2. Software Mixing Explained

Korg TR-Rack

Polyphony - 32 voices

• Tone Generator - ACCESS (Advanced Combined Control Synthesis System): 24 Mbyte PCM ROM, with 375 different PCM multi-samples and 258 drum samples; 128 Z1 sounds in V3 models
• Sound Source - ACCESS (Advanced Combined Control Synthesis System): 32 voices, 32 oscillators (single mode); 16 voices, 32 oscillators (double mode)
• Sampler - Optional Add-On: 8MB Sample Playback, reads Akai and Korg sample libraries.
• Memory - 56 programs/256 combinations for ACCESS, 64 programs for MOSS, additional 256 programs/256 combinations for ACCESS plus 64 programs for MOSS are available when PBS-TRI optional board is installed
• Sequencer - 20 songs, 100 patterns, 1/192 resolutions, 80,000 notes, 16 tracks, reads and writes Standard MIDI File
• Arpeggiator - None
• Keyboard - 61 notes; Pro models: 76 notes; ProX models: 88 notes; All keyboards are sensitive to velocity and aftertouch
• Effects - Stereo digital multi-effect system - 2 master effects and 8 insert effects simultaneously. 14 effects algorithms for master effect and 100 effects algorithms for insert effect
• Control - MIDI (16-parts)
• Date Produced - 1995-1998

Oberheim Matrix-1000

Polyphony - 6 voices
Oscillators - 12 DCO's at 2 per voice
LFO - 2
Layers - Single / Split / Multitimbral
Memory - 800 preset patches, 200 user patches
Keyboard - None
Effects - None
Control - MIDI
Date Produced - 1987 - 1994

E-mu Xtreme Lead XL-1 Turbo

• Polyphony - 128 voices 
• Oscillators - 32MB Sound ROM
• Arpeg/Seq - Rhythmic Pattern Generator/Arpeggiator: 16 arpeggiators (1 per MIDI channel); SuperBEATS Mode
• Filter - 12-Pole Digital Filters
• Effects - 24-bit dual stereo-effects processor
• Keyboard - None
• Memory - 512 ROM & 512 User Presets; 1 additional internal ROM expansion slot (expandable to 3 with Turbo upgrade) for Proteus libraries or create your own custom ROMs using E-mu's E4 Ultra samplers
• Control - MIDI (16-parts, expandable to 32 with Turbo Upgrade)
• Date Produced - 2000

Vintage Synths Video Demo Patches

OBERHEIM MATRIX-1000/MATRIX-6 https://www.youtube.com/watch?v=wM9jt...
ROLAND JUNO-60 http://www.youtube.com/watch?v=GaTLk6...
ROLAND JUNO-106 https://www.youtube.com/watch?v=Gdsuc...
ROLAND ALPHA JUNO https://www.youtube.com/watch?v=v2R1V...
ROLAND JX-3P http://www.youtube.com/watch?v=YCGGao...
SEQUENTIAL SIX-TRAK https://www.youtube.com/watch?v=Wa-Cw...
ENSONIQ ESQ-1/SQ-80 http://www.youtube.com/watch?v=hJbNq1...
KORG POLYSIX http://www.youtube.com/watch?v=Bc0uMD...
KORG POLY-800 http://www.youtube.com/watch?v=K6bG8P...
KORG POLY-800 II http://www.youtube.com/watch?v=fPrp8a...
KORG POLY-61 http://www.youtube.com/watch?v=9R0bva...
KORG DW-6000 http://www.youtube.com/watch?v=cOoF7T...
KORG DW-8000 http://www.youtube.com/watch?v=9Bh_xr...
KORG PROPHECY https://www.youtube.com/watch?v=lllDT...

Denon MC4000 Official Tutorial

Features

• Premium 2-Deck controller for Serato
• Includes Serato DJ Intro; user-upgradeable to Serato DJ
• Touch-activated jog wheels for accurate scratching and track cueing
• Dedicated Hot Cue and sample trigger pads with illuminated feedback
• Long-throw 100mm pitch faders
• Balanced Booth Outputs for local monitor speakers, with independent level control
• Spacious control layout for effortless, optimized workflow
• Dedicated EQ and FX controls on each channel
• (2) Balanced mic inputs with 2-band EQ, Ducking, and Echo effect
• RCA Aux input for external device mixing
• Balanced Main and Booth Outputs
• Pro-grade steel construction ensures long-term durability
• Compatible with Traktor 2 (via .tsi files), Algoriddim djay Pro and Virtual DJ 8

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JoMoX MBase 11

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1. Mixers Explained

Have you ever looked at a mixing board and wondered where on earth to start? It can strike fear into many new producers because of the amount of sliders, knobs, and buttons staring back at you. It certainly did with me the first time I saw one.

