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Messages - Emilion-R

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It's also important how you place the notes. They're not all hitting at the same time, but slightly apart just like real fingers.

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Just make a decent supersaw, finish the arrangement and stuff. Bounce the supersaw, then add another layer. Rinse and repeat.

Your sounds don't have to sound "huge" while you're working on the track, not before the last phase of arrangement at least.

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Sound Design / Re: Trance supersaw
« on: January 07, 2016, 11:08:10 am »
Simpler than it seems.

Make a standard supersaw type thing, just two saw oscillators with some unison voices. Don't go overboard with the detuning. Give it a lowpass pluck, and automate the sustain.
Then duplicate it, transpose up one octave.

Add chorus, distortion, delay and reverb.

To get more of that huge, messy sound, try using a bit of vibrato and/or a phaser.

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Sound Design / Re: The Kick Designing Thread: Click, Punch, Thump!
« on: January 07, 2016, 12:19:24 am »
There's a very simple yet efficient method for always getting perfect kicks. It requires a little bit of preparation but it's easy and it's worth it.

1. Pick out some of your favourite kicks from whatever sample pack you're using. Or snatch the kicks of your favourite songs if possible.

2. Filter out all the high content of the kicks. Listen to the character of the kick and look at the waveform to get the pitch and length right, then use a synthesizer with a sine wave quickly dropping 3 or 4 octaves. Make one for each kick. Adjust the envelopes to get closer to your reference kicks.
What you need to do next is bounce each synth patch out into audio samples of different pitch (d, f, g, and a are usually best). Now you have awesome kick bodies for pretty much any track. Save them in a dedicated folder.

3. Get some top layers. Acoustic kicks, hihats, white noise bursts, various kinds of clicks, pops and knocks. High pass them and save in a dedicated folder.
You can also make really great clicks with simple FM synthesis.

4. Mixer presets. Make a specific mixer preset for your top kicks, with some saturation, short wide subtle reverb, and compression.

5. Time to use these things. Before your mixdown, replace your placeholder kick with the kick body that fits the best. Then start stacking a couple of top layers. EQ and compress to taste. Make your perfect kick in a few minutes.

Each time you finish a kick, save the complete kick to another dedicated folder. And also bounce a high passed version for your top layer folder.
After using this method on a few tracks, you'll have built up a collection of really good composite layers that can be used in almost any track. It becomes really fast and easy after a while.

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Mixing/Mastering / Re: EQ'ing a Kick
« on: January 06, 2016, 09:01:27 pm »
Here's a simple yet powerful tip for kick EQ.

Put a limiter on your master channel, give it some gain until the song starts getting squashed.

Now listen to the track and focus on the kick. Is there some rumbly or muddy frequency range that's too loud? IF so, use a thin EQ band to drop that frequency by half a db or so.
Sometimes the opposite is true, and the bottom end just doesn't have quite enough oomph. In that case, give it a boost around 60-70 hz.

The high end is just as important. Is the click transient of your kick loud enough? Too loud? Too bright?

Be subtle and don't go overboard.

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Mixing/Mastering / Re: Tell us your master chain!
« on: January 06, 2016, 08:52:40 pm »
1. EQ - Usually Fabfilter Pro-Q in M/S mode

2. Multiband compressor - Usually Waves LinMB

3. "Gel/Glue" compressor - Usually FabFilter Pro-C in M/S mode with a very  low ratio

4. Saturator - I usually browse a few different ones to see which fits best

5. Final EQ - To remove the very highest and lowest freqs and any potential harshness.
Also to subtly automate the high and low freqs and width to add contrast between calm parts and INTENSE parts.

6. Limiter - Usually Fabfilter Pro-L, sometimes Limiter6

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