151
Inspiration/Creativity/Motivation / Re: *off my chest* Being in front of the computer sometimes gets weird. :(
« on: August 05, 2016, 09:47:04 pm »The sadness and fragility of their existence energizes me.
That's pretty fucked lol.
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That's pretty fucked lol.
152
Mixing/Mastering / Re: What do you think about controlled clipping? Do you use that technique? :O
« on: August 05, 2016, 09:44:12 pm »I disagree with half of this. Yes, some controlled soft clipping has shaped the outer veneer of a few tracks, but to imply it constitutes some piece of noteworthy music history undermines the real innovations that have happened.
And obviously this is in regards to clipping as the OP presented it, not as in general distortion.
distortion is just controlled clipping and a form of compression due to the signal being over driven.
There's distortion in a lot of old tracks, as you might suspect, due to the signal being driven harder than usual (aka clipping) with out the use of a distortion unit. There's also several instances in specific parts, where the signal is over driven, just by going in to hot into the microphone. So i'll go ahead and say that it's pretty apparent in the more recent events of recording history(you know Thomas Edison and Emile Berliner).
There's several instances where it still makes sense today, even though it may be masked differently. as you've said before.
Also, depending at what point the signal is being clipped is another instance of inquiry.
If it's controlled properly, there shouldn't be a problem in this context. You might be getting something totally different due to that hotter than normal signal, but that may be desired.
Edit:http://therecordingrevolution.com/2014/02/12/stop-recording-so-hot-into-your-daw/
Consider the recording techniques described in the link to see how you can apply it to your daw.
153
Mixing/Mastering / Re: What do you think about controlled clipping? Do you use that technique? :O
« on: August 04, 2016, 10:36:15 pm »This applies to like the .05% of producers that actually know what they're doing. I'd just go ahead and tell everyone not to do it to be safe-the people that have the understanding to pull it off will figure it out on their own.
That said, when I'm doing my final mixes and masters I try to put my head down and trust my ears instead of focusing on the meters so occasionally I can go a little hot. It's all about staying transparent though imo.
That's how some recordings got their sound, so to not even mention it removes literally years of history that's behind music production and recording.
I think that information would apply mostly to people who are literally antagonized by having a clipped signal and can't seem to root out the problem, given the tool box and resources available.
154
Mixing/Mastering / Re: What do you think about controlled clipping? Do you use that technique? :O
« on: August 04, 2016, 08:32:08 pm »
We could talk about the philosophy of control, but given the context of music......it shouldn't be bad lol
155
Sound Design / Re: Does trying to copy the reference track exactly help in terms of sound designing
« on: August 04, 2016, 07:31:23 pm »it should help your ears understand what you're dealing with, but it won't necessarily help you UNDERSTAND the sound design.
You can twittle a knob and not know what's going on, just as much as being deliberate in twisting the same knob and know what's happening.
Quite honestly, the biggest thing you should study is recording history and techniques as a foundation for your electronic music production.
that will give you a solid ground to spring board with any synth or source you're using.
Synth design is cool and all that shit, but it's the processing that REALLY makes the sound shine.
some of that stuff doesn't really apply to mixing, but if you didn't have a recording, you wouldn't have a mix.
Do you have any good resources to read/watch oover recording history and techniques?
google, ask friends, ask professionals (typically older folks), and scour recording forums
it's tough to fake a good recording....
PS:i don't record things as often as i mix, but i have been learning about recording as i go along. understanding how sounds are made in the recording process, helps break down mixing techniques a little bit better.
156
WIPs / Re: Help with making buildup hit harder
« on: August 04, 2016, 06:53:44 am »ok so you think I should get rid of certain elements during the buildup? Do you think I should filter out the drums?
Look at what you have that's going on in the build up and go reference your favorite tracks' build up.
You just have things blasting at the same time through out the entire loop.
Just so happens at that five second mark you decided to toss in a snare roll with out really doing much to the structure of the song.
I don't know what the answer is because that's a creative decision for you to make. But to have a more impact build up, things need to be taken away, have new things brought in at moments, then hopefully it will create tension as you go back into your "drop" or "verse" or "chorus" or what ever you wanna call it.
157
WIPs / Re: Help with making buildup hit harder
« on: August 04, 2016, 01:18:24 am »sorry my question was confusing. At 5 seconds after the snare roll I am a bit disappointed when it goes into the next part. It doesn't feel satisfying to me. Should I filter out the drums when it builds up? If you have anymore questions let me know and i'll clarify.
