essay writer
{January 31, 2009}   Solving glitchy sound problems on Realtek HD and Conexant HD onboard audio chips with external speakers on Windows Vista (maybe WinXP, too)

Maybe it’s the internal PC beep that’s destroying the onboard-sound output.

I tried to search the web to solve that problem but only found pages where hundreds of people are describing the same problem but no one solved it.
Try my little hint – it worked for me, maybe for you too.
Please don’t worry about the German Vista – it should work with all other localisations, too.

  1. Open the Device Manager by pressing the WINDOWS-KEY and PAUSE and clicking on it
    Free Image Hosting at

  2. Enable all devices to be shown in the devices list
    Free Image Hosting at

  3. Choose the group Non-PnP-Drivers and double click on "Beep"

  4. Stop the beep by clicking on "Stop" in the group box "current state" and change the startup behaviour to "Disabled"
    Free Image Hosting at

If you can hear some cleaner sound out of your external speakers – enjoy it :-)

{January 09, 2008}   Mandy MacLane vs Morc vs Phonique – Hero

Click here to download Mandy MacLane vs Morc vs Phonique – Hero

What you don’t know
In the badly times in my life
Where everything changed
I always ask me why

What you don’t know
The way of what I feel
My heart is crying
But my soul is strong

When the rain is pouring down
And my heart is hurting
You will always be around
This is known for certain

What you know
That you are my hope
And you alway stay at my side
Just in the moments when I need you

What you know
That you’re my soulmate
We can speak about everything
Just laugh and cry together

When the rain is pouring down
And my heart is hurting
You will always be around
This is known for certain

What I know
That I need you like a friend
And I just want to say “Thank You”
For everything you gave to me

{July 26, 2007}   Lancer OGG Codec

Hey friends of Ogg Vorbis!
I found a speed optimized version of aoTuV’s tuned OggVorbis-Codec which encodes around 10-16 times faster but with the quality tunings of the aoTuV codec!
So, if you have a multicore processor and often encode your audio to Ogg Vorbis format – it’ll be worth to check out Lancer’s homepage. Lancer’s homepage is in Japanese but the major facts you need to know in order to choose the right optimization for you are in English. Even the OggDropXP version is completely in English. So why wait?

{February 02, 2007}   Some mastering help…

… can be found via the website of the Mastering Engineer.

Topics are

{January 22, 2007}   Destroy FX Buffer Override

Buffer Override can overcome your host app’s audio processing buffer size and then (unsuccessfully) override that new buffer size to be a smaller buffer size. It makes a lot more sense if you just try it out and hear what it does. It can sound like a stuttery vocoder or a stuck beat shuffler or many other delightful things. In certain hosts, you can also “play” Buffer Override via MIDI notes and even sync it to song tempo.


{January 22, 2007}   mda’s Freeware VST plugin collection

mda’s Freeware VST plugin collection is a set of VST effect plugins for your daily needs in mastering your tunes.

Summary of the plug-ins:


{January 22, 2007}   Murmur

Murmur is a filter sequencer VST effect plugin, similar to Breather but without the randomness.



{June 29, 2006}   Mastering hints for Jeskola Buzz compiled by noolout (from:

Check out n00l’s site to get more interesting hints…

There has been interest in having this displayed from time to time, so here it is. All of
the tips currently on that appread under the random tip section on
the left …. the ones on the TOP are the newer ones and the ones on the bottom are the
golden oldies that might not be as helpful
enjoy buzz !
Here’s a new tip:
1) Make a one life pattern for each generator or note based effect.
2) Put a note off message for each channel (except for HD Monster Kick, that will crash
the program).
3) Use this pattern insetead of “mute” in the sequencer .
This does three things
1) You can avoid bursts caused by muting and unmuting.
2) Most patterns that end with a sustained note can be shortened so that they don’t have
to include the note off in the pattern.
3) You can easily stop, start and double check to make sure everything is off without
having to go to the pattern window.
Plug all of your chains into Cyanphase Jedshiva (Visual DB meter) and then to a cheapo
amp and then to master and crank your music ! This is also a good way to preview any
‘mastering’ plugins
This site will be your friend if you are new to buzz –
pattern editor f2 – use cntrl + 0 to change the default cursor movement (which is cntrl +
1 … 1 space down for each entry) … this is easier for instance in trying out new notes in
a chord or something simlilar … the cursor will stay in the same place and you can
change the note/param without using the arrows
If you ever wondered what the hell is the parameter “Thevfactor” in FSM Philty, try to do
this: use high cutoff (near 150-160) and resonance
(over 170) use 2L FrontFlt type, high modulation values, LFO shape:weird. NOW change
“Thevfactor”: you’ll hear lots of difference! There is a technical explanation of this: think
to have lo cut and hi res, high v factor values smooth the resonance! This is extremely
useful when you have hi mod values, and cutoff goes up & down…
tightly humanised drum beats are obtained by enslaving the velocity of the machine to
the peerLFO, then play around with max and min values, after having set the waveshape
to random or wander… the track parameter is usefull for multiple sounds triggered from
the same machine
Insert large empty spaces in the sequence editor, easy, here is how. Use shift and
numpad (grey) +/- to zoom out, then cntrl i to insert tons of space or block highlight
your shortened but intact sequence and move then zoom back in :)
have u tried shift numpad +/- in the seq editor – great for copying big sections or
inserting large spaces into sequences
Refreshing the wavetable in Buzz usually takes ages, but if you press “Parent” until you
are all the way back to the root dir before refreshing, it is suddenly really fast!
1.) DO NOT use Rout Soundfont loader, instead use the external VST-based soundfont
loader named “SFZ” which can be found for free at: “
2.) Within the SFZ’s GUI interface, set the “polyphony” count to around “6″ or so (since
it’s rare to voice more than 6 notes simultaneously on any one particular instrument.)
3.) Within the SFZ’s GUI interface, set the “quality” number to at least “16″ if you are
using an soundfont witha lot of high harmonic content.
4.) Use REVERB in every song, and set a similair (but not necessarily the exact same)
parameter settings for each instrument loaded. This makes the instruments sound more
realistic, as if they were all played from within the same room.
Don’t be shy to put your voice in your songs.
If you’re not so brilliant singer-you can use vocoder. Try it!
fsm infector attributess – crispness = 3, quality = 3(hi), color 2, fun :)
the ‘context’ key can pull up menus, such as add a machine in f3 without your mouse …
its the key between the windows and cntrl on your keyboard, unless u have a really old
kb – thanks fuzzpilz for this tip :)
Bored with using EQ to pad out particular frequencies? Trying using reverb instead to fill
whichever frequency band you want to pad up.
quote from #buzz in early 2004 – sine909 – “buzz has changed alot, it is THE new thing
all over … and yet again”
all over … and yet again”
you want to tweak a parameter via midi, but are afraid that high values might create a
mess in live situations (e.g. feedback, resonance)?
bind the parameter via peerctrl and change the value mapping curve…flatten it above a
certain value.
like or – in f4, (if u hit _, a underscore) … you get which will enable/disable that
machine, it doesn’t work for all machines, but DOES work with Pvst which loads all buzz
machines, so there ! Especially useful, in mastering chains, like the bypass option in
joachim jupiter2.
Virtual Midi Keyboard – yes possible with polac 1.19b – and you can even record your
‘keyboard’ playing to patterns, do this all from the editor screen of pvst
If you have a very slow computer, and experience some crashes – noise bursts, its not a
bad idea to hit stop BEFORE you add any new machine – gen or eff – stability might
increase – but get a faster computer and xp – buzz works great on that :)
Wish buzz had a ‘undo’ – u need to start using cntrl + shift + enter more (create a copy
of the pattern BEFORE you modify it)
triple click machine = solo – WhiteSoul =]
Have some Buzz creations you’d like to share? Submit them at:

