"you have to cross the bridge when you get to the bridge."

Take that into consideration when making a track. there's no definite answer to your question outside of, how much time you're willing to spend and have on the components that make up your track.

and this is why i do sound design first, and then make music. If i like the sound, given it works in the range i want it to be in, then i know i can find a purpose for it whether it be a lead, pad, or sound effect. I just adjust accordingly to my group and channel settings.

It's not rigid man, you just have to be open to the fact that you may not get what you want that day and settle on something different that you know will be a cool addition to the track.

i wouldn't suggest you do any of these comments, because all you're doing is just splitting the signal and not actually addressing the stereo image of said sound.

I recommend using some busses, and multiple layers to create the total effect you want for the instance of the bass.

I know one thing to get a big sound and covers your entire ears, is to have very little going on as that particular sound is played.

I suggest you have a drum set and just mess with sub bass and the bass synth, until you get to the point of adding in more stuff.

typically if one thing is taking up the entire audio space, it's going to dominate. It's a characteristic i see in many of these producers who focus on the siqq wubs.

Quote from: Marrow Machines on February 08, 2016, 02:52:01 am

always start off with drums, then i move to bass, then i move to melody. I go between those ideas and usually for the meat of the song first, then i work on the intro and breaks.

I then see what effects i can use to spice up the production. and when i say effects i mean, like sound fx usually rendered out.

then i make adjustments until i have a solid piece of music. then i start to mix. then once i get that to a satisfied level, i start finalizing.

since i've gotten over the fact that i need to release stuff quickly, and out of necessity due to school. I can spend more time focusing on the details of the mix and musical creation.

I've got like fives songs back logged and ready to go. but i've decided to release a song once every quarter (3 months). So i have time to spend on making as many tunes i can think about, but honestly i haven't really made any thing new in like a year or so. but during that time i've worked on my mixing skills with those five songs.

right now, it feels like the next song i make will be my first song of understanding the entire process, and i got this after 6 years.

In terms of when you spend time on sound design, I've heard a lot of people argue for doing "sound design" first in the process, then moving to arrangement, however to me sound design seems like it should come secondary to the notes..

Also, I've been producing music for 10 years and still struggling to understand, though I've been doing it more seriously now for 2 years...

it's a preference man. I don't think i've stated what i do first, but i typically do sound design first for an individual element rather than getting all the sounds i want, I end up creating what is needed.

I can see why people would want to do the music first with out any sound design, but that doesn't quite give me the idea of the emotional context behind it. And the timbre of the sound really helps identify the emotion behind the notes.

There's more many ways to skin a cat, just find something that works for you.

I went to Guitar Center & tried some out. While they're not 8's They're Yamahas HS7's & I thought they were amazing. Tbh I don't want to cut corners like you said, I'd rather pay good money than have pair that are of no use to me & be dissatisfied with them

Look at the tech specs

The main reason why i bought yamaha hs8's was because the bigger cone allows me to get to a lower bass frequency. This means that i wouldn't necessarily have to buy a sub bass, because it already projects those frequencies well enough. Plus i wouldn't have to deal with phasing and having a big ass thing under neath my desk.

If you clicked the link, the 7's only go to 43hz. Which is close to our threshold of hearing, but i'd much rather have it so that i can get a good replication at the lowest of the lows. Plus i love me some sub bass.

But the specs is what you should be looking for. with out going into details of what every thing means, just consider the frequency spectrum. You'd have to ask other people or do research about what the rest of the stuff is about, but that stuff does effect the sound.

 EDIT: the 8 inch go to 38hz, so it's not much of a difference. but yea man, it's up to you and what your budget is.

Suh dude?

Interesting read. It relates to creative hobbies and creative discoveries in science.

Same here, I feel like it's common on musician's forums to see people hating on their crappy jobs or lives, but I like my 9 to 5 and the rest of my life. There are other important things I could enjoy doing, but music is an entirely different world based on emotions that can't be quantified or analyzed (not exactly anyway). The challenge of making something that goes beyond normal reality (getting heady here) has a certain allure to it.

The thing is that, emotions are being quantified, analyzed, and studied. They wouldn't be able to do that if the former 2 weren't present. That's why we have psychology and the study of the brain. Chemistry helps study the atoms that eventually lead to psychology's study of emotions and the brain. My subjects may be off, but they're not off by much.

ex·is·ten·tial
ˌeɡzəˈsten(t)SH(ə)l/
adjective
of or relating to existence.
PHILOSOPHY
concerned with existence, especially human existence as viewed in the theories of existentialism.
LOGIC
(of a proposition) affirming or implying the existence of a thing.

It's not that the question is going beyond "normal reality", it's that it's understanding the purpose of what the hell you're doing with yourself.

If you actually haven't spent the time being introspective and mindful of yourself, then you're more than likely going to have to go through this whole "what am i doing here man?" sort of conversation with yourself. Depending on age, which i do have some experience to get through, you might be having to deal with it because you've never sat down with yourself for a long period of time to discuss these topics.

Now, you may not have to, but  it makes things easier. Just contemplating on the fragile nature of humans helps you be more empathetic towards your fellow man. It also frees up a lot of your built up angst from over the years. It's humbling.

So then we basically changed the subject from purpose or not, to understanding the self.

Quote from: Marrow Machines on February 07, 2016, 02:52:39 am

I just set  my interface's volume knob at a volume that's slightly above activating both speakers.

If i really want to see how it sounds at even lower volume, i pop in dim mode on my interface's software (the thing that control my ASIO settings or w/e) and i just crank the volume to where it's loud to hear, but at a much lower volume than if i were to have dim mode off.

another practice is pick the most quietest time of day, and do some mixing then. Couple the quiet with the decreased volume, and it'll be a different perception entirely.

I also do this technique to ensure that i still achieve my peaks at 0db, but i can save my ears and make decisions the longer i get into it.

I've also started adopting a realization for taking breaks. I just can't do the same rigor that i could do when i first started. besides, it gets not fun at that point.

When I was doing some recordings with Gordon Raphael, he said that the mix should sound good at the quietest of levels. The quietest you can get. Might be an exaggeration, but i applied what he said, and it helped me understand how much of an impact it makes at louder levels.

How low we talking?

I'll assume that you're wanting to know how long i've been producing for due to,

I just can't do the same rigor that i could do when i first started.

It's been 6 years since I've started.

My ears have changed quite a bit over that time

my technique is to have a volume plugin at the end of my mastering chain, set to -20db, or whatever sounds best for that track, then i just enable it at various stages, to hear what is sticking out too much.

See if you have a dim mode in your interface's software. Mine is the scarlett mix control. I suggest the dim mode, only because it will show you if you're peaking over 0 in your daw. It keeps every thing at the same volume as if you were to not have the dim mode activated, but it doesn't actually reduce the master channels from your daw or on my mix control software. So i get to have a nice visual aid as well, with out guessing and checking.