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About music by EatMe

EatMe's music is free, you can broadcast and share it with your friends as-is for non-commercial use, read the Creative Commons BY-NC-ND for legal info.

Please mention "www.eatme.pro" with your share, so people know where to download EatMe's music.

For all links to EatMe see the links page.

EatMe's music is mainly hosted by www.electrobel.nl and www.archive.org

Please donate! Your money will be invested in the free music by EatMe. And you can also apply for being a ladybug in your next lifetime. 

For remix inquiries, co-operations, usage permission and other things: contact EatMe

Gear

To make music, EatMe uses the following gear:

Hints and tips by EatMe

Learn to work with software synthesizers and commons synthesizer components.

AHDSR or ADSR envelopes (Attack, Hold, Decay, Sustain, Release). 

Attack is the initial inslide of the sound. Hold is after the attack (if any) to stay on a peak for a while. Decay sets the length of the initial peak after (if any) Attack and Hold. Sustain sets the remainder level after (if any) Attack and Hold and Decay and will remain as long as the sound (note trigger) is not stopped. Release sets how long the final slope to zero is.

Filters and equalizers in Hz or KHz (Hertz, frequency in oscillations per second, or KiloHertz, a multiplication of thousand Hz)

Frequencies can be removed or accented in sound. Filters and equalizers help in defining where the sound is present in the whole hearable spectrum of about 30 to 20.000 Hz. Sounds below this region are subsonic and above are ultrasonic and can not be heard. The frequency ranges on a typical equalizer are bass (the low frequencies), mid (the higher low frequencies up to the lower high frequencies), and hi or high (the highest frequencies). The human ear hears loudest at 3000 Hz and with that comes the advice to cut a little mid from sounds that sound too sharp and loud. In the low mid, from 300-850 Hz, the "warm presence" of a sound, which gives a "feelable, whooming" tenseful appearance to sounds that have frequencies in that spectrum. Delicately remove or add some to give sound not too much or the right "warm, appearant" presence. The bass is something to cut off from all sounds that have no need for it but may contain it in their recording or synthesis. This will make a mix more clear for the actual bass sounds. The high is something to delicately take care of. A little boosted region around 5.000 Hz (clearance) or at 15.000+ Hz (air band) can add to the impression of the high in a sound. Too much (boosted) high will not make your mix sound good, make sure these levels do not appear loudest during most of your song. Also, remember that stacking frequencies from multiple sounds together will make them louder, and sometimes specific different regions in frequency range can be used for sounds that clash with use of filters and equalizers on these.

LFO (Low Frequency Oscillator) and Oscillator to generate tones.

An Oscillator generates a signal in a certain form. There are many standard signal forms, like sine, sawtooth, pulse, square, random. Custom signal forms can also be found. These signal forms can be used to generate sound (with a High Frequency or regular Oscillator) or affect a certain setting or parameter (with a Low Frequency Oscillator) with that signal. There are many possibilities to explore with the LFO and where to put it on to. Sometimes, a very subtle variation in amount by assigning an LFO signal may greatly enhance the vividity of a sound with a lot of possible parameters to assign to in most synthesizers and DAWs. Get to know the options of your synthesizer for the oscillator parameters and the parameters to assign the LFO to by reading your () manual.