When posting a new topic on the message board, verify that the subject line is relevant
to the content you are posting. This simple tip will not only attract the attention of those
who can help you best, but will also save time in the process!
If Buzz freezes just after you add a new machine, take a deep breath and stop clicking.
Now click close as if you are quitting buzz and wait patiently for that good old ‘Buzz is
not responding’ message.
Do not end the program; choose cancel. You will now be returned to Buzz so remove that
buggy machine!
Backspace will drop a wave from the browser into the wavetable (f9) – thanks to
wayfinder for pointing that out :)
Need to make more than one machines play the same thing? Program the first machine
using the Polac VST adaptor, then save that machine by itself to a BMX. Then import it
back into the song you’re working on. Choose a different instrument for the new VST
instance and there you are–double the fun for half the effort. Need another instrument
playing the same thing? Just import the saved song again! Easy!
simple one – > with some effects, reaching the max or min values can cause problems …
change that 0 to a 1 or 128 to a 127… it can help avoid cpu surges on certain machines
on fsm infector – a great buzzmachine, under attributes, there is a high quality factor
ranging from 1-3, default is 1, 3 might consume more cpu, but it could be useful
Well,maybe know it,but Buzz have 2 wayz to exit
–traditional like other Win-z apps;
–untraditional (covered by me,i hope:)))-just push F12 and hold it some time,Buzz will
close after some secondz…that’s all!
To get much more crispness out of your highs (ie, high hats, etc.) use a Glow Sidfilter to
run a high pass on them. Set the Low Pass to 0% and the High Pass to 100% and then
play with the cutoff until you’re happy with it. I would suggest taking high hats up to at
least 1200 hz.
Limiting only goes so far. The more complex your song is, the more you make things
modulate, the more you will find yourself programming volume of some sort. When
things sound interesting, try and listen to subtleties, program volume peeks to bring out
appealing sounds and dips to even things out. PeerCtrl is useful here as well.
Want to re enable your tips on startup???
run regedit (startmenu/run/regedit) then find:
where it says startup, right click… choose “modify” and change the value from 1 to 0
To load a buzz machine in the Polac VST or VSTi loader, right click on the machine and
select Prefrences… Click on the Global 2 tab and unselect the “Disable Buzz wrapper”
If you make a .bat file in the buzz directory containing this line:
start /ABOVENORMAL buzz.exe
Buzz will run without chopping up when other programs use CPU.
To adjust drum loops to fit with your BPM, simply hook up a MTrk to the master, and also
to a CyanPhase recorder. Use function 11 (Loop fit) to make the loop sound right. You
may need to fiddle with this to get it right (maybe using offset, etc.) Set the Recorder to
record the length you need, and save it to the wavetable. There you go, a perfect loop fit
record the length you need, and save it to the wavetable. There you go, a perfect loop fit
everytime. This allows for more effects in the Mtrk as you don’t have to use loopfit
On many machines it’s useful to use only high byte portions of four digit numbers. Many
times, things that can be randomized by using Ctrl+R then need to be “quantized” by
removing the zeros from the ten’s and one’s column. Also essential when working with
Best tip ever – remember the old line that used to be in all buzz help files – ‘keep your
buzz updated, or you will miss out’ …. thanks zwar, geonik, arguru, jeskola, whitenoise,
fsm, zephod, ninereeds, rout for all of your hard oldschool buzz work – now its easy with
the big buzz packs – thanks xnd :)
make sure you have checked this out if you use winXP or 2000 with buzz – a MUST FIX

