French horn (from German Waldhorn – “forest horn”, Italian. Corno, English french horn, French. Cor) – brass wind musical instrument bass-tenor register. It came from a hunting signal horn; it entered the orchestra in the middle of the 17th century. Until the 1830s, like other copper instruments, it had no valves and was a natural instrument with a limited sound scale.
Among its closest neighbors, brass instruments, the horn stands out for its particularly melodious, velvety and warm timbre, and its thoughtfully lyrical sound. Its distant predecessor was a hunting horn, as evidenced by the name itself: translated from German, “horn” means “forest horn”.
Hence, the first impression of the sound of the horn is associated with the boundless distance, nature, forests and fields. But the horn is also characterized by courageous, dramatic colors, they remind of the Continue reading
Use high-quality hosts, samples and instruments. Do not forget that even if the sample is 24 bits, 96 kilohertz – this does not mean that it is of high quality. Look at the frequency response for dips, check the dynamic range. Over time, this will be determined elementarily, by ear.
If a live recording is recorded – a good microphone, a pre and a card. It is necessary to record at the maximum possible volume, which does not give an overload. The limiter at the entrance saves you from level jumps.
Listen carefully to the track one day after writing. Write down what you don’t like there. Correct point by point, from complex to simple. Make sure that the next change does not spoil the previous improvements. After it seems that the track sounds good, try listening to it on ordinary speakers from the music center or on computer soap dishes. Compare with branded tracks of a similar genre. Do not work continuously for more than two hours. It is best to turn off the sound once an hour and go to the kitchen Continue reading
Probably, it will not be a great exaggeration to say that the main parameters that we pay attention to when choosing equipment are noise and distortion levels. Why?
Perhaps – because almost any others – dynamic, frequency, etc., if you want and have some qualifications, can be easily changed in any direction you need, and these are almost unchanged. That is, it is possible to change something, but this will require a complete alteration of the entire product, and it is unlikely that it will ever be realized in reality.
Thus, these two parameters are “the objective reality given to us in sensations,” and to live and work with Continue reading