But when you look at them in detail, the consoles are actually very easy to follow. Learning about the layout and functions of a hardware mixer can also prepare you for using a software-based mixer, as they use the same principles of signal flow and design which helps to keep things consistent across both domains. 

Click to read more. 

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JoMoX XBASE 999 Analog Drum Synthesizer

Specifications
- 9 instruments: Bass Drum, Snare Drum, Hi Tom, Low Tom, Hi Hat, Clap, Rim Shot, Crash, Ride
- Analog kick, toms, snare
- Analog multimode stereo filter with Cutoff, Q, Res and Gain per channel
- LP/HP/BP/Not Mode per channel, 5 routings, VCA Out in mix out
- 5 sample based instruments with analog VCA envelope
- 31 samples per instrument (HH has 2 Samples) per instrument - 186 total
- HH Filter: In the hihat section an extra analog filter may be inserted. Signal source can be wether sample or noise. HP/LP cutoff are adjustable, resonant capable
- LFOs: 2 of which are assignable to different parameters
- Own samples can be uploaded by the Jomox Editor
- Midi: Midi In, Midi Out, Midi Thru
- Inputs: Filter Stereo In
- Outputs: 10 individual outs, stereo mix, headphone
- Output Level: about +4dBu at max. volume on all outputs
- 19 encoders
- Phones Volume
- LCD Display 2x 24 Characters
- 10.5V 2A ~AC external power supply
- Metal steel enclosure
- Wooden end cheeks
- Weight 5kg

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Rane Sixty-Four

Rane Sixty Four, software controls are built-in for one or two computers, Includes Serato DJ software, Includes Rane  ASIO and Core Audio Drivers for Serato DJ and other audio programs, Advanced MIDI and audio routing: route any deck to either USB Port, and MIDI follows the audio, Control Library, Cues, Loops and Samples on two computers, 30 controls with 157 unique mappings  for software, Each of the two USB ports supports six stereo record and five stereo playback channels, USB record channels support: Vinyl control signal for four Virtual Decks, or record any one of the four Decks post-fader, Record the Main Mix, Mic 1  or Mic 2, FlexFX USB Insert Send to each computer, USB playback channels support: Playback for four Virtual Decks, FlexFX USB Insert Return from each computer, Great-sounding 32-bit floating point audio sampled at 48 kHz, Pre-fader Level, 3-band isolator tone controls with full cut, Low-pass / high-pass sweep Filter with resonance adjustment, Crossfader, FlexFX and headphone Cue assigns, Proprietary magnetic crossfader with a contour control, Contour control for the channel faders

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Novation Audiohub 2x4

Novation Audiohub 2x4, USB 2.0 Audio-Interface with build-in 3-Port USB-Hub, 24-Bit/96 kHz, 2x Line-Inputs RCA, 2x Line-Out 1/4" thomann TRS Jack balanced, 4x Line-Out RCA, Stereo Headphone-Out, Signal/Clip-LEDs, for PC/MAC/iOS 7, 6 (class compliant), incl. Power Supplyl, USB Cable and Ableton Live Lite 9,