PeerChord Full and PeerChord Light
Use these machines, they have such a untapped potential ! A MUST see, control other
machines with this machines, allows for note delay on all machines, multipattern
sequencing, automation ease, just great additions, ease of use, good helpfile, great,
great, great, thanks btdsys !
for drumtracking: use BTDSYS SampleGrid. it rox!
Don´t spend hours trying your songs sound the same beetwen using your headphones
and stereo sourround system. Realize that with headphones each ear hears only one
channel, but in stereo sourround system both ears hear in the relative position of both
channels ;—) (ready to rok)
” Everything needs EQ. Cut is better than boost. – edsca”
Not necesarily true. If something sounds fine in the mix without EQ, then leave it alone,
you’ll probably end up making it sound worse. Yes, cutting is always preferred over
boosting, but EQing is just like the laws of physics, for every actions there is an equal
and opposite reaction. You boost a set of frequences, all the others go down and vice
When creating nice tribal beats, use a chorus with a deep bass preset and a slight
amount of pan from left to right to really make the groove move
If buzz crashes on startup, delete gear/effects/Jeskola Karhu.prs
if your bass sounds to weak, use an eq to boost the frequencies around 100-200 hz.
Having trouble getting a warm, rich, professional, lush, phat, sound from your mix?
Worry no more, connect the entire mix to a Joachim Jupiter2 connected to a Joachim
Multi1 (make sure the compressor’s on) and tweak them accordingly. You’ll sound just as
good or better than commercial tracks, no lie. :P
NEWBIES: save to a different file after you add a new buzzmachine!!!
and then try to reload the new version of Buzz.
it sucks to get far into a song, and then not have it open\crash at every attempt.
Another way to avoid this, this is to sample all your buzzmachines, and load .wav’s in
Maltides tracker. super stable.
nothing is safe from LFOs ! after you’re done composing, sweeten it up by adding
PeerLFOs. Set the amplitude very low and assign e.g. the frequencies of your ErsDrums,
Filters or even the LFO frequencies of other LFOs (Infector etc)…
notes may differ in length and volume.
sounds stupid, but check if you really used this possibility. ^^
If you sit down buzzin every single minute just forget it fora week or two and let your
ideas mix together and then make your ideas.
Some effects use an auxbus to make a sidechain…
Writing your own plugins and hacks isn’t too tough if your smart, even if you’ve never
written a plugin before. To get started go to the Developer section or #Buzz on efnet.
(Ever wanted a piano roll or audio arranger????)
Don’t forget to check the attributes of all machines, there are many hidden goodies there
as well as midi, channel, range information (sometimes)
Rapid Machines Insertion – with Cyanphase Overloader u can have 10 favourite machines
for quick insertion (f’nar!) via F-keys – Use templates (create your own machine
combinations however u wish) – Double click in the machine view and use the menu for
rapid machine access by dll name
Wavetable (F9) – right click – import level – allows you to assign more than one sample
to a number – you can use that for using multiple samples for different notes or for bits
of a chopped up drum loop – left click – on the root note – (be patient) – you can change
it to whatever you wish (C-4 is the usual)
PeerLfo – In the sequence editor, remove peerlfo’s column, it will clear up space on your
PeerLfo – In the sequence editor, remove peerlfo’s column, it will clear up space on your
sequence – You can assign peerlfo to change more than one parameter of its target
machine, simply add tracks to a blank peerlfo pattern, on the machine editor, you will
now be able to assign more than one parameter
Polac Vst Loader – virtual midi keyboard ? load any vsti, open GUI, press f4, look for
enable virtual keyboard, you can set this by default too – play notes on your keyboard,
page up/down will act like * and / – does it record the notes into a pattern too ? yeah,
you can define the quantization too, like ft2 – make sure you use version 1.1 not 1.0
matilde tracker bug – use paramfix.exe You may get an error message on loading some
songs – Saying that i have an incompatible version of the machine …
Machines i need to use more of – Joachim Temperature, Joachim Multi 1, Firesledge
Param EQ, Firesledge Pampurfe, Oomek Masterizer, Oomek Exciter
Instant Creativity – MC1/Peerchord/Chordwizard (preseq/quick note input) + template +
presets = a tribute to buzz’s modular structure
If you want to tune your samples or some buzz generators, use C-Tuner (a vst plugin i
already suggested sometime ago). You’ll get a quite accurate information about the
tuning. After that you can use the Tunaman to adjust the pitch or use the finetune
parameter on some Buzzsynths. – thoke !
One of the easiest ways to find answers to questions by yourself is to use the Search
Function on Message Board
Peer Lfo and Firesledge Parametric Eq – You can Add tracks to both of these machines in
the pattern view to Increase number of Bands
The creation process in Buzz can be motivated by the use of templates – check out
Kooper’s, Hamster’s, Nool’s sites … remember templates can also be used throught
gear/templates or import song – same thing
There is no limit on the number of instances of buzz you have installed on one computer,
you can have different folders such as 1) all machines including buggy ones 2) stable
machines only … or however you wish … so you can check out downloaded bmx files,
If you are tired of missing machines when opening .bmx files that you downloaded from
the internet …. try Beanie’s Missing Machine Manager from the ‘Utils – All Utils’ sections
on … it scans bmx files and downloads the machines from ..
very handy
If you haven’t tried all of these then you are missing out – Overloader, Updated
Index.txt, Buzz’s Chordwizard – external application to create buzz patterns, exchange
notes between gens (clone) etc, Peer Machines – Chord + Env, etc,
Assigning/Manipulating VST parameters with trackable lfo’s in Polac’s Vst, Templates !
Create a Login name for … you may have to accept cookies or trust
the site from http://* … and contribute to the buzz scene … best way for QUICK
ANSWERS to FAQ’s at -> message board search of
Use the search function on the message board to read about TONS of
commonly asked problems/questions/concerns/ideas (it is located at the top of the big
view of the entire board
Use the ‘SEARCH REVIEW’ located on … and type in for example
‘strings’ …. and behold !
Before you do anything when starting on a new song, put in a ‘Cheapo Do-Nothing
before the Master, and run everything through this. That way, you can put things like
BuzzRizer or EQ’s in later on without any problems.
Templates – Very useful and often overlooked facet of buzz – Think about all the repitive
tasks you do everytime you create a new bmx – think about it !
Sequence Editor’s accuracy is one tick (=pattern row). You can zoom in / out by
changing the Step value, either from the menu, or by pressing Shift + and Shift -. This
allows you to place your patterns with one-tick accuracy if needed. Mind you, if you
offset the patterns by an uneven amount of ticks, they may disappear when you zoom
out. However, they are still there. Also, you can use this tip to visualize more of you
sequence on one screen by selecting higher steps (greater than 36 which is the default)
Pattern Editor Tip (F2) – CTRL+SHIFT+RETURN Copy of pattern Creates a copy (clone) of
the current pattern. – or ALT+W Change Wave Selects from Wavetable. – use ctrl+2 for
changing the amount of movement per up/down
Start Up Problems ? – for WinXP: – Run FixKit – Empty the themes folder – Compatability
mode to 98/ME or NT
Joachims mercury filter – it’s 24db+dist is fantastic
LdC Automax – if u want to avoid clipping on your output and still get the maximum
possible level (basically normalize it), use LdC Automax – put the automax on “lock” once
u got the signal level sorted, otherwise it might go real quiet if u get an unexpected peak
problems creating a bmx from a midi file in m2buzz? all you have to do sometimes is
edit the midi file to remove guidelines in any midi editor
If you use m2buzz, use Cyanphase’s Mc-1 to transfer notes to other machines – solves
the need to update m2buzz’s machine index with all the gens
Aliasing – yeah the nice thing about the filesizecompression is that you can oversample
your samples in a resampler to get better quality but they won’t take much more
diskspace – if you have 44100 sample you can resample that to 100000 or something,
buzz supports 200000hz i think – it sounds better when pitch shifted in a tracker, if you
hear aliasing in your samples this should help
Have shitty samples but want a better sound ? – try cheapo stimulation or oomek exciter
Want to add groove or swing to your track ? Use delay commands – ED in matilde, 0D in
xs-1, vsts got a whole column for them … and also you have 2ndp’s Igroove machine for
global bpm shuffle
Hex2Decimal – Start – Run Calc.exe – Change into scientific calculator – View – >
Scientific – its set default to Dec, click on the Hex option or F6 – decimal and F5 – hex -
programmers know this one :p
Phat Sub Bass – FSM infector, Turn sub osc volume off and the osc mix to 100% 0% and
you have 1 osc sub bass and all the infector controls, bass3 clicks, infector does not
if you use Buzzfixkit by cheapo – Leave the last box unchecked, as often polac vst index
is not a problem and takes time to rescan your vst dir if deleted
The TB4004 synth machine is out of tune. To correct that you must add 14 to the
finetune in the parameters window of the machine.
Learn all the buzz shortcut will speed your buzz production skill
turn like a wheel inside a wheel. add a delay, pan, then a ninja w/ longer delay, pan
opposite. mindfuck your listeners
Get a mouse with a wheel!
Saving a bitmap as raw data (.RAW ) allows you to load it as audio. I recommend
preparing it in your WAV editor of choice first, as this tends to produce harsh noise….
(low pass)
Pressing ‘a’ on the parameter window will randomize all the parameters. ‘c’ will copy and
you can edit with ‘e’.
How to fade-in/out with cheapo amp: 1) Make a pattern that sets the ‘gain in %’ to 0 and
