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Samples/Plugins/Software/Gear / Valhalla offers for free a plugin called FreqEcho. What exactly is it?
« on: March 24, 2017, 06:30:31 pm »
As in, which effect does it resemble?
Thanks guys!
Thanks guys!
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Inspiration/Creativity/Motivation / Lot of us will start school soon. How u feeling bout it? Less time for music? :/
« on: August 08, 2016, 12:35:47 am »
A lot of stuff will begin. I might even get a job and do some school work. A lot of stuff will take up my time yet the only thing in my mind is sitting down and making music and listening to my favourite records.
It feels very weird. Maybe some of you are also going to start with school? :O
It feels very weird. Maybe some of you are also going to start with school? :O
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Mixing/Mastering / What do you think about controlled clipping? Do you use that technique? :O
« on: August 04, 2016, 06:15:22 pm »
I've seen a couple musicians talk about it yet most mixing engineers I've talked with told me to always avoid clipping. :/
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Mixing/Mastering / Questions regard stereo separation & mixing beginning. :)
« on: August 04, 2016, 12:25:05 am »
I began the mixing of a simple song I made for pure fun today and my plan is first to get the volume of each instrument/sample right first so nothing clashes, then necessary EQing (especially for the synths, since there are high plucks here and there, some detuned chords, strings and the bass all together in the "chorus") then compression (only if necessary) and finally, additional touches on the mix. (I don't really know mastering, so I try to limit my last steps to additional eqing, or a tiny bit of compression)
There are a couple of inquiries I've got in order to get the first steps right:
How much headroom should I leave for my loudest instruments (like the lead, the chords and the kick and snare) and how much in the master volume?
Should a snare drum be merged or separated in stereo?
On that note, which instruments are better to have merged and which better to have separated?
What can I do (wether in my mixing or the final touches in the bounce) to avoid squashing the dynamics while still making the song loud?
Thanks in advance people!
There are a couple of inquiries I've got in order to get the first steps right:
How much headroom should I leave for my loudest instruments (like the lead, the chords and the kick and snare) and how much in the master volume?
Should a snare drum be merged or separated in stereo?
On that note, which instruments are better to have merged and which better to have separated?
What can I do (wether in my mixing or the final touches in the bounce) to avoid squashing the dynamics while still making the song loud?
Thanks in advance people!
5
Sound Design / Re: Does trying to copy the reference track exactly help in terms of sound designing
« on: August 03, 2016, 07:38:26 pm »
I find it good to recreate using my own tools but ALWAYS, midway through the process, I'll go off track and start adding/tweaking stuff that wasn't there to make a new, personal sound.
It is great for practice and also to start your own synth patch collection, so the next time your stuck in a song you can go "oh, I made that sound a couple of weeks ago. It may work here."
In fact, I'll even reccomend browsing through the dozens of presets your synths have got instead of downloading some from the internet and listening what you dig and what you can modify.
It is great for practice and also to start your own synth patch collection, so the next time your stuck in a song you can go "oh, I made that sound a couple of weeks ago. It may work here."
In fact, I'll even reccomend browsing through the dozens of presets your synths have got instead of downloading some from the internet and listening what you dig and what you can modify.
6
Composition/Arrangement/Theory / When do you know you don't more instruments/ sounds?
« on: August 03, 2016, 07:34:33 pm »
When can the "less is more" idea apply? 
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Mixing/Mastering / Re: Which electronic albums are GREAT to listen to for the mixing and mastering?
« on: August 02, 2016, 02:03:12 am »Zedd Clarity
Dude...Zedd. 2010, 11, 12 and 13 Zedd.
Clarity is perhaps one of my most beloved albums and Zedd pretty much got me into electronic music. But Candyman and his latest release with those dudes Grey...I dunno. Feels iffy and lame.
Epos, my favorite of that record.
what's your favourite song from the album? (BTW, listen to The Anthem. You'll love it.)
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Mixing/Mastering / Which electronic albums are GREAT to listen to for the mixing and mastering?
« on: August 02, 2016, 01:48:08 am »
If I had to reccomend one, it would be deadmau5's 4x4.
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Inspiration/Creativity/Motivation / Re: What you wish you'd have done differently?
« on: August 02, 2016, 01:45:42 am »
Learn early that I will not breakthrough as my idols and I should just enjoy doing this for the thrill it brings.
Also, to work with what I have.
Also, to work with what I have.
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Inspiration/Creativity/Motivation / Re: what's the best piece of advice you had been given from someone?
« on: August 02, 2016, 01:42:53 am »80% of (good) mixing is in the faders.
Such a simple but important idea.
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Inspiration/Creativity/Motivation / Re: what's the best piece of advice you had been given from someone?
« on: August 02, 2016, 01:41:49 am »
Do this because you love staring at a screen 8 hours twisting knobs, layering sounds, experimenting and doing something that evokes an idea and makes you feel good while music fills your room.
