Intro to Digital Signal Processing and Synthesis Using Max for Live Workshop – FREE WORKSHOP [9/9]

Want to learn about digital signal processing and synthesis?


Stop by our laboratory on September 9th for our workshop on Digital Signal Processing and Synthesis with DJ and audio engineer Ed Guild! The workshop will focus on Ableton and Cycling ‘74’s collaboration, viagra buy Max for Live, unhealthy which is a great way to start learning about digital signal processing and synthesis techniques.

The workshop will cover such topics as:

– Wavetable synthesis
– Filtering
– Feedback delays
– Distortion

The Instructor – Ed Guild

maxfor liveEd Guild is a designer, audio engineer, and technologist. He got his start in the Boston music scene 15 years ago as a VJ for underground DJ events and local jambands playing the rock club circuit. Ed joined up with a few bands to project visuals during their shows. After VJing for a number of years he started to absorb new roles as an audio tech in the underground dance music band, Psylab.

A friend introduced him to Cycling ‘74 ‘Max’ and everything changed. Max is a visual programming environment used for building audio/visual applications. Having limited programming experience, Max allowed Ed to learn how to build digital signal processing (DSP) he wanted for live performance without writing a single live of code. With Max he was able to build a live performance drum sampler, audio effects for a trumpet player, and audio-reactive DMX light controllers for Psylab’s epic live shows.


Techniques for Sculpting Strong Drums Part Two: Parallel Compression and Saturation


Welcome to part two of building strong “fat” drums. In part one, doctor we discussed layering and scratched the surface of saturation. In part two, prostate we will dive deeper into saturation and talk about parallel compression.

The distortion that comes from saturation amplifies the fundamental frequency of any sound that is fed into it while adding harmonics to the upper structure. In the simplest of terms this means that it makes the initial sound louder (the fundamental) and the harmonics it adds to the upper structure make it brighter and more noticeable in the mix. For more in depth reading on distortion check out this sound on sound article.

I saved the most important technique for last. Parallel compression (or New York compression) is key and is used on almost every drum sound. Parallel compression is quite simple. Simply duplicate the track so you have two of the same sound. After that, symptoms heavily compress one track with a high ratio and low threshold. Leave the other track completely uncompressed. The heavily compressed track provides the punch while the uncompressed track provides the transients. A transient is the high amplitude response that happens at the beginning of a drum hit or any other sound.

Examples include the sizzle of a hi hat or the snare on the bottom of a snare drum. Parallel compression can be used with anything else in your mix but it is used quite frequently for drums with very positive results.

Parallel compression

This is a very rudimental definition of parallel compression and its effects on audio. For more detailed explanations of compression in general as well as parallel compression, I again defer to sound on sound.

Use these techniques and make sure to experiment with them. Learning comes from trying new things and sometimes failing.

Dive deeper into the world of music production with our music production classes