the inertial to 0. 2) Make another pattern that sets the ‘gain in %’ value to what you
want. Set the inertial value to however many ticks you want it to take to fade in from 0
to your specified value.
The name of the tracker machine most people like very much is “Matilde Tracker”. Read
that very carefully (and check it from the machine itself if you dont believe me). It is not
mathilda, maltide or matalude.
If machine´s patterns are so large that they don´t fit on screen, and you can`t get acces
to all the parameters, just control them with the Peer Control machine…
Sequences looped at extremely high tempos can make great sound effects that can be
manipulated in real time.
You can enlarge any machine’s parameter window. That will give you a better control on
The ‘Copy’ button in each machine’s GUI _should_ copy the settings of all it’s sliders into
memory, which you can then paste into a pattern with Ctrl+V. If you want to leave some
parameters open for modifying later, try pasting the data into an extra, unused row of
your pattern, then copy over only the needed settings.
If you are having trouble opening a song with a ton of XS-1′s, first try moving your
sound-font directory. If that still doesn’t work (and if you are on XP), hit ctrl+alt+delete
to monitor your cpu usage. After loading each sound-font, the percentage of usage
fluctuates to around 100%. Just wait until that percentage drops and then load the next
sound-font. No more crashing with XS-1 songs!
The best way to learn is to read the manual and play the examples that come with Buzz.
Trying to figure it out yourself will only give you a headache. You won’t remember how
to do things better or you become acustom to learning on your own if you try to figure it
out for yourself. Reading the manual first is the way to go!
Always have a backup (CD) of all the zip machines (all versions),songs , presets and utils
you have. So, if you screw it up formatting, or broking your HDD, you´ll be safe.
It´s possible to make a copy-backup of your buzz folder on a cd (RW if possible), so you
can carry and prove it (buzz)on other´s computer (inclusive run buzz directly from the
cd)ONLY if both systems are similar (compatibility).
When you change panning positions during the song (eg. for strong left/right movements
of sounds), don’t place the panning machine after a delay – it will sound highly unnatural
when the delay is panned, too. Pan, then delay, it will sound much more natural
“roomy”. -nD
reducing stereo width and reverb/delay effects can often make your track “pump” more.
Rymix stereobox is good for reducing stereo width, just play with the “width” setting.
Reducing the stereo width also means that your tracks will probably sound better on
mono sound systems.
FSM Kick sometimes bugs and sounds slightly different on every note. If you made a nice
sound that fits your track, render it as WAV and use it in a tracker machine.
Amen generator + FireSledge pampurfe w/ destructor preset = instant digital hardcore /
Don’t like using the shift key to connect machines? Use the middle mouse button as you
would the shift key! (don’t know if this tip has been added already or not)
To synth pretty realistic arctic howling wind effects: Make a continous pattern of noise
using a generator with the highest frequency range cut off (e.g. using Noise XP), run it
through a bunch of KFlangers with different settings, and finally run all flangers through
the Arguru Wazzup set to LP mode and play around with the Glide, Scale and VCF_Reso
Tracks that sound thin cannot be saved by exaggerated use of effects. Smart tracks start
with smart programming/usage of the generators. Use less effects and just in the right
places! Save the original sound and ideas of what you did in yr machines.
The best way to learn is to read the manual. You remember how to do things better and
you become acustom to learning correctly, rather than trying to figure it out yourself.
When using machines that generate infinite/long sounds or loops, like pads, don’t use ‘s
in the sequence editor to cut them off. This can cause bursts (ARGH!), or if they’re
reverbed/delayed, add some unwanted sound the next time the instrument is triggered.
Instead, add one extra tick (ie, if you’re using 32 tick patterns, make them 33), and add
note-offs to all tracks. They (the note-offs) won’t be triggered if another pattern is placed
directly afterwards in the sequence, but will turn off the sound automatically, saving you
the trouble of remembering to mute your pads. -RDESkid
Are you into tribalism?? Are you the guy in the eternal search of that live recorded
percussion loop to make your tribal track? If you can’t have it just get a percussion
drumkit (using drum machines or drum samples), work it on Buzz set at 16 TBP or more,
place the main beats and then start adding beats in random ticks variating tone and
volume. Crack your head on that a while and soon you’ll have your own signed
percussion solo (with some emulated human imperfection in it)! Just add some drum
room reverb, sample it and you’re done!
Make a backup of your songs (and samples) now and then. You never know when your
computer totally breaks down.
If a track stops “writing itself” – abandon it. Start something new. Then if that new track
also reaches the point where it stops writing itself, use the “import song…” feature from
the right-click menu and merge the two to something new.
if you are making tracks with the intention of releasing on vinyl, check to make sure you
don’t have any phasing problems in your mix. Make sure low bass tones are in the center
effect settings won’t change throughout a song ? you won’t do a pattern for this machine,
nevertheless it clogs the menu in the pattern editor ? rename the machine by adding a
space in front. it’s that simple. Spiritcatcher
when mixing your tracks, have your audio output set at a low to moderate volume… you
get better results this way. Very loud output when mixing results in poor mixes..
listen to what your song sounds like in mono. listening in mono helps simulate a cheap
system. It’s ok to make music that is only intended to be played on stereo systems
though, Trent Reznor was able to get away with it.
Never overuse an effect, unless it sounds good.
I think you can make a great sound with one of the bass series. Just experiment with this
machines and add some automation. I don´t know what do you think about this sound -
I like it and I believe it´s typical for buzz.
To enhance your stereo image, use a Spread effect. it basically adds a static delay
between left and right channels, making your sound much wider and louder, and its often
the difference between a good sounding micing and an incredible sounding one.
Tired of samples getting cut off by other samples in Maltide Tracker? Tired of using eight
tracks to fit in all your samples? Right click, go to attributes, and set “enable virtual
channels” to “1″. This will enable virtual channles within MT, allowing your samples to
finish despite any other samples in the track.
finish despite any other samples in the track.
To avoid crashes while using a PeerChord, make shure you fill in the sample numbers in
the first pattern your assigned sampler is going to be playing (Ie. the PeerChord will
play). If you leave out this information in the sampler, and the PeerChord is told to play,
the sampler will crash. But you only have to fill out the first tick of each track to define it
for the while track.
Loops from hell if ur sampling to save cpu cycles and u try to loop it in the trackers or
the loopers remember to select the machine in the wavetable and use the loop or it
comes out with latency and is slightly behind time i also tried editing it in a editor and
it,s almost impossible to hit it right
You want to remove noise from your records?Try Geonik’s Dolby Surround.
for more better sounding drums, go into ‘attributes’ in matilde and enable virtual
channels. Then enable the ADSR envelope for the different samples in wavetable and edit
them to your liking.
Want to give your sounds a subtle human voice texture? Grab Firesledge’s ParamEQ and
put some relatively high-Q/low bandwidth boosts (somewhere between 4 and 8 should
do) on frequencies between 1000 and 2000 Hz–try until you find some that work,
though listen hard when you experiment coz the effect is quite subtle! This technique can
be used to “vocalise” an instrument by faking the presence of formants, like you all have
in your own voice from the shape of your mouth/throat/etc.
If you use a SoundFont or a VST in your song, never forget to rename the Loader with
the name of the SoundFont or of the VST.
Always right-click your machines! There are often some great hidden features hidden in
the pop-up menu. ;)
Sometimes bypassing an effect will sound better after tweaking other parts in a chain.
don’t be afraid to delete effects if they end up making things sound worse!
Many others may have posted this tip before, but always remember to listen to your
Buzz creations and projects on a good set of speakers and headphones. You’ll want to
make sure the mix sounds great no matter where it is played!
Pressing random on different machines will give you different types of results, depending
on the specs of the machine. Padsyn, for example, will give you great ambient machine
About the EQ thing… always remember, Cut to blend in and Boost to stand out.
keep yur shit simple … just a few trackers connected to the master… if u like to play
with samples… try not to use too much effects . (or concentrate them to on one
connection)(i know my english lacks some words) try to make every sound u use in ur
sound having one ! connection to the master – use cheapo amp – but somehow i guess its
mixing the sounds up diferent.its upon your ears.
Use a delay, followed by a reverb on synths…it makes the sound “full” and “flowing”.
Avoid too PHAT(tm) sounds. While good alone, they’ll just ruin the mix. Especially be
careful with the bass content.
Take Matilde (or another tracker), add a reverb and in the tracker play a voice sample
backwards. Record it and play it backwards again and you`ll get this demoniac reverb.
(I’m not sure if you already know this, I’ve just found it out for myself) =) Keep on
this is easy: always make patterns some ticks longer than you need them, so that you
can easily move notes down by pressing INS without the danger of losing the last lines.