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Inspiration/Creativity/Motivation / Re: Being Original vs Copying Others
« on: August 02, 2016, 01:39:33 am »
Great question!
Welp, I feel THE SAME way to you. When I really strip myself from the notion of "well, deadmau5 does it like this or that Tangerine Dream pad was like that" I make MY BEST music, because I don't have a goal or template. I just work with the tools I have pursuing a feeling that I have lived or imagine.
I think it is VERY important to have inspiration from plenty of places (and I mean ALL kinds of music, not only electronic), but not necessarily copy them. However, I find fantastic to take some of the ideas of my favorite musicians and give them my own twist.
For example, if I really like a supersaw that Tangerine Dream (I love that band) or some chords (no pun intended) that deadmau5 made on a modular synth, I try to reacreate them using my tools and stacking on effects, detuning them playing 7th major chords (iconic from jazz) listening to pianists like Carl Perkings, before adding a brutal growl that I heard from Kill The Noise and some off grid drums from old Zedd.
There will come a time where you listen to your work and say "well shit. This is MY sound." I think the key is to surround yourself with all kinds of music that you like (and that's important, listen to stuff you dig) and slowly but surely, you will unconciously store all this ideas and influences to one day drop in a song. "Hey, I could try this".
And with the samples/plugins/knowledge issue, I really like the notion of "wotk with what you've got". If you want more, you can always save money for a new plugin, or pay extra music classes. Or browse deeply online.
I think it is far better to experiment with a lot of stuff (from your DAW and outside) instead of going into kickasstorrents (RIP btw) and torrenting the nexus and sylenth just because EVERYONE uses it. As of now, my only two tools are harmless and the 3xosc which came with my copy of Fl, tools that guys that torrented the software would never discover. I'm sure Cubase, Logic, Reaper, Reason...all have hidden perks that few people use because few people experiment. You don't have to purchase the "ULTIMATE FAT BEATZ SAMPLES VOL.3". I find in page like 33 of google an insanely large zip of free old synth drum samples and some very clean acoustic samples. The combination of both is something weird but unique, while a lot of dudes prefer to layer overcompressed 808's. Which is not bad but a lot of people have done it already, so...meh
Just because that sausage fattener and the izotope makes the beats very very way more thumpier doesn't mean you can't make a great mix with a stock compressor and proper EQ. But we do need practice.
Good luck
Welp, I feel THE SAME way to you. When I really strip myself from the notion of "well, deadmau5 does it like this or that Tangerine Dream pad was like that" I make MY BEST music, because I don't have a goal or template. I just work with the tools I have pursuing a feeling that I have lived or imagine.
I think it is VERY important to have inspiration from plenty of places (and I mean ALL kinds of music, not only electronic), but not necessarily copy them. However, I find fantastic to take some of the ideas of my favorite musicians and give them my own twist.
For example, if I really like a supersaw that Tangerine Dream (I love that band) or some chords (no pun intended) that deadmau5 made on a modular synth, I try to reacreate them using my tools and stacking on effects, detuning them playing 7th major chords (iconic from jazz) listening to pianists like Carl Perkings, before adding a brutal growl that I heard from Kill The Noise and some off grid drums from old Zedd.
There will come a time where you listen to your work and say "well shit. This is MY sound." I think the key is to surround yourself with all kinds of music that you like (and that's important, listen to stuff you dig) and slowly but surely, you will unconciously store all this ideas and influences to one day drop in a song. "Hey, I could try this".
And with the samples/plugins/knowledge issue, I really like the notion of "wotk with what you've got". If you want more, you can always save money for a new plugin, or pay extra music classes. Or browse deeply online.
I think it is far better to experiment with a lot of stuff (from your DAW and outside) instead of going into kickasstorrents (RIP btw) and torrenting the nexus and sylenth just because EVERYONE uses it. As of now, my only two tools are harmless and the 3xosc which came with my copy of Fl, tools that guys that torrented the software would never discover. I'm sure Cubase, Logic, Reaper, Reason...all have hidden perks that few people use because few people experiment. You don't have to purchase the "ULTIMATE FAT BEATZ SAMPLES VOL.3". I find in page like 33 of google an insanely large zip of free old synth drum samples and some very clean acoustic samples. The combination of both is something weird but unique, while a lot of dudes prefer to layer overcompressed 808's. Which is not bad but a lot of people have done it already, so...meh
Just because that sausage fattener and the izotope makes the beats very very way more thumpier doesn't mean you can't make a great mix with a stock compressor and proper EQ. But we do need practice.
Good luck
13
Inspiration/Creativity/Motivation / *off my chest* Being in front of the computer sometimes gets weird. :(
« on: August 02, 2016, 01:12:20 am »
As much as I LOVE making, learning (mostly) and exploring music, learning to code, watching YouTube, reading the forum and more, it's getting weird, sad, and a bit surreal to be up to 8-9 hours looking at the screen. It's nice, comfy and I try to exercise everyday to avoid getting health issues from the sitting time...
but the summer went FAST. And I loved it! I learnt a lot, found fantastic music, finished almost 3 songs, and I missed almost no days going for a run and exercising at home. I even picked up some MMO's.
