how cool is this
<EMBED height=385 type=application/x-shockwave-flash width=480 src=Me operating a WW2 Tangent Air Raid Siren!! - YouTube allowscriptaccess=“always” allowfullscreen=“true”>
ive always wanted to get my hands on one of these just for the crack really
would be cool to sample it…and take it out and about in the car!!!
Out the Bedroom window Mate - After the business is over! LOL 
Could always rip stuff off YT - Depends on Sound Quality 
i found this earlier and just posted it on the eq tut request thread but thought it could go here to
Eq Settings
General:
20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track
60 Hz and below - sub bass (feel only)
80(-100) Hz - feel AND hear bass
100-120 Hz - the “club sound system punch” resides here
200 Hz and below - bottom
250 Hz - notch filter here can add thump to a kick drum
150-400 Hz - boxiness
200 Hz-1.5 KHz - punch, fatness, impact
800 Hz-4 KHz - edge, clarity, harshness, defines timbre
4500 Hz - exteremly tiring to the ears, add a slight notch here
5-7 KHz - de-essing is done here
4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion
6-15 KHz - air and presence
9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix
Kicks:
60Hz with a Q of 1.4 – Add fullness to kicks.
5Khz with a Q of 2.8 – Adds attack to Kicks
bottom (60 - 80 Hz),
slap (4 kHz)
EQ>Cut below 80Hz to remove rumble
Boost between 80 -125 Hz for bass
Boost between 3 - 5kHz to get the slap
PROCESSING> Compression 4:1/6:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
General:
Apply a little cut at 300Hz and some boost between 40Hz and 80Hz.
Control The Attack:
Apply boost or cut around 4KHz to 6KHz.
Treat Muddiness:
Apply cut somewhere in the 100Hz to 500Hz range.
kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz
Snares:
200Hz - 250Hz with a Q of 1.4 – Adds wood to snares
3Khz with a Q of 1.4 – Adds atack to snare.
7Khz with a Q of 2.8 – Adds Sharpness to snares and percussion
fatness at 120-240Hz
boing at 400Hz
crispness at 5kHz
snap at 10kHz
fatness (240 Hz), crispness (5 kHz)
EQ> Boost above 2kHz for that crisp edge
Cut at 1kHz to get rid of the sharp peak
Boost at 125Hz for a full snare sound
Cut at 80Hz to remove rumble
PROCESSING> Compression 4:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
snare>> fatness at 240HZ, crispness at 5 KHz
Vocals
General:
Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.
Treat Harsh Vocals:
To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.
Get An Open Sound:
Apply a gentle boost above 6KHz using a shelving filter.
Get Brightness, Not Harshness:
Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right.
Get Smoothness:
Apply some cut in a narrow band in the 1KHz to 2KHz range.
Bring Out The Bass:
Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range.
Radio Vocal Effect:
Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Telephone Effect:
Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
vocals>> fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz
Hats:
10Khz with a Q of 1.0 – Adds brightness to hats and cymbals
Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz)
EQ> Boost above 5kHz for sharp sparkle
Cut at 1kHz to remove jangling
PROCESSING> Compression use high ratio for high energy feel
Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little
Get Definition:
Roll off everything below 600Hz using a High Pass Filter.
Get Sizzle:
Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right.
Treat Clangy Hats:
Apply some cut between 1KHz and 4KHz.
hi hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz
Guitar:
Treat Unclear Vocals:
Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix.
General:
Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz.
Acoustic Guitar
Add Sparkle:Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth.
General:
Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard.
Other:
Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)
Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)
Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)
Toms: attack (5 kHz), fullness (120 - 240 Hz)
Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz)
Bass - Compressed, EQ’d with a full bottom end and some mids
rack toms>> fullness at 240 Hz, attack at 5 kHz
floor toms>> fullness at 80 - 120 Hz, attack at 5 kHz
horns>> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz
strings>> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz
conga/bongo>> resonance at 200 - 240 Hz, slap at 5 kHz
General Frequencies:
EQ Reference: Frequencies
50Hz
Boost: To thicken up bass drums and sub-bass parts.
Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone ‘pops’.
70-100Hz
Boost: For bass lines and bass drums.
Cut: For vocals.
General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.
200-400Hz
Boost: To add warmth to vocals or to thicken a guitar sound.
Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion.
Boost or Cut: to control the ‘woody’ sound of a snare.
400-800Hz
Boost: To add warmth to toms.
Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds.
General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.
800Hz-1KHz
Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum.
1-3KHz
Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting.
Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part.
General: This frequency range is often used to make instruments stand out in a mix.
3-6KHz
Boost: For a more ‘plucked’ sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.
Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix.
6-10KHz
Boost: To sweeten vocals. The higher the frequency you boost the more ‘airy/breathy’ the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to:
Bring out cymbals.
Add ring to a snare.
Add edge to a bass drum.