Want a real hard disorted asskickin’ gabber beat? Take Bass 3, waveform sawtooth,
envmod around 40,low resonance and decay, then make slide from C-5 to C-2. Add big
boost around 62-125 Hz, then saturation (>15dB), compression. Use with over 200 BPM
most of time, i don’t know waht i’n doing, but this is exactely at this point…somethimes
best things came from the caos.
Soundfont loader crashing everytime you try opening a song with soundfonts? No
Problem! Just rename your soundfont Dir real quick, open the song – you’ll get a load
error instead of a crash -, and then you rename the folder back and load the soundfont
again. fixed.
if buzz keeps crashing when you load a buzz song which uses the original SPECCY, you
can fix the problem by moving your overloader dll in the gear directory. then you can
copy your patterns into speccy 2 and save it and restore your overloader.
Want to hear some wacky stereo effects? Try BTDsys’ new peerlfo and/or peerenv
machines with Rymix’s StereoBox Pro. Try targeting the width on the stereobox pro. Run
a pad through the stereobox pro and have peerenv hooked up to the bass drum of your
song. Or use peerlfo on the stereoaxis. Or use either machine on one of the stereobox
pro lfos… The possibilities are endless!!
For those of you who just want to Pop Trance, use the HD_GS 6Ultra_Lite
Instead of using all kinds of expensive effects pedals for your electric
guitar/bass/ukulele, buy an ASIO compatible soundcard, and use Buzz for your effects.
If you backup your files often (you should do that ;-) ), [b] save as BMW [/b] even if you
are using samples. Buzz will find them, if they are in the same folder. You’ll save a lot of
disk space! [b] BMX [/b] format should only be used to [b] exchange [/b] files that
include samples.
A good pc, a good soundcard, good monitors, a midi controller. Thats the only hardware
most people will ever need to make good electronic music.
The realtime output from Buzz isn’t the compleat sound you can get from Buzz. Use the
Overloader recorder to record in 32bits, 48 and 96 Khz. Thanks to Cyanphase we can tap
straight into the 32bit floatingpoint output from Buzz ;)
if you need a synth with (seemingly) infinite sustain, try using an additive synth (e.g.
Arguelles kAway) and turning the sustain all the way up.
If you get a crazy idea at some point during the day when you aren’t near the
computer… WRITE IT DOWN. You don’t know how handy it might become later.
Don’t know if this useful thing is already known, but if buzz doesn’t want to load your
songs anymore you can try to import them into an empty song. worked fine for me – i
could rescue two songs of mine. of course this doesn’t work when a machine’s missing
(do i have to say that?)…
You can customize color themes by editing the .col files in the \Themes directory with an
ordinary text editer.
When buzz crashes don’t click on the dialogbox ! You can still recover your song by
saving it first, then let it crash. Worked for me all the time. When buzz crashes it doesn’t
take your whole machine down like some others.
You can make a network of rIDMa machines for a nice sample-making effect chain. Hook
one up after your main effect chain, send that to two or three rIDMa’s, send each of
those to two or three more. . . as much as your computer can handle. In addition, you
can place effects between these network “nodes” for more insanity. You probably want to
adjust each of the rIDMa’s (especially the first in the chain) to a low amount of
randomness, but there are alot of different settings that sound good.
Easy way to make a snare-in : Create a sampler ,load your snare wave ,enter [Pattern
editor] – in first note put C-4 (or else) & hit CTR+E key on that note ,go to the end of
track & put the same note ,hit CTR+E & CTR+I .Next go to volume row – enter 00 on top
& hit CTR+E ,at the end enter 64 & hit CTR+E & CTR+I -should work ;)
Route a synth separately through delay and reverb. Then turn down the dry level on
both. You hear a reverbed wash, then a delayed attack. Good for wackey leads.
To add a little random coolness into your tune hook the ridma up to a bass or a synth
then use a pitch shifter and a reverb as I side chain. ie: bassline already made, run a line
from the last effect through a ridma -> PhatMan -> sonic verb. then play with a noise
gate if you want to chop it up. have fun XionD
To spice up your melody lines don’t hesitate to use volume and vibrato, even barely
noticeable changes can morph your melody from a decent one to a great one. Use small
volumes change on each notes to give your melody a more human feel and use drastic
volumes change on key notes. Add vibrato on long notes but stay subtle, if you
emphasize everything you may loose the whole point of your melody. Some machines
have a glide effect included, use it on transitionnal notes to make things flow in a
smoother way. To see how melodies are done don’t hesitate to listen to your CDs;
especially vocals; and notice the importance of rhythm in a melody and big interval leaps
but also the less obvious importance of repetitions, silences and variations. And the
golden rule : trust your ears only :) unless you’re a talent of nature, music theory can
only help you in sounding cheesy and/or overused, especially when it comes to melody
lines. Use scales to start your melodies if you have difficulties to find inspiration and then
throw away all your theory papers and continue with your ears only. Music theory is of a
good help though when you want to accompany your melodies with good chord
progressions, but only when the melodies are over ;p
If you use only headphone to produce your music, don’t forget to master it for
loudspeaker before releasing it. Producing with headphones is cool and has many
advantages but if you forget the final step of equalizing your song for speakers, your
masterpiece can sound very muddy on other people’s systems.
tired of Psi2 mono drums? Geonik Dolby Surround.
phatman (mva->heavy chorus preset, LFOp small parameter change patterns wherever
you like. Just remember: when live recording (f7) parameters, move the column with the
pattern to be recorded to to the left of all other columns of the same machine or else the
parameters won’t be recorded to the correct pattern.
If you are having trouble with buzz crashing (particularly at starting up or opening and
you run Win2k or win xp) rename your themes folder located in Jeskola
Buzz->Gear->Themes. Solved a lot of my problems.
mail to to get a free chord viewer that contains almost all
the chords you’ll need to spice up your buzz creations…Ayyu
A big mistake I still make is looking at the meter to see if it goes red and then feeling
happy with myself because everything sitting perfectly in the yellow. Don’t do this, your
music will suck when you turn it up. Leave some head space by bring the slider down
some(1/5-1/4) and trust your ears pushing the kick up as loud as it will go without
clipping.Then build everything around it.
Try connecting your string machine to 3 flangers, all set to different values. This will give
your strings a realistic sound.
Looking for HardHouse Basslines? Then look no further than Hal Dreamers Ozo. Also
does Trance Dnb Techno you name it.
If you submit a wish to the wishlist keep checking on it. Often the oldtimers will give you
a suggestion that can solve what you’re looking for.
find a nice syncopated drumloop, loop it in matilde tracker, THEN go mad with E8/01 and
09/xx (put your numbers in the xx)- feel the funk grow! ££custard££
If your looking for a really nice trancey high delay lead synth.. try some from the void
series… loads of features.. and good quality too!
To keep everything clean when you start to use alot of machines and effects… start to
name all your machines and effects as to what there purpose is and what is going
through them. even though this can be hectic for some… once you start to do it, it really
makes are great impact of being able to work in your work area quicker ;) Peace!
RE: 808 LT tuning using presets- try 6th interval notes in relation to the main melody or
background pads to ‘harmonize’. Really fills out the song. Thanks, David
You have no idea how this machine works? Check demos, short description on ;) , look for templates, send nice mail to developer, visit BuzzFAQ or
visit #Buzz on EFNET. KooPer
Problems with starting of Buzz? Most of these problems are in the heart of you machines
kingdom – index.txt. Remove or add prefixes * and customize it for your comfort, it’s
only text file and it’s for US ;) KooPer
RUFF KOLOBOK: 6th octave, every slider to the right except from res (around 75). now
move the sharpness slider – you’ll get a damn cool spooky sound similar to a crying
wolf… //renniac
Here’s a tip for fine tuning your mixing effects (ie, compressor, eq, reverb, etc): close
your eyes when you’re adjusting a paramter slider. This forces you to use your ears to
get the best sound you can. Your brain seems to place more priority on your vision then
your ears, which isn’t good when tweaking music.
jacinth, with preset “ld.pads.1.(RomanB.remix)” or similar + hipass filter (best withHD
limiter Quad, set to hi bands) = nice aerial pad sound
It’s more important what you can do with a machine than what it was made for ;)
Original TB-303 fills it’s memory with random patterns when the batteries are taken out
of it and put back. Some old acid house tracks have born this way. You can simulate this
by making an empty pattern in any of the fine 303 style gens and randomizing the note
column and the accent columnand the slide column with ctrl+r. It’s not the same as a
real TB-303 (the note range is too wide) but you can get some really wicked sounds like
If using Creative Lab’s ASIO drivers in buzz, you may have found one of the most useful
machines, the Whitenoise Looper goes to shit – plays samples incorrectly. Try setting the
sample rate of your (44100hz)loop to 43800 hz. Presto! Loops to perfection once again!
Obviously for sample rates other then 44.1khz you’ll need to change the value to
something else (ie. not 43800)
this works especially well for effects like EQ and reverb, though useful for all: hold your
mouse down on the parameter you want to change, then CLOSE YOUR EYES while you
adjust it back to forth. adjust it till it sounds good to you. this sounds weird, but i’ve
