was wondering what frequency ranges,you guys normally make your melody/melody lines at??
It depends on the instrument, how much movement you want, what you want articulated, how dense or not so dense that section of the sequence is,
and overall mix with other instruments including any automations. Forgive me if I missed anything.
When it comes to chords and melodies together, I try to do it on a piano, a simple sine patch or any simple instrument because there’s room for movement and texture in terms of tonality. I have more options to translate parts to other instruments that way, unless I’m aiming for something like a ∂istø®†e∂ guitar piece, then the instrument, amp and fingers kind of speaks for itself.
Search for instrument charts.
Listen to some melodic driven tracks and watch the meters.
Some broad guidelines:
• Sub-bass: between 20 and 60 Hz
In this case the sound is primarily felt, rather than heard.
• Bass: between 60 and 200 Hz
The biggest part of the rhythmic energy is to be found in this region. The usual bass tone translates into 80Hz to 640 Hz.
• Bass-medium: between 200 Hz and 1.5 kHz
The first harmonic frequencies of most instruments lie here. If too many corrections are applied to this region, the sounds tend to become too nasal and tiring.
• High-medium: between 1.5 and 4 kHz
All the important harmonics are to be found here, specially, if we’re talking about vocal music.
• High: between 4 and 10 kHz
This is the realm of clarity and sound definition. This and the high-medium area compose key parts of the all-important “midrange.” Corrections made to an instrument or voice around 5 kHz will increase its presence.
• Ultra-high: between 10 and 20 kHz
An interactive frequency chart
thanx for the reply.
and thanx for the link to the frequency chart,that will surely come in handy
Sure. And if all else fails, just use your ears with room reflections in mind.
Wow that site has a wealth of valuable information, thanks for the link!
I’ve been looking for an in-dept compression guide for ages, this one seems to answer most if not all of my questions.
Great little chart! Good one.
Interesting info and link on this thread. Thanks for sharing.
Thank you for the question. It was a good reminder that I need to read up on this too.
If your talking about compressor modules, then yes, they are a bit tricky w/ out any prior info on them.
One time I was sitting in a packed hall for a 2 hour tutorial on compression and halfway through the lecture I looked like I was drunk on information, slouching and barely staying awake while both guys sitting to my left and right were passed out. It wasn’t boring, just a lot of dense information in such a short period of time.
The lecture was given by Alex U. Case.
Found a short clip on his compression tutorial on youtube.
Haha i know exactly what you mean. It’s really hard to grasp the concept of compression if all you have is a box/VST with a bunch of knobs. I’ve got a crapload of coloring/compression/harmonizing effects, but to my unexperienced/impatient ears, the only knob that seems to make a difference is the “output” knob
Using Renoise’s bus compressor, and seeing the curve change in the graphic on the right, made a big difference. Someone should make a “compression for dummies” guide, with lots of pictures!
All my melodies are between 44khz and 88khz… everything below that is percussion and noise. This allows the bass to really shine through, especially on high end monitors. Make sure to buy a network cable like this one so that your songs are the highest quality… it will preserve the audio fidelity at super high and super low frequencies: http://www.usa.denon.com/productdetails/3429.asp
This might be relevant or not. Its a link to another thread on Fletcher-Munson Equal Loudness Contours and Glen from independentrecording.net (the link above on frequency charts) and others discuss Equal Loudness Contours.
that was interesting indeed
and that tapeop magazine is a really nice interesting magazine,with alot of nice articles,im a subscriper