i heard from some where, maybe a presonus thing, that it's slightly off center of the room and either above or below the half way point of the height of the room.

That's best for bedroom calibration.

Also getting your speakers at a proper angle  and know where that sweet spot is

I separate the layers in at least three different frequency ranges.

I have an 808 for the sub bass with a low pass, an acoustic drum sample that's typically a meld between the bottom end and the top end;because it adds to the bottom and to the top, and then i hi pass a physical drum model (reasons kong drum designer) and make sure i can get the click to sit right by itself.

I typically route all of those different layers into different layers with the corresponding EQ settings for each. I also do a mix of the different layers according to taste.


I then record those sample going off and make it into one file. Then i add a transient shaper and boost the attack a bit and adjust the decay.


A note worth mentioning here, I adjust the attack and decay settings so that my 808 is the first layer to actually develop. Reason behind that is because, bass takes longer to develop than the other layers.

The middle layer has slightly more attack and less decay than the  bottom layer.

The physical model layer, i cannot adjust the attack, so i leave it be. And good thing too, because i want it for the beater sound (aka your click), more so than a drum sound. And don't forget to pitch your drums before you record. It's best to have them oscillating well together.

But when you combine it, it should be pretty awesome. And when you get a solid recording, you can adjust the entire pitch to fit the song and adjust the attack with a transient shaper.

But, at first you want to just focus on the drum sounds rather than treating it to the song at first. Later you can go back and adjust stuff.

This technique also works for snares as i take a similar approach, but with slightly different settings due to the frequency differences (i also add in a side stick as well if the song is mostly a snare bias)

I tried to write music with a piano sound and then transfer the music, but i always ended up writing music for a piano.


To me, the notes are just as important as the sound.

I end up writing piano music if i use a piano sound.

I think, you have to get comfortable enough with the scales to know what sounds good with the sound you've created. And synths do some pretty weird things if you've ever delved into different forms of synthesis. I've literally have gotten two different sounds if i change octaves.

Quote from: Marrow Machines on April 06, 2016, 02:15:40 am

But w/e, i seek to make things easier because i see a whole bunch of snobby  rubbish in this particular subject of production, mix engineering, and music.

Okay?

asuh dude

http://www.npr.org/2016/04/04/472162167/the-power-and-problem-of-grit?utm_source=facebook.com&utm_medium=social&utm_campaign=npr&utm_term=nprnews&utm_content=20160411

Bring a note book and take notes.

Ask him ANY QUESTION YOU CAN THINK OF.

Come prepared with a few to several questions that have been bugging you for a while, or just questions about what ever you want to know more about.

ask him about workflow, reasoning behind solutions to problems, creative reasons why the engineer would choose this over that equipment/effect/etc given context at the moment.

Get his quirks. Try to pick the brain before and after the session if that person has the time, and remember to say thank you!

PS, i'd bring the engineer's favorite beverage as well!

I think retro-post-future-bass-step will be the latest trend.

From my experience in doing live sound, it's not as precise as studio stuff, but you can get pretty precise if you have the time and know the room, number of people in the room, and the changes that happen on stage.

But, i try to just do enough of the precision to where i can sit back, drink beer, and catch feedback and other problems.