found it works better since it forces you to rely on your ears, instead of your eyes trying
to tell you what they think is good.
Try to enter different volumevalues for each note in each track in each machine. Then
you get more realistic results.
Occasionally you will need a slight gain from a machine to the master, but the basic gain
is already the entire way up. Instead of adding a gain effect, chain it to another random
effect. This gives you the slight boost you need, and can make for some nice fx!
Use lots of slowly time varying effects on your sounds, they make them sound much
more interesting and much lest plastic – FUK
For a nice warm effect to you filters place your delay or reverb after the filter, this way
the wet reverb signal will still be going, its really spacey:)
the wet reverb signal will still be going, its really spacey:)
NEVER give two generators the same name or your file will be corrupted the next time
you load it! – fhobia
Really THICK bassdrum: GoaKick at 20/35/25, paralleled by Saturator at 36db drive,
then EQ-10 with 62+126Hz +5db, 250+500Hz -12db, 1+8khz -8db – try it! -nD
Random numbers and note patterns cause complete and total chaos, or some of the
coolest ambient tracks ever.
You can made a very strange pad with VKR Granular. Take a low tune string sample
(example:E2 of a guitar), put a LFO Filter (Filtah, Blue Filter), Scrapman and a Delay.
Play with the controls in VTK: with low speeds you get a very dark sound and with fast
tempo you get a ¿mandolin?
Jeskola Es-9 is very good fore basslines
Taurus is good fore making fmplibbs and blopps wicked psy fxs
as you make your tune, take note at the master waveshape periodically.. if you see a lot
of square-ish characteristics (i.e., too loud), then lower dbs appropriately. people can
always use their hardware volumes u know.. (this doesnt apply if ur making hardcore
=8] ) :: GuPH
for a VERY interesting & full sound, put in a Q Piano (phys modeling) through a 11-Delay
directly to master.. now, on the 11-delay, set the mode to “ring” and play around with
the Dry/Wet sliders.. for the piano, try ranges of C-4 to F-5 and others of course.. look at
the waveshape, not what you expected, huh? (only be careful not to unintentionally
overdrive it too much so as to lose quality, lower the input db on the 11-delay a lil) ::
For cool auxiliary drum sounds, hack up a standard breakbeat in Whitenoise Looper, then
HPF the low end out. Finally, run it through an envelope filter like TouchWha or Orange
filter. A little delay can help, too. Lykwyd CHykyn
You can simplify the mixing of complex machine routings by using a gain machine as a
submix. Lykwyd Chykyn
If your track/song feels incomplete, try not to add a multitude of effects and generators
to fix your errors. It’s almost best every time to rewrite it! – fhobia
When writing your song, never try to do the entire song in one go. Your ears become
tired quickly!! Try leaving it for a day or two before adding to it, or finishing the
mastering it – Supafunk
To create more interesting pad sounds, try adding the FSM Sprayman into straight after
the synth. this machine will halp add more subtle artifacts to the sounds than just using
a chorus or filter effect – Supafunk
Always try to balance the sounds in your mix, never have to many bassy intruments, and
likewise for other frequency ranges – Supafunk
dont under estimate compression and gating, they can help remove the clipping from
phased sounds and drum beats, and help produce a more level sound when used before
a distortion effect. And gating can help remove excessive reverb feedback, and help tidy
up noise on drum loops. For a really clean sound always compress the sound (only
slightly) before gating it, this can help prevent the song becoming to muddy with
background sounds – Supafunk
Phatten up a sampled loop or breakbeat using filters as a crossover! Use two filters
(Jeskola Filter2 works well), set one to HP and the other to LP. Adjust the frequencies so
you have the “thump” in one filter and the rest of the sound in the other. Now you can
process them separately. Try adding reverb, chorus, or delay to the highs, and distortion,
compression, or gating to the lows. Take those skinny mono beats to a new level!
Lykwyd Chykyn
Want to prevent some possible headaches later on down the road when making a song?
Be sure and save several different copies of your song along the way while your making
it incase one of them gets corrupt you can always go back to an earlier version… it’s
definitely better than losing a whole song! Good luck -Jynx
Bored with the same old sounds? Try making cool news ones out of your old ones by
running them through these effects: Krashbox for a crazy, lofi. indo/aphex twin sound;
asymetric for some wierd noises; scrapman; wazzup; and of course sprayman. Have
phun! -Jynx
If you have the ‘debug’ box checked while the CPU monitor is open you can cut down on
effects/generators unneccesarrily eating up valuable CPU % when a song isn’t playing
after you’ve stopped it. For real! -Jynx
Prefix all your generators with an &. this will underline the first letter of the machine in
machine mode and place all the machines first in the pattern mode
Song won’t load? Try starting with a blank song and ‘importing’ your dud song into it
(right click in sequencer mode). You might be lucky
You can get a cool sound effect with the Matilde tracker using the old school “arpegiate”
You can get a cool sound effect with the Matilde tracker using the old school “arpegiate”
effect (effect 00) over different samples. Try in on vocal bits for fun. -Jynx
To make a dull drumpattern/drumloop sound BIG, connect the drum(loop)machine to a
JLimit. Set the input gain to a high value, the threshold to 0, and the release to
something ’round 50 ms. Connect this to the Master (or a reverb, if you like). Also
connect the plain, unmodified signal, and lower it’s volume a bit. Big-Beat Style! (Esp.
great with drumloops that contain a lot of cymbals! : Frambooz
Get a superb sizzle/rattlesnake sound: Start with Jeskola Noise Generator (Attack low,
everything else max), add Geonik’s Gapper (Length 0.5 Ticks, Floor -8.0 dB), Geonik’s
2p Filter, (Highpass, max CutOff, 80-90% Hi Resonance, no Lo Resonance), Jeskola Filter
2 (Type 0, Cutoff 27, no Resonance), and Geonik’s Resonator (max Frequency,
Resonance 0.088). Add delay and reverb to taste. -kal
Always add reverb after you finish a song! Leave your machines connected to Master as
they are, add Jeskola Freeverb, connect *everything* to it and set Dry Out off, HF Damp
127, Pre Delay 0ms. Rev Time should be low (0-10). -kal
To get simple, 100% stereo separation out of mono sound, pan your mono generator full
left. Add a plain delay @ 5ms, dry-out off, pan it full right and lower the volume on your
generator to even it out. Play with the amount of delay to get the sound you want.
Do you like DIRT? Put Ynzn’s Click’n'Pop into an AuxBus Send, rightclick on the Send and
go to Set Channel, click on “Set Input” to make bus 1 go to AuxSend. THEN, get Ynzn’s
Remote Gate and rightclick on it to make bus 1 go to RemGate. Set the gate to short
attack and release and anything you put through it gets cut up into tiny bits!
Zephod’s blue filter is a great alternative to phase shifting and can add lots of stereo
depth to a track. Try the vocal filters on percussion loops, pads, or the delay send of a
lead– Lykwyd Chykyn
Add the FSM Tuna pitch shifter after a delay with the dry out off. Change the pitch of the
delayed signal with the pitch shifter. Change it around and you can get some great
added effect. -Focalized-
Use the VKR Granular Synth to get really twisted sounds. Use a sampled loop or any
sound, really and experiment. Slowing it down and adding lots effects is great for
abstract songs. -Focalized-
Mute machines on emty patterns it saves some cpu power- somax
Don’t edit the Csynth while the song is playing. Stop the song and edit the sounds.
Reason is that the machine may spread som ugly noise through yout speakers. If that
accures, press F12, Save the song, Quit BUZZ, Restart BUZZ and load the song.
Want some ol’ scool sound of a vinyl record? Use the ZuTube for these special moments .
. .
Want thumpy scales? Go to the top of a pattern in the note track, insert a note. Go to the
bottom of the pattern in the note track, insert another note. Mark the note track and
press CTRL+I. Should sound good.
Like funky guitar? Use the FSM WhaPro conected to another FSM WhaPro. Change the
Wha effects for both the FSM WhaPro. Make ‘em different, that shits wild!
Do u like C64 samples? Use the Tracker with only one track, load the samples that you
want. Connect the Tracker to the Degrader and change the frequency to about 8000. You
don’t need to buy a C64 anymore!
Don’t route your machines one after the other. Eg. use delay as a “side chain” with both
the delay and the generator connected to the master (or whatever). Set “dry thru” silent
- and add effects to the delay ONLY (like running the delay thru a Cheap negative!).
Allows fine volume adjustments for the delay part as well. -nD
Tired of boring echo´s? Then fire up the Ninja Delay AND run it through the
FSM-Phatman! Do this for all stuff of melodies, vocals etc. … it sounds GENIOUS! ;-)
you know you can right click on the infector and make your own waveforms?
You can use Zephod’s MX7 to make Rhodes and E-piano like sounds
connect to a voidbass 2 to a hiiri, set the filter to 2x(hp or lp), maximize the resonance
and then tweak the filter while letting the hiiri play notes
In WhiteNoise’s KickSyn, presets with a number after them reflect the number of tracks
you should have. Each is a different drum. However, if you like drum 1 from preset X and
drum 2 from preset Y, and preset X is only one track, chose preset Y, then preset 1, then
save as a new preset. Viola, a new two drum preset with both drums. Play and enjoy.
Matilde Trackers crashes Buzz ? First set midi-chan + wave attributes, load wave in table
and only after this, you can touch your midi-keyboard.
Tired of composing? Ctrl-R
For trancey sounds, filter, gate, chorus, then split to 2 slighly offset delays panned
For trancey sounds, filter, gate, chorus, then split to 2 slighly offset delays panned
seperatly to add stereo depth.
If you are bored with the usual snaredrums for the drumloops try using a hihat, lower the
pitch to C-3 f.x. and add a lowpass filter. :)

