10 Plug-ins to Improve Your Synths

Wondering how to make your synths more professional and interesting?   Here are 10 suggestions for things to do to your sounds, from pretty conventional ones to downright destructive ones!

Here are 10 plug-ins to improve your synths...

1. Chorus

A brilliant way to simply widen your synth or to turn it into something reminiscent of an epileptic Dalek.   Chorus is great for some mental modulations!

2. Dynamic EQ

A plug in I've found much more useful than conventional EQ when it comes to playing with sounds, you can actually carve out the frequency spectrum you want rather than simply boosting certain frequencies!   Brilliant for emphasizing those important parts of the sound that are a bit too quiet.

3. Bit Crusher

Need a bit more of an edge to your synth?   Bit Crushers can turn your synth into a lo-fi sledgehammer when used correctly!

4. Enhancer

These are nice plug ins that combine a few things - they can widen, do rudimentary EQing and limiting or compression depending on the plug-in you get.   Great for doing a lot with a small amount of processer overhead (as opposed to using loads of separate plug-ins!)

5. Harmonic Exciter

Sometimes also called enhancers (can get pretty confusing with the above plug-in!), harmonic exciters deliberately distort the high end of the spectrum to bring back some of the brightness lost in the recording process.   This can really lift a synth up in the mix!

6. Stereo Imager

These are absolute gold when making immense synths or epic soundscapes.   They push the synths to the far left and right in the stereo spectrum, widening it and making it feel bigger.

7. Limiter

Makes the synth effect as loud as possible while stopping the synth from peaking - really useful on crazier, unpredictable synth effects!

8. Multi-Band Compression

Limiting not making your synth loud enough?   Try Multi-Band Compression - it separates the sound into several different frequencies, boosts each filtered section, then puts it back together, making the apparent volume much louder without affecting the overall volume!   Ridiculously useful.

9. Filter

Filters are great for making synths sound completely different - just isolate a certain section of the frequencies with a band pass filter and listen to the difference!

10. Delay

Instant talent - Delay makes everything sounds so much bigger and better... just be careful that you're not totally drowning your synth in the stuff!

The Future of Electronic Music

I've done several articles on the histories of various aspects of music, but what about the future?   While you can't predict it, you can make some well-educated guesses about what's coming next... So let's do that with electronic music!

Technologies

There are several different revolutionary technological advancements regarding computer music that are in development.   Let's take a look...


Direct Note Access

The aptly named DNA allows you to change the inner workings of an audio file - to change one note in a chord.   Previously you could only transpose the whole chord.   Now, if you play one chord on a piano, for example, you can change the notes to turn it into any other chord.   This can also allow you to quantize individual notes in a chord, tidying up those sloppy performances where before it was not possible to do so.

The company Melodyne has already beta tested this software - it won't be long before it's as commonplace as conventional autotune plug-ins.


Physical Modelling

With live instrument multi-sampling firmly cemented into studios all over the world, the next step is to directly create the sounds on the computer so there's even more control over the timbre and tone of the sounds.   This is called physical modelling.

With instruments like guitar, where the tone is a really complex collection of elements, this is no mean feat, but the future surely holds a synthesized solution to those guitarists that have big ideas, but whose fingers aren't quite fast enough to realise them.

Previously, accurate Physical Modelling hasn't been possible in real time, so sampling has been substituted for the sake of convenience, or where it's required in a live setting, but the future will no doubt bring us faster computers which will be capable of real time reproduction of physically modelled instruments.   Sweet!


Vocal synthesis

Autotune not being enough, Japanese developers have created programs that generate human-sounding voices from scratch.   Dubbed "Vocaloids", these programs will surely push the envelope out further for virtual acts such as Gorillaz, not even requiring voice actors any more.

The first vocaloid, named "Hatsune Miku" by the Japanese developers Yamaha (made in 2007 - this technology has been developed considerably already), was chosen by combining Hatsu (First), Ne (Sound), and Miku (Future), which really does speak volumes - this is ground breaking stuff that could change the world forever.