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Denon DN-X1600 DJ Mixer

• 4-Channel Digital DJ Mixer with Studio Quality Components & Specifications
• Internal 32-bit Floating DSP Processing and 32-Bit DAC Output for best possible sound
• 24 bit 96kHz USB2.0 Audio Interface (Soundcard) 4in/4out (stereo)
• MAC OSX 10.6.4 and 32/64-bit Windows Compatible
• Low latency 32/64 Bit ASIO driver for PC included
• DVS direct mode (CD/Vinyl) for DJ applications using control signal operation (timecode)
• Traktor Scratch Certified (from TSP v126)
• USB MIDI In/Out and 5-pin MIDI Out
• MIDI Clock Function On/Off
• Fully MIDI Mappable with additional focused area of up to 4 MIDI pages by parameter knobs and buttons
• Dual Layer Control Available – MIDI / Normal Audio
• Independent Effector w/14 Effects available:
• Delay, Echo, Trans, Flanger, Filter, Phaser, Reverb, Loop, Rev. Loop, Pitch Shift, Ping Pong Delay, Beat Scratch, BeatBreaker, and Send/Return
• World's first DJ mixer to feature V-Link - Allows DJ performers to simultaneously integrate audio and video control over MIDI via Edirol's V-4/V-8 models
• 2-way EFX Parameter Filter (LPF/HPF)
• Independent EFX Insert for, Channel, Mic, & Master
• Matrix Input Assignment for Line/Phono and selectable USB Audio, Digital Input
• Phono Amplifier with high S/N ratio, equivalent to Denon Hifi products
• Discrete Transistor construction for Mic Amplifier to realize a studio console class’ low noise level (EIN 126dB)
• High sound quality high output Headphone Amplifier
• 45mm Cross Fader (Flex Fader) w/tension adjust
• 60mm custom Alps type Channel Faders
• Fader Contour control for Channel and Cross Fader
• Fader Start function (channel/cross fader)
• Cross Fader assignment function: (A, B, Thru)
• Independent 3-Band Isolator EQ w/Kills (High-Mid-Low)
• Large FL Tube Display w/various indicators for super easy navigation
• Selectable Digital Output (44.1/48/96kHz)
• Balanced/Unbalanced Master Output
• Balanced Booth Output
• 2 Mic Input w/Ducking level and attack time control
• Send/Return control for external effectors
• Extensive Utility Menu to customize user settings
• Preset Import/Export Function by USB memory device (take your settings to another X1600/X1700 mixer)
• Large Capacitor, and large-diameter Winding Wire for Transformer
• Ideal Grounding Construction protecting from external noise

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Ecler NUO4

The NUO 4.0 is a 4 channel analogue mixer addressed to professional DJ and installations.

It features the professional characteristics that made its predecessors acclaimed worldwide, and it equips the best analogue components available in the market place in order to obtain the highest performance.

The NUO 4.0 is tailored to any kind of DJ and music style thanks to its versatility and plenty of features, such as the precise and ergonomic full cut EQ, professional FX loop with Send and Return control in pre or post fader mode, faders curve adjustments and suitability for the awarded magnetic ETERNAL crossfader for the professional scratch DJ. Whatever the music style you play, the NUO 4.0 will please all your needs.

Its superb sound quality and robust format, plus two balanced XLR microphone inputs and two balanced XLR outputs for Master and Booth make it also a perfect mixer for installations.

_ 4 mixing channels
_ 4 Phono and 4 Line inputs
_ 2 balanced XLR Microphone inputs
_ Master output XLR and RCA
_ Booth output RCA
_ VU Meter per channel
_ 3 band full cut EQ
_ Extra large ergonomic EQ knobs
_ FX Send control per channel
_ FX Pre/Post fader selector
_ Master FX Send, FX Return and FX PFL control
_ Fully assignable crossfader
_ 60mm long life VCA faders
_ 45mm long life VCA crossfader
_ Fader and crossfader shape adjustment
_ Crossfader Reverse and Cut-In
_ Crossfader suitable for ETERNAL

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Basic Chord and Scale Theory

Links worth checking out:

1. Basic Chord and Scale Theory
2. Scale – Quick Composition Trick Using Scale
3. Circle of Fifths Chords Tutorial and File
4. Music Theory, Chords, Composition and Melodies for EDM (7 Tutorials, 3+ Hours!)
5. House Chord Progression Sampling and Theory

Gemini MDJ-1000

• USB input for flash drive
• MIDI capability for use as a software controller
• Slot-in CD-ROM compatible with Audio CDs, CD-Rs, MP3-CDs
• Ethernet LINK functionality for library sharing between up to 4 players
• 4.3” full-color display with large waveform display
• PC/MAC Audio interface (up to 24-bit/192 kHz)
• 8” touch-sensitive jog wheel with LCD display and resistance control
• 4 programmable HOT CUE points for instant track playback points
• 8 selectable instant Auto Loop sizes plus manual loop
• 3 selectable jog modes: Search/Pitch Bend/Scratch Effect with SLIP mode and Reverse
• Stereo RCA outputs and S/PDIF digital audio outputs
• Plays MP3, AAC, WAV and AIFF formats
• BPM functions including auto (sync), manual (tap), and BPM lock
• Variable pitch control with six settings: +/- 4%, 8%, 16%, 24%, 50%, 100% and Master Tempo control
• Start/Stop time jog mode adjustment

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Korg Electribe Sampler

The electribe sampler has been reborn with cutting-edge technology inherited from popular KORG products such as the KingKORG, kaossilator, kaoss pad, and taktile. The internal memory lets you save 250 patterns, including preset patterns which are perfect for today's dance music scene. There's also support for the polyphonic playback that’s indispensable for styles that include complex chord progressions, such as House music.