You have to much going on at the same time.
158
Mixing/Mastering / Re: The Garbage Mix Of Justin Timberlake's Last Song
« on: August 04, 2016, 12:44:42 am »
just turn up the sausage fattener and flab filter pro L.
159
Mixing/Mastering / Re: Questions regard stereo separation & mixing beginning. :)
« on: August 04, 2016, 12:43:31 am »In your order:
1.that's up to you and what you want to prioritize as the loudest component/group of your mix (if you're basing it off of headroom or a component you want to be the loudest;remember a group fader is the sum of it's parts being controlled overall). you have more than enough knowledge through your initial explanation to do that (monitoring might be another thing depending on gear or w/e but, you're understanding and want is there).
2. Drum sounds are clearly artistic, as with any processing decision you decide. i keep my kick and snare mono, because i like it. you can apply effects pre or post fader as well as on a buss or send/return channel to add stereo width in relation to the source signal.
3. instruments you deem more important tend to be more mono, instruments with less importance tend to be more stereo.
4. Just mix the thing until you think it sounds good. The consumer controls the play back volume regardless of how loud you want to make your track, and a sound system also amplifies the signal.
I personally don't really bother about the overall loudness until i get into the mastering stage and have finalized my mix. All i focus on in that is increasing the loud of my mix (important concept here, because that means i rely heavily on having a good mix to then be made louder with the help of my mastering chain[no eqing for me because it would ruin my mix!]).
There's also certain mixing techniques that can be used to optimize the loudness of your mix, but some one else can comment on that because i do not partake.
You probably already know this, but you're going to have to trade off dynamic loss for you to increase your loud.
160
Mixing/Mastering / Re: Questions regard stereo separation & mixing beginning. :)
« on: August 04, 2016, 12:42:09 am »
In your order:
1.that's up to you and what you want to prioritize as the loudest component/group of your mix (if you're basing it off of headroom or a component you want to be the loudest;remember a group fader is the sum of it's parts being controlled overall). you have more than enough knowledge through your initial explanation to do that (monitoring might be another thing depending on gear or w/e but, you're understanding and want is there).
2. Drum sounds are clearly artistic, as with any processing decision you decide. i keep my kick and snare mono, because i like it. you can apply effects pre or post fader as well as on a buss or send/return channel to add stereo width in relation to the source signal.
3. instruments you deem more important tend to be more mono instruments with less importance tend to be more stereo.
4. Just mix the thing until you think it sounds good. The consumer controls the play back volume regardless of how loud you want to make your track, and a sound system also amplifies the signal.
I personally don't really bother about the overall loudness until i get into the mastering stage and have finalized my mix. All i focus on in that is increasing the loud of my mix (important concept here, because that means i rely heavily on having a good mix to then be made louder with the help of my mastering chain[no eqing for me because it would ruin my mix!]).
There's also certain mixing techniques that can be used to optimize the loudness of your mix, but some one else can comment on that because i do not partake.
You probably already know this, but you're going to have to trade off dynamic loss for you to increase your loud.
1.that's up to you and what you want to prioritize as the loudest component/group of your mix (if you're basing it off of headroom or a component you want to be the loudest;remember a group fader is the sum of it's parts being controlled overall). you have more than enough knowledge through your initial explanation to do that (monitoring might be another thing depending on gear or w/e but, you're understanding and want is there).
2. Drum sounds are clearly artistic, as with any processing decision you decide. i keep my kick and snare mono, because i like it. you can apply effects pre or post fader as well as on a buss or send/return channel to add stereo width in relation to the source signal.
3. instruments you deem more important tend to be more mono instruments with less importance tend to be more stereo.
4. Just mix the thing until you think it sounds good. The consumer controls the play back volume regardless of how loud you want to make your track, and a sound system also amplifies the signal.
I personally don't really bother about the overall loudness until i get into the mastering stage and have finalized my mix. All i focus on in that is increasing the loud of my mix (important concept here, because that means i rely heavily on having a good mix to then be made louder with the help of my mastering chain[no eqing for me because it would ruin my mix!]).
There's also certain mixing techniques that can be used to optimize the loudness of your mix, but some one else can comment on that because i do not partake.
You probably already know this, but you're going to have to trade off dynamic loss for you to increase your loud.
161
WIPs / Re: Help with making buildup hit harder
« on: August 03, 2016, 09:15:10 pm »
hats are fine, nice and crispy and sit well.