Imagine boybands that don't even exist... TV shows where the production team doesn't have to pay for voice acting... It's not going to be long before people are going to have to choose whether or not they have enough respect for real voice actors to dismiss the vocaloids, or whether they don't mind, or even prefer the computer generated alternatives.


Genres:

Another part of music is the actual genres being developed!   Styles are constantly evolving and changing, but what will the next steps be?   Let's take some more educated guesses...

Glitch Hop

This emerging genre involves combining high end synthesis with lo-fi sounds to create a very synthetic sounding take on hip hop.   With artists like Black Eyed Peas making songs like Boom Boom Pow, this style has already had an effect on the mainstream whether they know it or not.

Perhaps this genre will further induct itself into the mainstream pop hall of fame in the not so distant future?


Mainstream Pop

With pop music using electro more and more, what is the future for the mainstream?   Further blurring of the lines between Electronica and rock, as many artists have done over the past decade?   Some sort of retro revival?   I think more likely a combination of the two - pop goes in so many different directions that the chances are that if there's a niche, someone will fill it.

Live performances:

It's not just creating music - it's performing it.   What's around the corner for artists looking to push the envelope on the stage?


Robot musicians

Already there have been robot drummers, violinists and trumpet players developed, how long before these turn into more streamlined, affordable units that can get the tone of a live kit and give the performance of a live performer?

Holographic Technology

It has already been done - 3D images displayed on stage so it seems like it's actually there.   Computer generated characters performing alongside real people.   Will this become more commonplace?   What awesome special effects will be possible with this technology?   Sitting at the lighting desk just became a whole lot more interesting.


A lot of these technologies work towards replicating live music - perhaps the future of electronic music lies in the past - as electronic and acoustic music become less distinguishable, perhaps the genres will too.

While the future isn't, one thing's for certain - it's seriously exciting to think what will happen in our lifetimes.

10 Interesting Instruments to Sample

As anyone who has paid attention to mainstream hip hop will know, sampling is getting more and more obscure.

Big-shot producers have taken instruments from the east, west, north, south and occasionally what sounds like the depths of space to create their tracks.   So I figured it would be helpful to see some of the more obscure instruments you could sample!

Here are 10 interesting instruments to sample for your next production to really stand out!

1. Koto - A traditional Japanese instrument with a distinctly oriental flavour to the sound.   The pitch bends are brilliant and the tone lends itself to minor keys brilliantly.

2. Saw - Not just for DIY - the saw can be used both as a rugged cutting tool and a delicate, beautiful musical instrument.   A haunting, echo-y sound emanates from it when bent and played with a bow.   Definitely an obscure instrument!

3. Geophone - Bored of using shakers?   This massive drum contains thousands of beads, providing the sound of the earth moving.   I wonder how that would work in some Electro House...

4. Cimbalo - An interesting instrument from Hungary, with sticks similar to that of a drum kit, but strings to hit instead of toms and cymbals - a different pitch for each.   This combines percussive playing technique with melodic runs to create an instrument that, when played by someone adept at it, can make some seriously fast, intricate melodies.

5. Uilleann pipes - Very similar to the bagpipes, however this instrument hails from Ireland.   It produces a sweeter timbre and has 2 octaves of notes available.   This instrument is capable of playing chords and it's drone means that it always has that distinctive pipe undertone.

6. H20rgan - Here's a weird and wonderful one; Also known as a hydraulophone, it's a wind instrument with water churning out of the holes instead of wind, meaning when the player places his hands over the holes, different notes come out!

7. Beer bottle organ - Ever blown over the top of a bottle when you're sitting at a bar and heard that breathy tone?   Think of an entire instrument based on that sound.   A bunch of guiness bottles filled with varying amounts of glycerine (I'm assuming the creator was pretty wasted during the product's development) provide the multi-octave spread.

8. Theremin - An early electronic instrument that makes a sound without actually being touched.   Depending on the distance of the player's hand from the main rod, a different pitch is produced, making it a difficult instrument to master.   It's been used in Sci-Fi films for decades, giving that spooky, retro-futuristic sound.