Website...

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1. Microphone Types

It is often taught that "sound is vibrations in the air." We are able to enjoy music because we sense these vibrations in the air as sound.
Microphones convert these vibrations into electrical signals. Here are the two main types of microphone:


(1) Dynamic microphones

Characteristics

Construction is simple and comparatively sturdy.
No power supply is required.
Relatively inexpensive.

(2) Condenser microphones 

Characteristics

Good sensitivity at all frequencies.
Power supply is required.
Vulnerable to structural vibration and humidity.

Reference: Which type of microphone should I choose?

Condenser microphones may have greater appeal because they have "good sensitivity at all frequencies". However, they are not always the most practical choice.

Often during recording, a "pop shield" filter is required to protect against noise caused by the vocalist's breath hitting the condenser microphone. This is because condenser microphones are able to react to more subtle sounds. On the other hand, condenser microphones are not suited for high-volume recording, so dynamic microphones are mainly used in situations where loud audio is to be picked up.

Condenser microphones are used with PA systems in cases where a wide band of frequencies, ranging from low to high, is to be picked up for choir vocals, acoustic pianos, hi-hat cymbals (which are known for their sensitive and high frequency), or for use "overhead" to pick up sounds from the entire drum set.

Microphone directionality

Microphones have directionality that indicates from which direction they best pick up sound. Microphones that do not have any specific directionality (called "omnidirectional" microphones) will pick up sounds from all directions, thus sounds other than those of the intended instruments will go into the microphone. Particularly with PA systems, many instruments will often be played together on a stage, so it is necessary to have a good understanding of directionality. Some microphones have switches to select the preferred directional pattern.

(1) Unidirectional

This type of microphone features directionality to the front only and is also known as "cardioid" (because of its heart shaped directional pattern). Cardioid mics are most often used with PA systems for vocals, instruments, etc. In the diagram, 0°indicates the front of the microphone.

(2) Bidirectional

This type of microphone features directionality to the front and rear. Because bidirectional microphones will also pick up audio to the rear, they are rarely used with PA systems. They are often used to record audio between two people who are face to face, such as during radio interviews.

(3) Omnidirectional

As mentioned above, this microphone type has no directionality. "Omni" mics are used to pick up all or wide range audio. For example, they are used for choirs, when many instruments are played at once, or to pick up all audio on the stage.

Reference: What directionality should I choose?

A unidirectional microphone is generally used when picking up vocal and instrument performances with a PA system. Only choose an omnidirectional microphone when picking up vocals or performances from many people, or all sounds from the stage. However, omnidirectional microphones have a wide directionality, so they will also pick up sounds from the main speakers and monitor speakers on the stage, and feedback can easily occur. Therefore, use caution with the placement and volume of these microphones.


Tips: If the microphone is covered, feedback will occur more easily: don't cover the grille with your hand

When a squealing or howling kind of feedback occurs at karaoke or other amateur singing events, some people cover the microphone instinctively. However, this actually has the opposite effect: If a microphone is covered, even a unidirectional microphone will behave like an omnidirectional microphone. It will pick up more sound from the speakers around it and cause more feedback. There are also some people who hold the microphone at the tip, but be careful because this, too, will increase the risk of feedback.

Selecting a microphone

This section has explained that dynamic microphones are generally used with PA systems, and that unidirectional microphones are the most suitable in this case. It also explained that condenser microphones are used with hi-hat cymbals and as drum kit overheads. Now, let's consider the actual selection of microphones for PA systems, including the microphones discussed above.


Selecting a dynamic microphone: with or without a whidshield?

Some dynamic microphones are equipped with windshields. One famous example is the SHURE SM58.

One benefit of using a microphone with a windshield is that they protect against rapid air flow, such as breath or wind. Any vocals or instruments which generates wind noise, such as a kick drum, floor toms, and bass amplifiers (which have a characteristically low frequency) are best used with a windshield to pick up audio clearly.


Dynamic microphones without an attached windshield, such as the SHURE SM57, are able to pick up a natural and pure sound. Therefore, they should be used with such devices as electric guitar amplifiers and acoustic guitars, as well as snare drums and rack toms.

Other microphones

Here are two other types of microphone, each designed for specific uses.