{May 02, 2006}   Mastering hints by Lee Dragon

* Everything you wanted to know about Professional production – by Lee Dragon *
I was a little bit bored today , so i decided writing this … :O

What is a professional quality track production ?
why does it take so much time to finish a professional track ?
what are the guidelines for a professional production ?
what tips can help me to achieve professional level at the fastest possible way ?

I will try to answer most , if not all of those questions and many more on this short
review im writing for all the Buzz community people.

Ok , so lets begin with the first question – What is a professional quality track ?
Well , this may be too complicated for me to answer exactly , but in order to answer it
correctly , lets take a professional track (like all those that are being played on MTV
and radio stations) and try to see what are the COMMON guidelines in all of them.

every professional track has all of the following features :

1. all the channels in the mix are CORRECTLY balanced.
2. all the channels in the mix are BEING heared.
3. the mix sounds great in EVERY speaker & head phone.
4. the mix is at the LOUDEST possible volume level.

a professional mix doesnt have to be a GREAT melody track , it can even be a percussion
track – but it WILL contain all of the above features.

Why does it take so much time to finish a professional mix ?
Ok , in order to answer this question , lets go through all the 4 features i mentioned
in the above section and try to understand how long & why does it take to make that feature.

——–] 1. all the channels in the mix are CORRECTLY balanced. [--------
--------] 2. all the channels in the mix are BEING heared. [---------

a channel = an instrument , a singer , a drum or any other voice that is in a mix.
it is usually recommended that every voice in a mix will have its own channel , thus means
that even if you have a DRUMS channel it is very recommended that each drum will have its
own channel e.g Bass Drum channel , Snare channel , Hi Tom channel , Lo Tom channel ,
Hihat channel ... etc ...

The most important tool that will help us creating a channel balance is a COMPRESSOR.
this is basically an automatic gain control device , that creates a balance between the
low and high volume level in the channel. i wont explain much on this here , further and
much better explanation on this can be found in COMPUTER MUSIC's GUIDE TO DYNAMICS

Compressor is one of the MOST important tools (except for EQ that is described later on..)
that we need to have in our mix ... and this is due to the fact that most of the real world
recorded audio files have alot of changes in dynamics in it.
on electronic based synths, or software synths this is not much recommended for creating
a balance , but can be used in order to change the way they sound (can make a channel
sound more WARM or PHAT .. etc) , or can be used to compress the dynamics range.

Compressor's tweaking is a process that takes quite some time during a mix , when needed a
precise settings .. and the more channels you have in your mix the more time you'll be
spending tweaking their compressors individually ... and thats reason number one for the
time it takes for a professional mix ! (NOTE - on a professional mix all the compressors
are PERFECTLY arranged , so dont hesitate spending some time on their tweaking - the more
precise compressor setting you have on each channel - the better your mix will SOUND!)

as for question number 2 , once you set up a compressor on every channel , the low and high
volume levels on that channel will be heard the same way , so a compressor is your solution
also for question number 2 !