I am really unsure what the real problem is, because all i really heard was just the looped out song
and i am not sure if i'd want a build up to hit hard, because hard hitting is usually reserved for after the build up.
could you rephrase what the problem is and use time codes in reference to your track?
I am really unsure what the real problem is, because all i really heard was just the looped out song
and i am not sure if i'd want a build up to hit hard, because hard hitting is usually reserved for after the build up.
could you rephrase what the problem is and use time codes in reference to your track?
162
WIPs / Re: Fuck Me Up (Drumstep/DnB/fusion idfk)
« on: August 03, 2016, 08:47:45 pm »
the last bit is pretty cool....
I'd go into rearranging it to where it's more cohesive as a song.
You have like two split ideas in there between the first and second section...
If you made it gel with arrangement, i think it would be pretty solid.
I'd go into rearranging it to where it's more cohesive as a song.
You have like two split ideas in there between the first and second section...
If you made it gel with arrangement, i think it would be pretty solid.
163
Inspiration/Creativity/Motivation / Re: what's the best piece of advice you had been given from someone?
« on: August 03, 2016, 08:44:48 pm »
"Just crank that shit dude."
"don't be a bitch, and fucking do it."
"listen to me god damnit."
"welcome to the club."
"don't be a bitch, and fucking do it."
"listen to me god damnit."
"welcome to the club."
164
Sound Design / Re: Does trying to copy the reference track exactly help in terms of sound designing
« on: August 03, 2016, 08:43:02 pm »
it should help your ears understand what you're dealing with, but it won't necessarily help you UNDERSTAND the sound design.
You can twittle a knob and not know what's going on, just as much as being deliberate in twisting the same knob and know what's happening.
Quite honestly, the biggest thing you should study is recording history and techniques as a foundation for your electronic music production.
that will give you a solid ground to spring board with any synth or source you're using.
Synth design is cool and all that shit, but it's the processing that REALLY makes the sound shine.
some of that stuff doesn't really apply to mixing, but if you didn't have a recording, you wouldn't have a mix.
You can twittle a knob and not know what's going on, just as much as being deliberate in twisting the same knob and know what's happening.
Quite honestly, the biggest thing you should study is recording history and techniques as a foundation for your electronic music production.
that will give you a solid ground to spring board with any synth or source you're using.
Synth design is cool and all that shit, but it's the processing that REALLY makes the sound shine.
some of that stuff doesn't really apply to mixing, but if you didn't have a recording, you wouldn't have a mix.
165
Composition/Arrangement/Theory / Re: When do you know you don't more instruments/ sounds?
« on: August 03, 2016, 08:39:13 pm »
by understanding the entirety of the concepts of the tools that are at your disposal.
If you want a more applicable answer....
You have to do enough research and log enough time with the individual components of your DAW as well as the basic functionality of your DAW.
Reading the DAW manual helps greatly, reading other DAW manuals might help inspire some ideas with the DAW you currently use.
quite honestly, i am doing less things more effeciently.
I can get quite a bit out of one sound source because i know what i am using and how i want it to work with in the given sound source. and when i get closer to finishing, i drastically reduce the load i have to do in mixing, because i've done all the prep work before hand with my sound sources.
the closer you get to finalizing your track, you should be turning down your volume on the interface, and not have to be doing so much. to a point where, you just sit there and groove with it. or you could just hate listening to it, even after a week break (that's when you should just scrap it for parts)
that's when i know i am ready for mastering or the scrap yard.
TL;DR
Make sure you're processing a solid input signal, and you should be doing less work as time goes on as you go towards finalizing or scrapping the mix/song
If you want a more applicable answer....
You have to do enough research and log enough time with the individual components of your DAW as well as the basic functionality of your DAW.
Reading the DAW manual helps greatly, reading other DAW manuals might help inspire some ideas with the DAW you currently use.
quite honestly, i am doing less things more effeciently.
I can get quite a bit out of one sound source because i know what i am using and how i want it to work with in the given sound source. and when i get closer to finishing, i drastically reduce the load i have to do in mixing, because i've done all the prep work before hand with my sound sources.
the closer you get to finalizing your track, you should be turning down your volume on the interface, and not have to be doing so much. to a point where, you just sit there and groove with it. or you could just hate listening to it, even after a week break (that's when you should just scrap it for parts)
that's when i know i am ready for mastering or the scrap yard.
TL;DR
Make sure you're processing a solid input signal, and you should be doing less work as time goes on as you go towards finalizing or scrapping the mix/song
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