(1) Wireless microphones

Wireless microphones can be moved around freely, without the cables getting in the way. These microphones require a transmitter and a receiver in order to broadcast sound. In general, handheld wireless microphones contain a built-in transmitter, whereas headset and clip-on microphones include a cable that attaches to the belt-pack transmitter.

The transmitters for both types are powered by batteries (either dry-cell or rechargeable), so always make sure that ample battery power is available.

It's also necessary to set the transmitter of the broadcasting microphone and the receiver to the same channel. Make sure that when you are using more than one wireless microphone, the transmitting and receiving channels are set differently for each microphone.


(2) Headsets and lapel microphones

Microphones worn on one's head are called headsets, while microphones worn on clothing not far from one's mouth are called lapel (or lavalier) microphones. Either can be used so that both hands are free. Headsets are often used while singing or dancing, while lapel microphones are often used by presenters on television. These headsets and lapel microphones are often used wirelessly.

Note: Many headset and lapel microphones are omnidirectional, so extreme caution should be applied when using them with PA systems. Try using a unidirectional headset microphone to reduce the risk of feedback.



Source: Click Here....

Korg Electribe

The electribe has been reborn including KORG's latest technology distilled from popular products such as the KingKORG, kaossilator, kaoss pad, and taktile. The 200 preset patterns cover House and Techno as well as cutting-edge dance music genres such as Trap and EDM. Another major evolution of the new electribe is support for polyphonic playback, which is indispensable for musical styles that involve complex chord progressions such as House music.

Website........

3: Microphone Recording Techniques (Shure PDF Book)

Click here to download Shure's, Microphone Recording Techniques (PDF Book)

2: Polar Pattern's

Microphones: Polar pattern / Directionality
Polar pattern graphs visually represent the microphones sensitivity to sound relative to the direction or angle from which the sound arrives. Or in other words, how well the microphone “hears“ sound from different directions. The most common types of directionality, plotted as polar patterns are: Omnidirectional, Cardioid and Supercardioid.


Cardioid

Cardioid microphones are most sensitive to sound at the front and least sensitive at the back. Their unidirectional pickup makes for affective isolation of unwanted ambient sound and high resistance to feedback when compared to omnidirectional alternatives.

Cardioid microphones are essential when considering a mic for live performance.




Supercardioid

Supercardioid microphones offer a narrower pickup than cardioids and a greater rejection of ambient sound. However, they also pick up a small amount of sound from directly behind. For this reason, it is particularly important to place monitor speakers to the side facing the 'dead spots'.

Supercardioids are highly suited to very loud stage environments as they are very directional with high gain before feedback.



Omnidirectional

Omnidirectional microphones are equally sensitive to sound arriving from all angles. Therefore, the microphone does not need to be aimed in any particular direction. This can be particularly useful when using a lapel mic to capture a speakers voice, as the individual can move their head without affecting the sound.

The disadvantage is that an omni mic cannot be aimed away from undesired sources, such as PA speakers, which may cause feedback.


Figure of Eight (bidirectional)

A microphone with a figure-of-eight polar pattern picks up the sound from in front of the microphone and from the rear but not the sides (90 degree angle).

Microphones with a figure-of-eight polar pattern are typically ribbon or large diaphragm condenser microphones.







 Proximity Effect
All directional microphones (i.e. cardioid, supercardioid) are subject to the proximity effect.

'Proximity effect' happens when the microphone moves closer to the sound source, resulting in an increase in bass response. Professional singers often work with this effect to increase 'warmth' when desirable.

Source Click Here.......

2: Partials, Overtones, & Harmonics

Frequency is a complex subject and it is usually worked out by the length of a sound wave and how many times that oscillates or vibrates a second, another name given to this is Hertz, for example if a stringed instrument is plucked or scraped and vibrates 440 times a second it is perceived as the note of A, if it vibrates 330 times a second it is perceived as the note of E, this is what determines this instrument to be pitched.

Pitch is the name given to different types of frequencies, the most common we use is the twelve keys on an octave, C, D, E, and so on. On a guitar the string has to have tension to produce a pitch but the shorting of a string on the fret board creates a higher pitched sound and the longer the string on a fret board the lower the pitched sound. The main factors of a pitched string are the tension, length and mass. This chart shows the pitches related to their frequencies.

