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Messages - Marrow Machines

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121
Mixing/Mastering / Re: What to use parallel compression on and what not to?
« on: August 22, 2016, 06:13:19 am »
I am surprised you said things and not even mention drums.


I only use parallel compression on my kick and snare.

there's other ways to making your sound pop with use of buss effects and layering, and then group compression, to make your musical instrumentation pop.

But i just tend to stick with parallel on the drums, for me that's where i feel the best results are located for that particular technique.

122
Mixing/Mastering / Re: Are snares and kicks supposed to hit at the same time?
« on: August 21, 2016, 04:43:30 pm »
Quote from: Lydian on August 21, 2016, 06:01:26 am
It depends on the genre.

In progressive house yes.
In uplifting trance yes.
In dubstep no.
In d&b no.

See where I'm going here?


BUT YOU'RE SUPPOSE TO BREAK THE MOLD THOUGH.


plus there's a few tunes in the d and b and dubstep genre where kicks and snares(or claps) do smash at the same time....


It just depends on on what you want in your track. Because you will have to compensate for a particular reference point with pattern creation or sound design.

123
Inspiration/Creativity/Motivation / Re: I gave up
« on: August 20, 2016, 04:58:20 pm »
Quote from: attila on August 19, 2016, 11:29:20 pm
Do what feels right. If music's a burden you'll feel better once you let it go.

100.


OP, get the help you need and get yourself better. Don't expect you to have good music if you are in such a crisis of the self.


Art is best reflected in people who have a certain mastery of the self. (not implying you don't, it's just that this problem might be overcoming the mastery and influences how you feel to a negative point)

124
Composition/Arrangement/Theory / Re: question about dynamic range
« on: August 20, 2016, 04:56:24 pm »
Quote from: attila on August 19, 2016, 11:28:16 pm
Don't overthink it too much, you'll drive yourself crazy. Think of all of the amazing, full mixes that were created with just guitars, drums, bass and vocals. Music isn't a game of Tetris, don't feel obligated to fill every frequency band. Note which frequencies speak most to what the track is and make sure those are rock solid, then just strike a balance. There's no blueprint to making a song sound right, but there are plenty of unconventional, counter intuitive mixes that sound great.


Thanks for explaining things this way.

This is the consideration, and ultimate goal that OP should get when studying.


There's a certain amount of overlap to instruments, in a way, that you cannot remove every little bit of what you don't want. It's some times best to leave a little bit of the undesirable parts there, because it still makes up the sound. It will balance itself out with other components that do take up that range.


One simple advice that i got from a noisia video is that "it's there, although it maybe almost non existent, the sound is still there."



Consider things as a blend of EQ and compression(individually, mixing groups, mixing song). Know how much range allowed to be, as it influences the overall picture of your mix.

125
Samples/Plugins/Software/Gear / Re: which piece of gear or software would you like to have?
« on: August 20, 2016, 04:52:24 pm »
I want a Studio to mix and record stuff in.

I also would like a mastering compressor as well too.

126
Samples/Plugins/Software/Gear / Re: Best Laptop (limit 1500$) on the market
« on: August 19, 2016, 10:43:08 pm »
Quote from: R3Mington on August 19, 2016, 10:19:53 pm
Quote from: Marrow Machines on August 19, 2016, 10:13:22 pm
https://theproducersforum.com/index.php?topic=4644.0

same rules apply as the general advice.

Look up on how to maximize the efficiency of your computer components and apply it to a lap top and not a desktop.


FYI, you're typically going to run into some limitations on speed due to cooling means, on a laptop.


I'll always advise you get a desktop before a laptop.

Take this with a grain of salt because ableton does not take as much power as a video game. youre buying a "gaming" laptop, which means ableton will run close to non existent - were talking 15%-35% of your laptops cpu.
i have a laptop very similar to this and i have absolutely no cooling problems with it on ableton. videos games, whole different story


There was no specifics to a laptop being pointed, but the advice of choosing computer components that will best suit the needs of handling audio.

Desktops are more powerful than laptops, and if you're worried about stability i will always point you into that direction first. Not to mention, you can get a pretty decent desktop for not as much as a laptop. This is because you're paying for mobility, but you're also incurring all of the problems associated with that mobility.

127
Composition/Arrangement/Theory / Re: question about dynamic range
« on: August 19, 2016, 10:40:24 pm »
Quote from: R3Mington on August 19, 2016, 10:27:30 pm
ok so if im following you correctly a key of a song i.e A minor - would have the range of 240hz - whatever as an example and that would best be filled with synths and instruments that fill that sector in relation to less is more (you dont want to just fill it up if you dont have to)

where would i find a chart like that? i guess i dont really understand where you would get that type of information

thanks

There's frequency component to the key, and the instrument range.

I was speaking about an instrument frequency chart, that shows you the range at which the instrument is played at on a maximum and minimum value.


And if you know any thing about frequency content surrounding just one note, you'll be wise to consider that there's many other harmonics that help create the note.


You use graphs, math, and physics to understand the stuff. But you can get to an ok point with out those things, but if you push any more you're going to have to venture off into that realm.


