Quote from: Marrow Machines on February 04, 2016, 02:38:45 pm

Yea, but some of the best sounding stuff to me, and arguably many others, are when the drums are causing the peaks.

Yeah, I ment the extreme peaks. Thus the number. It's always good to leave some dynamics there.

bird up homie.

Keep it dynamic.

Here's my most recent update guys!

https://soundcloud.com/cias/thermal/s-8Cf4s

I've said this in my comment on the original post.

It sounds like old school caspa dude.

Love that sound.

Don't put all your eggs in one basket, until it's feasible to actually do so.

I have a folder in my computer with several other folders filled with text files and pictures.

Got a lot of stuff written down, but i try to turn it into a digital format as soon as i can.

It's the same way with any design.

You just have to go in with the attitude of the purpose "this is what it's for, and how can i best get what i want."

Drums, synths, samples.

those are your choices really. What you do is all on you.

I use reaper for my finalization.

The cool thing about reaper is that almost ANY THING it has, can be edited.

The vst engines it provides for free are actually engines for that program. You can download or recreate plugins if you know the data behind the item at hand.

It's so versatile and free.

But about panning, you have the luxury of changing the pan laws of the entire track or individual channels.

There's tricks you can to with panning to give you some stereo width.

But I use it as a way to define a place for the element at hand. Coupled with width control (more mono), then i have different layers acting on the stereo field.

Panning just by itself is alright, but the problem with that is it's left biased towards one side.

Reverb, delay, echo sends really help balance things out . Also, having different elements on the opposite side of one panned instrument also helps bring balance to your mix.

I use all of the techniques quite extensively. At first i thought, i could just use a stereo widening tool on my whole track, but i quickly realized that i shouldn't touch the master at all until the mix is absolutely done.

I use reason, and the mixer channels have a built in width control, but you can only go to 100 percent. Which is fine, because i have to subtract some of that width any ways, very rarely do i have to make things wider.

That subtraction that happens allows more for the stereo effects to breath and be heard in the track. Like your reverb, delays, echos, phasers, chorus, flangers.

If you couple that with eq on your element and send side, you have a recipe for a pretty sweet mix.

This is a more fundamental approach than what some other people might say, but it's simple and easy to use and can lead to a better understanding of other things.

I don't mess with mid side processing, because one time i did that in ableton's eq, and i nearly threw up. It really fucked up my orientation and balance for a few minutes. good experiment, wouldn't not want to do it again voluntarily.

I also suggest you make your pan adjustments in the mixer. Unless you have some kind of capability, in reason it's called the combinator, to have a mixer before the main mixer. so then you can have different mixes, pannings, eq settings, effect sends, busses all before you hit the main channel. I know FL has that capability now with that one tool...the patcher i think? it's a little different, but you can do some pretty cool routing. It would be very intersting if you had a mixer board VST, as i described...

But i say yes, panning happens with any thing and every thing when it comes to music. Depending on how and where you use it is the decision you will have to make as you progress.