9. Singing Tesla Coil - Woah.   Using high voltage sparks to generate notes of music, it sounds kind of like a sawtooth wave, but with a considerably more distorted tone.   And it looks spectacular.

10. Jew's Harp - Despite the implicating name, it is not the namesake of Judaism.   This obscure instrument is played by placing it in the mouth and flicking a piece of metal.   It gives a funny little percussive sound - you may have heard it in country music.   It's thought to be one of the oldest instruments in the world.

The History of the Drumkit

Pretty much every conventional band has a drummer.   They're the backbone of the music, the driving force atop which the melody resides... the irritating band member that's always late.   But have you ever looked at a drummer's kit?   Like, really looked at it?

If you think about it, it's quite an obscure set-up, right?   I mean, who thought to put two cymbals together to make the hi-hat?   And when was it decided that the bass drum should go on the floor with a pedal to trigger it?

I think it's time to delve into the history of the Drum Kit...


B.D.K (Before Drum Kits)

In orchestras, percussion was (and is) generally performed by several people.   Marching bands similarly assigned one person to each drum, allowing them to concentrate on their part and not collapse from exhaustion as a result of hauling an entire percussive ensemble on their backs.


The first kits

When theatres were running low on money, they couldn't afford to pay quite so many musicians, so the percussionists were encouraged to multitask, playing the snare, bass drum and cymbals by hand.

In the 1890s, some bright sparks decided to put the bass drum on the floor, fashioning rudimentary pedals to trigger them, leaving their hands free for the cymbals and snare.   It wasn't until 1909 when William Ludwig came along and made the pedal conventional.

Hi Hats, Tom Toms and Traps

1926 saw the first Hi-Hats appearing.   Interestingly enough, they were originally called low-hats (no joke), being on the floor near the bass drum.   They were later raised so they could be played by hand as well as by foot pedal.

Chinese Tom-Tom drums were added to the mix to create the conventional drum kit that would carry on through to the end of the century and beyond.   The traditional kit then stood as a bass drum, a snare drum, 3 toms (two rack-mounted and one floor tom), a hi-hat and a crash cymbal.

The "Traps" were short for "contraptions" - whistles, klaxons and cowbells added to the kit to make them even more versatile.   While the whistles and klaxons didn't become fully integrated, I'm sure you've heard your fair share of cowbells emanating from drum solos the world over.

As seen on TV

After Ringo Starr of The Beatles' fame played his Ludwig kit on TV in 1964, the popularity of the drum kit shot up exponentially.   This is the point when rock bands started to take off left right and centre, with the percussionists emulating the famous drummer's set-up.


Mine's bigger than yours...

As is the nature of rock music, things grew more and more extravagant - double bass pedals were introduced for faster bass drum playing on heavier tunes.   Ridiculous numbers of toms and cymbals were added for an as-before unseen amount of versatility from the kit.


The future

And where to now?   Well more recently, drummers have taken electronic percussion on board, with sample pads, triggers and laptops adorning their kits to integrate their live sound with programmed elements and even melodic ones, as sample pads can be used for any purpose.

I have no doubt the kit will continue to expand and evolve as technology does - perhaps the conventional drum kit will soon contain sample pads next to the hi-hat, or triggers on the toms.

We'll have to wait and see!

Top 10 Mastering Tips

Mastering your own tracks is a difficult process - there is a lot to learn and a lot of techniques to master (no pun intended (seriously; that would have been a terrible pun)), but here's somewhere for you to brush up and learn some of the most useful techniques!

1. Have reference material

Compare the track to other songs that you like the production of - not just by ear, though that should be what makes the final decision about what sounds good.   Get out a frequency analyser and see where your mix is lacking in comparison to the other, or where it's overdoing it.