128
Composition/Arrangement/Theory / Re: question about dynamic range
« on: August 19, 2016, 10:18:39 pm »
You're reference point is the key of the song that you're in.

Given that, there's frequencies that are associated with the key of the song that you need to be aware of to best make use of an EQ.

Look up a frequency chart of orchestra instruments and then replicate that with synthesizers.

I don't see why you'd want to fill up the the song with just a ton of crap that probably will make the mixing more complicated.


Sounds like you should be focusing on the sound source before you start worrying about mixing. Treatment and source selection really make or break the modern sound or creates the sound you're looking for.

I am starting to believe that, sample packs are designed specifically to have that modern loudness already involved in the song, and the master just accentuates certain aspects about the mix.

129
Samples/Plugins/Software/Gear / Re: Best Laptop (limit 1500$) on the market
« on: August 19, 2016, 10:13:22 pm »
https://theproducersforum.com/index.php?topic=4644.0

same rules apply as the general advice.

Look up on how to maximize the efficiency of your computer components and apply it to a lap top and not a desktop.


FYI, you're typically going to run into some limitations on speed due to cooling means, on a laptop.


I'll always advise you get a desktop before a laptop.

130
Composition/Arrangement/Theory / Re: When do you know you don't more instruments/ sounds?
« on: August 18, 2016, 03:42:51 pm »
The simplicity of using the bare amount of sounds/instruments in a song, to actually dictate it to be a song of any genre, also forces you to create a any one signal to be it's maximum potential.

That helps on any level, because if you're busting the seams with one sound, you'd hope that the entire song would sound good as well.


Here's the context though, that applies to the amount of attention you're giving to each sound. This should be easier to do given the few ingredients you have available to you. In order to maximize the flavor of each sound, you have to consider how each ingredient effects one another in the context of the pot (entire song and song components).

Make for a coherent piece of music using only the fewest amount of elements in a song.

131
Mixing/Mastering / Re: Odesza original tracks (beaches beaches) mixing style
« on: August 18, 2016, 03:14:09 am »
Quote from: wildcat on August 18, 2016, 12:29:01 am
you guys rock, thanks. Really like the idea of exploring cabinet use cases.. I havent really thought about using that.

its interesting how we shouldn't aim to have  everything sounding super high res/ stereo..

you know.. like in some cases super compresses/mono and vintage can be good..

The question is, how do you find the right balance? How is your dish best presented?

that's the chef's job, as the people you seek to emulate have done.


It's good to understand how and what it takes to make a dish, as well as how other people create their dishes.

But you gotta put in the time into research and development for you to best present your dish.




But here's something to consider: Understand how old techniques and equipment were used. and seek to give respect to the old ways.

you can do a lot more now with modern equipment and software, but that might not be what the sound is/what the song needs.



Keep doing R and D on your tunes and yourself to find the right blend that works for you.

132
WIPs / Re: Dreamy Breaks
« on: August 17, 2016, 07:55:32 pm »
The hi hats project through just fine.

Given the context of the song, i think this sounds pretty good.

there's a certain sheen to it. You might want to remove a little bit of top end from the snare though and get a better blend of your hi hats and snare when they hit at the same time.

133
Inspiration/Creativity/Motivation / Re: Lot of us will start school soon. How u feeling bout it? Less time for music? :/
« on: August 17, 2016, 06:28:58 pm »
Quote from: flashsapphire on August 17, 2016, 01:37:45 pm
I'm not too concerned about starting school soon. I have a workflow in my DAW that allows me to create a laid out track within the span of 3 to 5 hours, so I can usually start a song one day and almost have it completely done within the same week. The key is to make the most of your time. I'm a full time college student yet I manage to produce music at least 10 hours every week during the semester. If you plan your days and get ahead and do whatever is necessary and beyond for your classes so you can be ahead, it will help you have that extra bit of time to produce music and really create the music that you would love to hear and see other peoples reactions when they hear it.

what's your major?

134
Mixing/Mastering / Re: Are snares and kicks supposed to hit at the same time?
« on: August 17, 2016, 06:26:37 pm »
timing differences is rather tough to control and i personally couldn't get the samples to sit right, just by nudging them.


I have a drum machine/sampler, that allows me to adjust the decay and attack of the samples. I also use layers to create one drum sound, as well as rendering out the layers into one take,and then slightly adjusting the attack and decay even more.


You can make a drum beat how ever you want it to sound like, but if we're talking technicality here, it'd be wise to mix your song with a 4x4 beat in mind. Then you have that option available to you. Unless you definitely know you won't be having kick and snare on top of each other. Use the reference point to mix with given the song's components.

135
Mixing/Mastering / Re: Sidechaining the snare, to the kick.
« on: August 16, 2016, 02:22:52 pm »
No, that just means you should practice better EQ.

I always EQ my kick and snare in a 4x4 pattern (kick snare kick snare and kick kickandsnare kick kickandsnare)

the kick and snare part should sit well together, so that if you do have a pattern where the kick and snare is on at the same time, the combination should sit well together.

Yea, to some extent you could use a side chain, but after experimenting i found that result wasn't going to be the way to move forward.

Sculpting with EQ, given a particular reference point, helps shape the sound at a particular moment in the song.

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