly to MIDI-OX if you choose Komplete Kontrol S-Series Port 1 for the MIDI input option (and consider that equivalent to Komplete Kontrol -1 in the following description), and choose Komplete Kontrol S-Series Port 2 for the MIDI output option (it should work similarly to Komplete Kontrol EXT-1, below). Mac users, please feel free to comment below about what does and does not work with the Mac.
Back to Windows…
A WORD OF CAUTION
At the moment, the Komplete Kontrol application’s template management is somewhat primitive. Any changes you make are saved when you close the MIDI controller application; there’s no “Save” or “Save as” command, nor can you manage individual templates—they’re all saved in a single .dat file.
However, if saving-by-closing doesn’t work for you, and you can’t seem to save new templates, there may be an esoteric Windows problem. This is particularly likely for those who upgraded to Windows 10 from an earlier version, because the folder holding the templates may be write-protected due to inheriting permissions. Here’s the fix.
Okay, now that’s out of the way. Hey!! Don’t blame me! It’s a Windows thing.
CREATING A STUDIO ONE-FRIENDLY TEMPLATE
You access the MIDI control surface when you push the Komplete keyboard’s MIDI button, which also defaults to opening if the Komplete keyboard doesn’t see an NKS instrument. The following procedure describes how to create the kind of template we want for Studio One’s plug-ins.
Knobs
Switches
Note that you can choose whether the knobs cover an absolute range, as specified by the Range From and To controls, a Relative Range, or a Relative Offset. Since I don’t like my head to explode any more than necessary, I left this option on Absolute to start, knowing that I could change it later. You can also program keyboard parameters, pedals, the touchstrip, and the keyboard key colors—16 color choices in all. So, different templates can color the keys differently for visual confirmation that you’ve chosen the desired template (of course, I chose the color “mint” for the Mojito template).
So to recap, we’ve set up a general-purpose template, with a separate controller for each knob and switch, that we can use to create a custom control surface for non-NKS instruments and effects… as we’ll find out in part 3 of the NKS trilogy, Rise of the Controller.
The Studio Rats are a band hailing from the UK, led by none other than our good friend Mr. Paul Drew; a longtime Studio One user.
About the man and the project:
Starting off as a session guitar player with a small recording setup at home, Paul quickly got the bug for recording in a more serious way and moved on to having a commercial studio for artists to come in and record. While he was in the process of developing this, he got asked to write some songs for some pop acts. One of the bands were then taken on by a record company, and Paul was asked to be their in-house producer. There he met his business partners and formed DWB Music, Limited. DWB has sold songs all over the world and currently are at about 40 million sales and 100 million streams.
About a year ago, Paul got a bit tired of just working on programmed pop music and wanted to take a break to just work with live musicians. He now gets to do this with his current project The Studio Rats.
The core members are:
Having worked with many great singers and co-writers over the years, Paul invited a few of them to perform and co-write the songs. He also wanted to find a way to provide free content for music production, mixing and guitar playing online, so The Studio Rats YouTube Channel was created.
About the PreSonus audio tools that he employs:
Paul has been using Studio One DAW since version 2 for composing, recording and mixing, along with the Faderport controller and a Quantum audio interface that he uses for any sessions away from his home studio in Surrey, UK. Prior to adopting Studio One, he had a Pro Tools HDX System.
Studio One features that Paul enjoys:
A closing thought from the leader of The Studio Rats:
“PreSonus has been amazing with user feature requests. You don’t get this from the other DAW companies. I wholeheartedly recommend that people give Studio One a trial, you won’t look back.”
Please join us in welcoming the esteemed Joe Gilder to the PreSonus family! He has a new Studio One playlist full of tips started… with more episodes to come! Check it out below.
In the comments for last week’s tip on varipseed-type formant changes, reader Randy Hayes asked if it was possible to change the tempo similarly so that you could play along with something at a slower tempo, then speed it back up (while still being the correct key). This was a common technique with tape, but because pitch and speed were locked together, there would be formant changes—whether you wanted them or not—when you returned the slowed-down track to pitch.
One of the MIDI’s great features is that you can sloooooooow down the tempo, play along with the slowed-down track, then speed it up to make it seem like you have lightning-fast technique. The good news is that with audio, you can slow down Studio One’s tempo without changing pitch, which sounds great in theory. The bad news is that this isn’t always a painless solution, because Events recorded at a slower tempo will likely need to be time-stretched when you return to the original tempo, and you may also need to call up the Inspector for Events or Tracks to specify how the Events should relate to tempo. Also, if there’s a Tempo Track with tempo changes, then you have to offset all the tempo data, as well as make sure you restore it to the proper tempo when you’re done.
Fortunately, there’s an easy way to record along with a song at a slowed-down tempo, and have the correct timing for the recorded part when you restore the song to its original tempo. This complements last week’s formant-changing trick; the technique starts off similarly but ends up quite differently.
Figure 1: Use the Export Mixdown function to create a premix.
Figure 2: Access the Speedup parameter by right-clicking on the premix.
Figure 3: The recorded guitar solo, with an added “dummy” Event that starts at the beginning of the song, prior to merging them together.
Figure 4: Once the newly recorded track goes to the start of the song, change the Speedup parameter to compensate for the slowdown.
Note that any vibrato will be sped up when you restore the new part to the original tempo. This may be something you want, but if not, just remember to apply a slower vibrato than usual. Also, the timing will be tighter—a note that’s off the beat by a bit will hit closer to the beat when sped up.
Sure, some people might think this is cheating. But back when recording studios started adding EQ or reverb to vocalists, that was considered cheating too. The technique is the skill with which we use our tools, and having “Studio One technique” can be just as important—and valid—as having technique on your chosen instrument.
Just remember, all that matters about music is the emotional impact on the listener. They don’t care what you did to produce that emotional impact!