2. Multi-band compressor

I remember the first time I found one of these I thought I'd hit the jackpot.   These wonderful devices can add definition, presence and volume to an otherwise dull, quiet mix.   If you gently bring the threshold down to even 10dB on a 4 band compressor then you'll start noticing the difference.

3. Overall compression

While this can be a great way to bring up the level of the track, don't overdo it - it'll start to feel squashed and anything compressed by over about 6dB will be noticeably squashed.

4. EQ-ing

The obvious way to bring up a mix - again, like compression, use it sparingly and it'll produce the best results.   Don't try and boost high end when it isn't there else you'll just get a fizzy noise.   Try boosting about 50hz and boost a high shelf around 10khz for airiness and a bit more low end punch!

5. Choose the order of the devices

Should it be EQ then compression or other way round?   That's up to you!   Both can produce quite different results so it's worth trying it!

6. Small amount of reverb

You have to be really careful here, since reverb can destroy a track, but with a bit of ambience, it can make the tracks gel together that bit better!

7. Limiting

Bring the volume up to that professional level with a brick wall limiter.   Similarly to compression, don't overdo it or it'll sound very strange!

8. Use 24 bit!

If you're working in 16 bit then you'll lose the punchiness you could get from the extra 8 bits!   Make sure all your recordings are done in 24bit and you'll have noticeably better dynamic range in your tunes!

9. Enhancers

If you need a bit more high end, try using an enhancer to bring it out rather than a high EQ boost!

10. Take a break!

As with mixing, mastering can get exhausting and you can lose perspective quickly.   Take regular breaks and be sure to leave the mix a day once you're happy with it, and then take another listen - chances are you'll have a completely different opinion of it!

Top 10 Hip House artists

Hip Hop House is the ideal crossover for the clubs - catchy lyrics and danceable beats mean it'll get people shouting and moving.

From its old school "Hip House" roots to the newer Electro House/Rap crossovers, there are plenty of proponents of the style.

But which artists are doing it?   Here are the top 10 best DJs, MCs, groups and collabs, ranging from the old school to the new, which have released house music with that rap flavour!

10. Kid Cudi

Hip House Hit: Day n' Night

Collaborating with Italian producer duo Crookers, Kid Cudi's "Day n' Night" got to number 2 in the UK, introducing the rapper to the world through a catchy electro house tune.

9. Pitbull

Hip House Hit: I Know You Want Me

"I know you want me... You know I wancha..." A painfully catchy hook adorns one of the biggest hits of 2009.   Pitbull has a tendency for 4-on-the-floor beats and catchy synthlines in his choruses.   Meeting Lil' Jon was certainly a stroke of luck, as his house productions have proved as successful as his Crunk ones!

8. Doug Lazy

Hip House Hit: Let the Rhythm Pump

The late 80s and early 90s were the height of the original Hip House movement, with Doug Lazy being one of the first proponents of the genre.   The track "let the rhythm pump" is unforgivingly catchy and he has that cheeky old school hip hop style to his lyrics.

7. David Guetta

Hip House Hit: Sexy Chick

Collaborating with Akon on the song "Sexy Chick" (or "Sexy Bitch" if your parents allowed you to buy the album) shot David Guetta into the limelight as one of the biggest Electro House artists about.

6. Common

Hip House Hit: Universal Mind Control

Collaborating with Armand Van Helden on the track "Full Moon" and more recently with legendary producer Pharrell on "Universal Mind Control", Common doesn't shy away from poppier tracks!

5. DJ Fast Eddie

Hip House Hit: Yo Yo Get Funky

Quite possibly the first popular Hip House producer, with the song "Hip House" being a potential clue.   Several of his tracks became hits on the hot dance music chart in the late 80s and early 90s.

4. Black Eyed Peas

Hip House Hit: I Gotta feeling

Always a group to push the boundaries of hip hop, the black eyed peas first ventured into more electronic genres with the track Boom Boom Pow, then continued on to the predictably Feel-Good Hip House track "I Gotta Feeling".

