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Messages - Axis

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31
Composition/Arrangement/Theory / Re: Some tips on writing chord melodies
« on: January 06, 2016, 05:53:23 am »
For someone who doesn't know music theory that well what is the best way to analyze a chord progression from a track?
Actually it's not about music theory - I don't know any of it but I just use my ears to figure out individual notes when I hear a chord being played... but I know it's not easy for some people (I guess it comes with practice), so I'm assuming there're tools that can be used to analyze chords/progressions.  A quick google search gives some results, but I welcome any pointers from people who actually used any of those tools!

32
Sound Design / Re: The Kick Designing Thread: Click, Punch, Thump!
« on: January 06, 2016, 05:43:31 am »
How exactly would you run into phase issues when building your layered kick? Or how do you avoid it? Or know you have phase issues?
I use a wave scope analyzer such as s(M)exoscope on the kick bus, and then just tweak the relative delay and/or attack of individual kick layers until it sounds and looks right on the scope.  I found that when I use just my ears, I sometimes end up with uneven waveforms with dips etc, so using a waveform analyzer helps avoid those issues.

33
Composition/Arrangement/Theory / Some tips on writing chord melodies
« on: January 06, 2016, 05:37:35 am »
I'd like to share a few tips on writing chord melodies that some of you may find useful:
  • Analyze successful tracks and save chords that you think sound good. Map these chords to individual keys in a tool such as Logic's chord memorizer or Xfer Cthulhu plugin. Play something on the keyboard until you come up with a catchy transition or progression.
  • Try reversing successful chord progressions from other tracks. This might give you lots of creative ideas.
  • When building layered stacks, use different instruments to play upper and lower harmonies. Using the same MIDI chords for all layers can muddy up the sound.
  • While it's common to use the lower chord notes to play the bass, try changing up the bass notes - you will be surprised what this can do to the chords!
  • The rhythmic structure of a chord melody is very important - make sure to play around until you find an interesting pattern.
  • Play around with the bass melody (add extra note transitions, make some notes longer than the chords, play bass notes where the chords are not playing, etc). This will make it more interesting.
  • When building layered supersaw stacks, getting the top end right is probably the hardest part (for me at least). Supersaws tend to be harsh in the high frequency domain, so cutting them off and adding white noise may help. Also, try adding a square layer - they tend to have a pleasant glow.
  • Ambience is very important. Adding reverb and vocal fills in the background can make a huge difference. When using a background reverb, don't forget to process it (saturation and EQ helps it stand out and sit better in the mix). While the usual jumping reverb trick works very well, sometimes it's better to add a wide supersaw layer in the background with a long release. Reverbs tend to sound muddy.
  • Increasing the velocity of the top notes may emphasize the lead melody. Alternatively, add a layer that only plays the topline melody. Try changing up the notes of the topline melody to make it sound more interesting.
  • When building layered stacks, don't overdo it. Check every layer to make sure it improves the overall sound.
  • Make sure to adjust the levels of individual layers. Sometimes a layer playing at a low volume can add texture and thickness, but can really mess up the mix if it's too loud.
Hope this helps!

34
Mixing/Mastering / Re: Stereo Width
« on: January 06, 2016, 05:28:10 am »
How does this "everything under 150Hz has to be mono" works, I mean, how do you turn something that has a very wide stereo image into mono?, the kick and the bass for example; how do you know those low frequencies are in mono? and how do you make them mono if they are not?, and what are the benefits for having them that way.

Maybe I'm asking a lot of things but this particular issue is having me troubled and intrigued.

The kick is always mono (unless you use a weird sample).  To make a wide bass mono in the sub range, use a plugin such as TP Basslane, or an equalizer with the M/S capability (such as FF Pro-Q).  Having said that, this is not a strict rule - use your ears and check your mix for mono compatibility (use a mono plugin on the master and make sure the low end is still present).  Sometimes adding width to the bassline makes it sound more massive.  Unless you use extreme settings for channel phase variation, it will not cancel out in mono, so everything should be good.  Just be careful with wide detuned pads - they're all over the place, so it makes sense to EQ the sub out and reinforce it with a sine or triangle.

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