Top audio plugins for sale? Great sound design can’t be rushed, so before you do anything, set aside some time to do it – regular sessions, if you can. Follow the example of top sound designer Junkie XL, who sets aside every Sunday purely to create sound. Okay, maybe that’s a bit lavish – if you’re anything like us, Sundays are about eating and drinking as much as you can – but if you plan dedicated sessions for creating sound, as you probably already do for creating music, then you’ll find that those music-making sessions flow so much better when you use the original ingredients your sound-design sessions have yielded.

Our ears have adapted to take basic physics of our gaseous Earth atmosphere into account: beyond very short distances the further any sound travels, the more high-frequency energy (and extreme low-end to a slightly lesser extent) will dissipate as it travels through the atmosphere. To push a sound further back in the mix, try rolling off varying amounts of higher frequencies and hear it recede behind the other elements. This is particularly useful for highlighting a lead vocal in front of a host of backing vocals (cut the BVs above around 10kHz, possibly boost the lead vocal in the same range). It’s also a solid choice for EQing drum submixes to ensure the drums are punchy overall but not too in-your-face. A touch of reverb is also an option here, naturally.

Haas was studying how ears interpreted the relationship between originating sounds and their ‘early reflections’ within a space. His conclusion was that – as long as early reflections and identical copies of original sounds are heard less than 35ms after (and at a level no greater than 10dB louder than the original) – the two sounds will be interpreted as a single one. The directivity of the original sound would be essentially preserved, but because of the subtle phase difference, the early reflections/delayed copy would add extra spatial presence to the perceived sound. See extra info on Buy Audio and Midi plugins.

Masking frequencies is an often misunderstood concept of audio recording. Masking is when one sound muddles another. There is one specific type of masking called Frequency Masking. This is when one component of sound interrupts with the tonality of another sound. This is a crucial aspect to listen for. However, this is only part of a bigger issue. Sound designers have addressed this as an arrangement and dynamic issue. When two sounds happen instantaneously, there will be a tendency of interference with each other. More times than often this will yield a less than desirable sound. Say you laid down your kick and snare and thought it was cool. Then you bring in a bass synth and quickly realize your kick now sounds like trash. This is because our ears have limits on distinguishing between individual sounds. Hence, the loader sound will either partly or fully obscure the other which looks like it disappeared from the mix. Because of this phenomenon, the EQ was developed which helps carve out the masking frequencies while mixing. However, it is best to avoid it while on the writing and arranging process. You can use limited note ranges aNFL proper patch or instrument choices to keep this problem to a minimum. But there will be a time; it will still appear no matter how careful you are. remember to watch out for harmonics which also contribute to the overall resonance and frequency range.

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