10-16KHz
Boost: To make vocals more ‘airy’ or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.
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Last edited by Synaecide : 03-29-2008 at 11:09 PM.
I know all that off by heart 
Nice one J 
Adam Beyer & Cari Lekebusch have made Drum Kits / One Shots for the Kong Drum Machine in Reason 5. Anyone have Reason 5? or can give an opinion on their sound?
From the Reason w/site:
Leaning on 15 years of production and touring, Adam Beyer and Cari Lekebusch need no introduction within the techno community. Their Kong kits makes heavy use of Kong’s analog and physical modeling generators for their trademark bass-heavy Swedish techno sound.
Heres the Demo Song - using the samples.
<EMBED style=“WIDTH: 469px; HEIGHT: 266px” height=266 type=application/x-shockwave-flash width=469 src=- YouTube allowscriptaccess=“always” allowfullscreen=“true”>.Understanding Delays.
Basic… But does a really good job of explaining what everything does.
[url]Electronic Musician Magazine | MusicRadar
One of the most important categories of effects is the delay line, also known as a DDL (digital delay line) or a delay. Delay effects are easy for manufacturers to create, and they have a number of musical uses. If you use any modern music-production software, it’s almost guaranteed that you’ll find a delay among the built-in suite of audio effects.
Simple Delay
In the simplest type of delay, a signal is sent through the delay line, which delays it for a short period of time before passing it on to the output. The delayed signal is an unchanged copy of the original. It is typically blended with the nondelayed signal, and you’ll usually be able to adjust the relative loudness of these two signals using a wet/dry, a balance, or an output-level control.
The amount of time that passes before the delay line outputs the delayed signal is often measured in milliseconds (1,000 ms equals one second). If the delay time is only a few milliseconds, the delayed signal will not be perceived as separate from the original dry signal. Instead, the combined signal will have a slightly different tone color than the dry signal. A short delay causes tone-color changes due to the phase cancellation of some overtones. (For more about phase, see the Square One column “About Phase” in the May 2004 issue of EM.) Another term for this type of timbral change is comb filtering.
Slightly longer delays, between 50 and 100 ms, create an effect called doubling. Doubling is sometimes used to fatten up vocal tracks. It creates a sound similar to that of a singer recording the same part twice, onto two separate tracks whose outputs were then mixed. The main difference is that when the doubling is done with a delay line, the effect is more perfect and therefore sounds less natural.
A delay of more than 100 ms is perceived as a separate echo that follows the original sound. A delay-based echo can give a track a strong rhythmic character. Because that use of delay is so important in music arranging, your delay effect will synchronize with the tempo of your DAW (digital audio workstation) software. When the delay is synced, you’ll set the delay-time parameter in musically sensible units such as quarter notes or eighth notes instead of in milliseconds. The abbreviations “T” for triplet and “D” for dotted values are sometimes seen in delay effects, as shown in Fig. 1.
Short delays are not often used on drum tracks because they smear the crisp attack transients of the percussion sounds. That type of doubled attack, which is called flamming, is usually an undesirable effect. Longer rhythmic delays, however, can be useful with drum tracks.
Delay with Feedback
Most delay effects have a feedback parameter. When that is turned up, a certain amount of the delay’s output is fed back into its input. With long delay times, feedback produces repeating echoes. With short delay times, it intensifies the comb-filtering effect and produces a metallic ringing sound.
If the feedback is turned up too high, the delayed signal can get louder over time rather than softer. Such runaway feedback probably won’t damage your audio software; it could, however, damage your speakers (and your ears), so be careful when applying large amounts of delay feedback.
A delay line with moderate feedback and a moderate-to-long delay time can be used to simulate a reverb effect. The sense of ambient space is not as convincing as it is with reverb, but a delay line uses fewer CPU cycles, which may be helpful if you’re trying to get the most out of a slower computer.
Filtering and Delay
Some delay lines have a lowpass filter in their feedback circuit. As the amount of filtering is increased, successive repeats of the delayed signal have fewer and fewer high overtones (see Web Clip 1). Less often, the filter in a delay may have a highpass mode, in which successive repetitions lose their lows, leaving only the most brittle high overtones.
High-end delay software, such as iZotope Spectron, lets you isolate various bands within the frequency spectrum using bandpass filters (see Fig. 2). Using this type of software enables you to give each band more or less delay and feedback, creating exotic shimmering or gargling tone colors.
Modulated Delay
Some delay lines allow the delay time to be modulated, (most often by an LFO), so that the delay time gradually increases and decreases. That has the effect of lowering and then raising the pitch of the delayed sound. If you turn the wet/dry knob to 100 percent wet to listen to only the delayed signal, a modulated delay will sound like vibrato. But when the wet and dry signals are mixed, a modulated delay introduces flanging or chorusing (see Web Clip 2).