-------] 3. the mix sounds great in EVERY speaker & head phone. [-------

and i mean EVERY speaker .. and not only that , but it has to sound the SAME way !

let me better explain this : if your mix sounds great on a HIFI system (you hear the
Bass & High frequencies on it DOMINATING) , and then you go and play it on another speaker
and you only hear the MIDs dominating , YOU ARE IN A SERIOUS PROBLEM !!!!
a professional mix is also a mix where the balance between the Bass , mids and highs on it
will sound the same way on every speaker and head phone ...

Fortunately for us - the sound engineering world invented the so familiar tool that we know
of , known as EQUALIZER (or EQ) , to help us achieve this goal !

Now , forget everything that you know about Equalizer (and im sure everyone knows what it
is ..) , becuz in order to use this tool you need to know exactly what it was intended to
do when it was first invented.

The name EQUALIZER says it all - it is a tool to make your track sound EQUAL on all speakers
and headphones - it equalizes the frequency response of a track so it will have the same
(or almost the same) bass / mids and high balance on every speaker and headphone.

remember that i said that every track in your mix must contain a Compressor ?
now , add an EQ on every channel , and now i'll try to explain how an EQ is properly
tweaked :

1. if you got Studio Reference Monitors of any kind , it will help you alot during this
stage as it will help you getting attention of problematic frequencies , and then you
only need to adjust the EQ so the track will sound good in your Monitors - and then it
will sound good and right on 80% of most speakers and headphones...

2. if you dont have studio monitors (like me) , it will make your life a bit harder , and
you'll need to get as many types of speakers and on every channel you'll need to adjust
the EQ settings so it will sound the same way (i mean SAME WAY) on all of your
speakers.. and that will be a good reference instead of studio monitors.
of course , some speakers wont play Highs for you , and some speakers wont play Lows
too well , but the important range is the MID , and that range should be equal on all
of your speakers !
for Bass - you might try to get 3 or 4 types of speakers that have a good bass response,
and make the bass sound the same way on those , and same goes for highs - find some 3 or
4 speakers with good Tweeters , and make the highs sound the same way on those ..

Whether its 1 or 2 that you got in your home - you WILL need to test the way your mix sound
on as MANY speakers as you can (unless you have .. umm ... KRK EXPOSE E8 monitors or
something that costs 5000$ or something :> )

For all of your EQ jobs - i recommend a precise EQ to be selected (like Automaton's EQ7 -
its GREAT for me when i resize the paramters window i get more control of preciseness in
my EQ ... :O i recommend it , even though some others are good as well like Rout's EQ 10
or Firesledge's ParaEQ ... etc , whether its parametric or graphic equalizer - doesnt matter
as long as you get the sound to sound SAME WAY on all speakers)

Now here's an important TIP for EQ settings :

once you got your sound to sound the same way on all speakers , dont touch it .. and go
and have a break or something .. because the more you spend time on EQ tweaking - the more
your hearing isnt precise !
it is always good to hear 4 or 5 PROFESSIONAL tracks before you start working on an EQ
setting to relief your ear hearing response , becuz after spending 5 hours on a mix your
hearing isnt accurate as it was in the beginning !

EQ setting stage is probably the one that takes the MOST of the time in a mix , and the
more time you spend on this the BETTER your mix will be !
(think especially about the way you need to set it so it will sound EQUAL on every speaker!
especially if you're planning on releasing a single in a label , you do want that the
label's A&R agents will hear your mix the way YOU hear it , dont you ?? :O )

It is also very recommended to test the way your mix sounds on Headphones from time to time
(even though i realy DONT recommend you to make your mix on headphones , becuz they dont
give you the same balancing as Speakers give you... ) and try to make the balance between
the instruments sound the same on both Speakers and Headphones.

------] 4. the mix is at the LOUDEST possible volume level. [——-

This stage is usually the final stage of a mix , also known as “Mastering” , but before we
get into this level we need to make sure that ALL the instruments are being heard !

Now here’s a small tip – if you got TWO or more channels that share the same frequency
range in a mix … (e.g : Bass Drum and Bass Guitar / Guitar and Vocals / Hihats and Ice
effects …. ) it is always a good thing to use a Sidechain Compressor on those
two channels.

What a Sidechain Compressor is ?
well it is just like a simple compressor , but it works on a sidechain : every time the
sidechain passes the threshold level , the Audio signal gets compressed !

a good example for sidechain compressor is at radio stations , where the DJ is talking then
the music is being ducked down -> this is a Sidechain compressor that compresses the music
according to the sidechain = the DJ voice !
a Sidechain compressor can help you ALOT in getting the MOST out of your mix – for example
if you want both KICK and BASSLINE to dominate , you can do that the bassline is being
compressed on every KICK , or if you want to make both GUITAR and SINGER dominating , you
can do that the guitar is being compressed when the singer is playing …. etc etc …

and now for our final goal – “Mastering” !

Mastering is a difficult task because it is taking the final Mix and either maximizing ,
frequency response correcting it or stereo enhance it , and it is another part that will
take quite some time to reach … but here are some good guidelines i can suggest you :

1. Normalize your ENTIRE Mix -> bring the mix to the highest volume where it doesnt clip.
2. Compress your ENTIRE Mix -> compress dynamics range of your mix so low and high volumes
will sound equal.
3. EQ your entire MIX -> so it will sound GOOD and EQUAL on every speaker and head phone !

Multiband maximizing is the secret that many sound engineers use to maximize tracks !
It is taking a simple mix , and splitting it up to 3 or 4 tracks … each track contains
a different frequency range from the mix , but when all of them are mixed you get the MIX :O

There are many great tools around to do this – Joachim’s Jupiter 2 (in Buzz) , Steinberg’s
ME Compressor (DX Plugin) and even T-Racks 24 (the lovely T-Racks even …) …

Even though all of those are realy GREAT , i personally DONT like them , becuz i cant see
the signal analysis on any of them – and thats what I personally seek for – perfection.

I have a small recommendation here – if you got Cool Edit Pro , or any other program that
has an FFT Filter inside of it – USE IT to split your track into several tracks – each one
containing a different Band (i have Cool Edit Pro presets if any one needs them !) , and
then put all of those tracks in the multitrack editor .. and then maximize each and one
of them – but make sure to maximize them all by the SAME ammount , so the frequency response
of your mix WONT change ..

What i basically do is , i seperate the wave into those 3 channels (bass/mid and high) and
then i find the maximum ammount of Amplify i can give on Bass or Mids that dont distort it,
and then i applicate that ammount of amplify on all 3 channels, and then i check how the
mix sounds and if it sounds correct i mix down them and WALLA – there’s the Master!

of course , there are some more tools you can use in the mastering process , like Exciters
and Maxx Bass , but those are part of the 3rd stage of mastering (EQ) …

Well , i hope this review helped some of you people out there !
I also recommend that you learn how to use Reverb properly (use Jeskola Freeverb ! my
recommendation) , because reverb is very well needed in professional mix to create a feeling
for the mix – without it will will sound FLAT … reverb makes it more live.

any comments – you are welcome to email me at

Have fun , and make some Professional mixes , will ya ?

- L e e D r a g o n -

{May 02, 2006}   Jeskola XS-1 vR6 for Buzz is now freeware!


I couldn’t believe what I found at

“Well it seems Oskari surfaced from the depths of the unknown and said unto the masses: xs-1 news. i decided to make the buzz version free. someone may want to post it on Grab it from the generators page or here“.


Nothing ventured, nothing gained. On the prowl for noise while having the munchies for mashups!

et cetera