Sound waves are moving energy or a vibration in the air that travels in waves that disturbs the air pressure, as the sound travels it slowly loses its energy. The air around us is made up of small particles that are known as air molecules. To take a reading of how many molecules are in the air we use a device called a Barometer this checks the change of air pressure and is measured in decibels. Air pressure is measured on how many molecules are in the air. The lower the molecules are the lower the air pressure.

This is a diagram of a sound wave and how it disturbs the air pressure.

To give more detail on this diagram the energy from the source pushes the air molecules forward and compresses them together, they then expand back to there original source size. There are three main factors of a sound wave. This sound wave is called a sine wave.

 



Wavelength determines the length of the wave Amplitude determines the loudness or strength of a wave Frequency determines how many times this happens a second

The first of these pitched sound waves to occur are also called the fundamental, but as they travel through the air and lose their energy there are higher pitches occurring above the fundamental these are called the harmonics or overtones. 

Harmonics are only generated by the fundamental that divides the length into smaller sound waves, these sound waves or divided into equal arranged parts of two three four five six seven and so on till the sound wave completely loses its energy. With each divided part following, the next one will sound higher in pitch but lower in amplitude. These series of events are called The Harmonic Series. The diagram below gives a better visual understanding.

Enharmonic tones can also occur after the initial attack of the fundamental as well but these overtones don’t belong to the harmonic series but are said to be the neighbouring tones of the harmonic ones in other words very close to being harmonic. Many percussion instruments create enharmonic overtones, like Crash cymbals and Hi-hats, but string instrument are less enharmonic because the strings are stretched to prevent this. Partials is another name given to these overtones but also can be referred to both 

Transient Partials is another set of overtones that occur at the attack of the fundamental overtone but diminish very quickly, on a guitar string this is caused by the scrape of the plectrum on the string, on a violin its much more noticeable because the bow is constantly scraping on strings, transient partials vary in sound with different players of the same instrument. 

1: The Human Ear

The human ear senses sound waves by detecting the change of air pressure the sound waves that are then reflected off the Pinna (this is the outer part of the ear) it then travels through the ear canal moving the ear drum. The Eustachian tube also sometimes lets air in to balance the air pressure between the ear and the atmosphere. The Ossicles are small bones within the inner ear. These bones are called the Malleus, Incu, and Stapes. The Malleus is attached to the ear drum. When the sound waves vibrate the eardrum it moves the Malleus that acts like a lever moving from side to side. The Incus is attached to the end of the Malleus which transmits these vibrations to the Stapes that’s connected to the end of the Incus; at the other end of the Stapes is the faceplate, which rests against the Cochlea. When sound waves are generated the compression of air pressure pushes in on the eardrum moving these small bones within the inner ear, this then moves the stapes faceplate that pushes in on the Cochlea moving the cochlear fluid. When the expansion of air pressure pulls out on the eardrum it moves the Ossicles that moves the stapes faceplate that pull’s on the Cochlea moving the cochlear fluid. This creates waves in the fluid to represent the compression and expansion of air pressure of the sound wave. The Cochlea is fluid filled and lined with millions of little hair cells of different lengths and mass, another part with in the cochlea is the organ of Corti this senses which hair cells or vibrating and how strongly. The hair cells within the Cochlea have a resonance frequency which means they will vibrate in response to the certain frequencies. As the sound wave energy enters the cochlea it moves much quicker through the fluid, the motion of the fluid then moves the hair cells which are picked up by the organ of Corti they are then converted into electrical energy that reaches the Cochlear nerve which are then carried to the brain as nerve impulses.

Protecting your ears is very important; exposure to loud sound can lead to long term hearing damage known as Tinnitus. Tinnitus is damage to the hair cells inside the Cochlea that can end up to a ringing noise within the ear. Certain types of drugs taken over a long period of time can also damage your hearing. Listening to loud sounds that doesn’t cause earache is capable of damaging your hearing, there is an old rule: if you need to shout to be heard over noise it could be damaging. To protect your ears from damage you should listen to music at a reasonable level or wear ear plugs when exposed to loud noise.

How to Get the Perfect Kick Drum

Kick drums form the foundation of dance music – whether it’s a booming 808 to rumble subwoofers or a snappy LinnDrum to cut through the densest of mixes, we’ve come to rely on kick drums as the core of a track. There are innumerable approaches to getting a good kick: sampling, synthesising, drum machines, acoustic sources, layering or all of the above. In this article we’ll cover every angle, equipping you with the necessary tools to turn that whimpering beachball into a chest thumping kick you can be proud of.

Read Article Here....