In chorusing, two or more signals that are similar in most ways, but slightly different in pitch, are combined. The differences in pitch cause an acoustic phenomenon called beating. A dedicated chorus effect may have two or more modulated delay lines, each with its own LFO. Combining multiple delayed signals in that way creates a fat, acoustically active sound.
The main difference between flanging and chorusing is the width of the modulation. The modulation in flanging is very slight, so that the effect is heard mainly in the overtones as a sort of ringing or swooshing. In chorusing, it’s deeper. Flangers often have only one delay line, not multiple delays, and they usually allow feedback. Chorus units generally don’t produce feedback. But many delay units can produce either flanging or chorusing as needed, along with other delay effects.
Stereo Delay
Many delay effects offer separate processing for the left and right halves of a stereo signal. Stereo delays are most often used with long, synchronized delay times for creating dynamic and exciting stereo rhythmic effects. A stereo delay may offer three feedback controls: one for the right channel, one for the left channel, and another, called cross-feedback, that sends a portion of one channel’s output into the other channel’s input.
A ping-pong delay is a stereo delay effect in which the delayed signal with feedback appears alternately in the left and right channels, giving the impression that it’s bouncing back and forth.
Multitap Delay
A delay effect that has two or more delay lines, each with its own parameters for delay time, output level, output panning, and feedback, is called a multitap delay. Many multitap delays have four or even more “taps” (outputs). By panning various outputs to different positions in the stereo field and giving each its own output level, it’s possible to create striking rhythmic effects, such as syncopated rhythmic echoes that get louder and then softer.
Like other effects, delays can be overused. If you apply rhythmic delay to all of your tracks, the result will be a crowded, cluttered mix. But when judiciously applied, delay is a humble yet powerful effect that can do a lot to spice up your sonic palette.
CATCH A GROOVE
Many older delay lines, especially hardware units, can’t be set to musically sensible time values such as quarter notes. Here’s an easy formula for converting rhythmic values into milliseconds:
60,000 / bpm = ms per quarter note
If you divide the number 60,000 by the tempo in beats per minute, you’ll get the number of milliseconds in a single quarter note. To get the correct ms value for an eighth note or other subdivision of the beat, simply divide or multiply the quarter-note value as needed.
.Grooves:
Heres a bunch of stuff that I’ve collected over the last while.
MPC & other stuff 
Thought i would post this, a link to surgeon 3 hour dj mix live in Sydney with tracklisting
http://dj-surgeon.blogspot.com/2010/10/surgeon-at-forum-sydney-australia-23rd.html
Hey Gogz - Surgeon is class. Seen him loads of times. Gonna listen to that tonight.
_____________________________________________________________________
Heres a production tip, if you can call it that:
Post on forums. Be part of the Community. Spend the time to have a laugh with people.
Share & be open. Chat to other like minded people & try to build a relationship with them. PM people. Dont be shy.
Be cheeky & see what happens.
You’ll be surprised at the amount of help & advice you will get. I know it might be obvious - but you need to post a little in order to be part of something IMO.
All you late night surfers, you know who you are, who just read over the thread and then fly off - you need to get involved!!
[quote]ICN (12/11/2010)[hr]Hey Gogz - Surgeon is class. Seen him loads of times. Gonna listen to that tonight.
_____________________________________________________________________
Heres a production tip, if you can call it that:
Post on forums. Be part of the Community. Spend the time to have a laugh with people.
Share & be open. Chat to other like minded people & try to build a relationship with them. PM people. Dont be shy.
Be cheeky & see what happens.
You’ll be surprised at the amount of help & advice you will get. I know it might beobvious - but you need to post a little in order to be part of something IMO.
All you late night surfers, you know who you are, who just read over the thread and then fly off- you need to get involved!! :)[/quote]
+1 on this, i have learn’t and had fun on the way doing exactly this, only don’t take notice on anything ICN says and your on to a winner
So thats a +1 and a -1 Slender?
= 0
Good contribution Mate!! LOL :w00t: :hehe:
[quote]ICN (12/11/2010)[hr]So thats a +1 and a -1 Slender?
= 0
Good contribution Mate!! LOL :w00t: :hehe: [/quote]
Cool I see they teach maths at that college of yours
They do. I’m fkd though… I’m a total noob.
Would love to see a Maths Tut.
:hehe:
Well explained Vid from Sounds to Sample - by Marc Adamo, the Guy that wrote the Sample Magic Book.
<EMBED height=385 type=application/x-shockwave-flash width=640 src=How To Produce FX Uplifters and Downshifters - YouTube allowfullscreen=“true” allowscriptaccess=“always”>interesting vid but as a non logic user i found it rather hard to follow
watch when sober probably
I never use that synth myself tbh… Too much stuff.
Just read the text & watch the automation. I think its a pretty simple & effective bunch of tips.
Sober would be a nice change! LOL