3. Technotronic

Hip House Hit: Pump Up the Jam

Sometimes the biggest hits come from unexpected places.   The Belgian producer Jo Bogaert got together with Ya Kid K to create the #2 single "Pump Up the Jam" which gave early Hip House a name in the charts.

2. Dizzee Rascal

Hip House Hit: Dance Wiv Me

What a collaboration!   Two of the biggest artists in the UK scene hailing from their respective backgrounds of electro house and grime rap coming together to make a massive number one hit.   Dance wiv me isn't their only collab either, with the single "holiday" taking the clubs by storm the year after.

And it's not the only hit song Dizzee has had with a house producer - Armand Van Helden collaborated with him on the massive Number 1 hit "Bonkers", cementing Dizzee as one of the biggest rappers to rhyme over dance music!

1. Snap

Hip House Hit: The Power

Sometimes the oldies are still the goodies!   I dare anyone to say they haven't danced to this track.   Crossing over more than just genres, this German/American group featuring rapper "Turbo B" spitting his vocals over producers Michael Munzing and Luca Anzilotti's house beats!

Major Label vs. Indie Label

The music industry has undergone a veritable revolution in the past couple of decades.

No longer is the power to reach a global audience in the hands of a few rich CEOs.   No longer is the technology to record your music to a professional level out of the reach of your common household musician.

Things have become a lot easier in many ways to make your music and get it out there.   This article will compare major labels to indie labels - Professional versus DIY - and see how things match up with the technology available today.


Promotion

Take a moment to think - how many bands or artists have you discovered since the internet was born?   I'll bet it's considerably more than before (if you can remember that far back!) - This just goes to show how technology has brought people closer to what they want to hear.

Whereas before a Major Label would choose which music to saturate the world with, now people can be much more specific with their tastes and still enjoy a variety - all they need is to log on to a forum, sign up to a website like Last.fm or Pandora's Box, browse through YouTube or just jump on MySpace and wait for the artists to promote themselves to them.

With people being able to be more specific about their music tastes, the mainstream is not the only path any more.   Increasingly you hear about independent artists jumping into the charts and selling out massive venues - Electronica/Rock band "Enter Shikari" are a prime example, gigging every other day for 3 years straight built them a massive underground fan base with which they launched their debut album to the number 4 spot in the charts and straight into the mainstream limelight.

So combining live shows with heavy internet promotion can result in a solid fan base.   When you have that, it's then up to you if you want to make the move to a major label or keep going it alone and reaping what you sow.


Recording

There are so many bits of kit on the market now for making music from home that it's difficult to keep track.

And now that major labels no longer hold the key to professional sound quality, there's no reason to join one for that - an artist can invest in their own studio and churn out track after track onto the internet until people start to take notice.

If a home producer can grab themselves a computer-based studio they can be making their tunes sound professional with amazing pieces software such as Reason, Pro Tools, Logic and Sonar, and polishing it with similarly amazing plug-ins.   Professional studios just can't compete with this kind of value for money.

The only thing professional studios have up on home producers is experience - and with a wealth of knowledge available online for free in the form of video and text tutorials, interactive communities and dodgy wikipedia articles, so long as the artist has the motivation to learn, the internet will teach.


Conclusion

So what does a Major Label have up on making your own Indie Label?   A massive budget, connections and experience.   But with technology meaning the budget isn't so much of an issue in many ways, the internet providing the opportunity to contact anyone, and offering the experience of everyone connected to it, how long will it be before there's no need for Major labels at all?

Though Majors still have the power to get a band onto every radio show and every TV channel, they can't instil a sense respect for the artists into the general public that they'll get if people know they've achieved their success themselves.   Everyone loves the underdog and everyone loves to see success sprouting from the most unlikely places.

Plus, there's the immortal advantage that if you set up an indie label yourself, it's considerably more likely to accept you than a major label (unless you're unhealthily masochistic.)

In today's musical climate, if you want to succeed you're going to have to take all aspects of your music into your own hands - promotion, recording and performing.   Then when the major labels come a-biting, you'll have the experience to ask the question - "is it worth it?"