LOL, 110-120?

can you tell I'm not the world's greatest producer yet?! 

So I do that because sometimes I don't totally want to cut out that signal, and sometimes it adds to the overall texture of the track.

More often than not I'll end up highpassing it when I'm running through my first mixdown, but most of the time I usually EQ up until the sound begins to change (because for some reason I'm convinced that preserving the original signal serves as context and is important for its placement in the mix)

I should actually try highpassing stuff immediately and see if that frees up space for me to add other important elements... hmm thanks!

go monitors

even the best headphones fatigue my ears like crazy over time. I spend a lot of time (probably too much) on mixes and using headphones always has me changing the mix constantly throughout the session.

I'll literally mix on apple ear buds and a subpac if I need something quick.

I've heard this apple bud anecdote a lot and i'm tempted to try (and i mean even then, they're not bad quality headphones, they actually sound decent to me). What about us folks who don't have subpacs?

tangent: this is so cool that i'm seeing tons of names i recognize and producers that actually know what they're doing.

Quote from: fungsway on January 06, 2016, 02:28:39 am

This might be of limited application, but I think it's the simplest way to explain it, esp if you're in the stage where you're still stuck in loops. NGHTMRE explains this better in his master class, found on Youtube.



You can essentially treat your fully developed loop as the "drop", and treat the rest of the song as stripped down elements of your "drop". This definitely helps you develop an early stage of continuity. This is definitely something I still struggle with as well.

I really really really like this.  I think visual representations can help a lot.  Thank you so much for sharing this simplified structure.

No problem. I want to believe that everyone here is willing to go the extra mile to help their fellow producer. There's too much animosity in today's music culture and I wanted to do my part in changing that attitude.

c r y s t a l l i n e V I P

*prayer hands*

So I had and still have trouble with this. An interesting thing I noticed as I kept writing was two interesting things:

- Your bassline can loosely follow (if not follow exactly) the lowest note of the chords that you are pairing with your melody.
- Basslines like to move in 5th intervals.

Don't take my word for gospel, this doesn't apply to everything but it's something you can try.

Hey All,

I had a conversation with a friend of mine and I complained that I don't always think too much about having every layer EQ'd or treated to perfection as I write because I can lose sight of the final product if I spend too much on the details early on. In fact, I remember watching a video by Toolroom that talked about the race to the final song before dealing with the small details.

Anyways, he said there are certain things that become habit over time.

I wanted to pick everyone's brains about things they do without thinking when they're creating. This can be when a certain frequency that occurs when you're synthesizing (either emphasizing or subtracting it) or perhaps using a transient shaper to crisp up those peaks on a snare or gentle compression on a vocal, or using an automated filter to add movement to a bassline, etc.

The most obvious one I can think of is high passing all of my sounds at 110-120 and adjusting to taste, compressing, and then metering to balance the gain of the channel again, but then I just move on in most cases.

Post your good (or bad) habits!

I'll be the first to say this is really cool and well done, and that you DO make really pretty music! Thanks!

fung sway flip

i know where you live