But... I don't know. Maybe you guys have experienced something similar. The internet is a weird and infinite world where you can learn and do a lot, but the outside must be interesting as well. O.O
Just something I wanted to ramble about.
Much love guys!
but the summer went FAST. And I loved it! I learnt a lot, found fantastic music, finished almost 3 songs, and I missed almost no days going for a run and exercising at home. I even picked up some MMO's.
But... I don't know. Maybe you guys have experienced something similar. The internet is a weird and infinite world where you can learn and do a lot, but the outside must be interesting as well. O.O
Just something I wanted to ramble about.
Much love guys!
14
Mixing/Mastering / Questions about sidechain.
« on: July 29, 2016, 10:12:16 pm »
There are a couple of things that I am note sure when it comes to sidechain, like:
1.- When wanting to make a snare drum above another instrument, should I compress the snare and send it to that instrument or viceversa?
2.- How much should I compress what I want to stand out?
3.- What does a long sidechain mean?
Thanks!
1.- When wanting to make a snare drum above another instrument, should I compress the snare and send it to that instrument or viceversa?
2.- How much should I compress what I want to stand out?
3.- What does a long sidechain mean?
Thanks!
15
Composition/Arrangement/Theory / Re: Recomendations to start a remix?
« on: July 29, 2016, 01:47:17 am »
I like when remixes have a balance of the original work and the remixed work. I don't like it when, let's say, a drum loop is changed and the rest stays the same and I find it really weird when A) the remixer just KILLS the song by forcing his/her style into the song (check Tiesto's shitty Clarity remix) or B) the remix is, although good, a completely new thing.
My best advice is
1.- Pick a song that YOU LIKE and that you know YOU CAN ADD TO. I once had this idea of "Imma remix all the big names to get all the attention and the moneyz" but it is very difficult to remix, let's say, an Aphex Twin song if you were never into Aphex Twin.
2.- Appropiate the song. This basically means that you give it emotion and meaning, so that your work isn't just a remix but a different perspective on art itself.
3.- Know the music key and the bpm. If you want to go the next level, if the key is minor and you want to make the song happy, try writing music in its relative major and viceversa.
4.- Pay close attention to the hooks or iconic elements of the song: the lead, the bassline, the vocals, the drumloop even just the pads. Have them in your remix but think of what can change around them. E.g. a very nice lead in a song can have a different pad around it, or be played in a different instrument.
5.- Try to improvise music around it. If you can play piano or guitar, listen to the song and jam along it. Even if you repeat the same chords or melody over and over again, it is great to take out ideas.
6.- Focus, at the start, much more on the chorus/drop rather than intro>silence>pre-chorus>chorus/drop>silence and that scheme.
7.- It's cool to remember that less is more. I love to go batshit crazy and try to add as much of my work on a remix to make the track shine, but it is sometimes too much. Again, think what you can add and what vibe can you change.
Here are some personal reccomendations that have that original work-great ideas from the remixes balance. Good luck
Bob Sinclar's Remix of Music Sounds Better With You by Stardust
Chrome Spark's Remix of Goodbye To A World by Porter Robinson
Robotaki's Remix of A King Alone by The M Machine
Syn Cole's Remix of Silhouettes by Avicii.
My best advice is
1.- Pick a song that YOU LIKE and that you know YOU CAN ADD TO. I once had this idea of "Imma remix all the big names to get all the attention and the moneyz" but it is very difficult to remix, let's say, an Aphex Twin song if you were never into Aphex Twin.
2.- Appropiate the song. This basically means that you give it emotion and meaning, so that your work isn't just a remix but a different perspective on art itself.
3.- Know the music key and the bpm. If you want to go the next level, if the key is minor and you want to make the song happy, try writing music in its relative major and viceversa.
4.- Pay close attention to the hooks or iconic elements of the song: the lead, the bassline, the vocals, the drumloop even just the pads. Have them in your remix but think of what can change around them. E.g. a very nice lead in a song can have a different pad around it, or be played in a different instrument.
5.- Try to improvise music around it. If you can play piano or guitar, listen to the song and jam along it. Even if you repeat the same chords or melody over and over again, it is great to take out ideas.
6.- Focus, at the start, much more on the chorus/drop rather than intro>silence>pre-chorus>chorus/drop>silence and that scheme.
7.- It's cool to remember that less is more. I love to go batshit crazy and try to add as much of my work on a remix to make the track shine, but it is sometimes too much. Again, think what you can add and what vibe can you change.
Here are some personal reccomendations that have that original work-great ideas from the remixes balance. Good luck
Bob Sinclar's Remix of Music Sounds Better With You by Stardust
Chrome Spark's Remix of Goodbye To A World by Porter Robinson
Robotaki's Remix of A King Alone by The M Machine
Syn Cole's Remix of Silhouettes by Avicii.
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