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Messages - dontloveme

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gear includes: altoids, m-audio keystation 49e, beyerdynamic dt990 pro's, ath-m50's, scarlett 2i2, at2020, panasonic VCR, and a toy kawasaki keyboard that is out of tune by +2 semitones.


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one of my few hip-hop remakes. if anyone wants to know how to remake it, i'm gonna make a complete how-to video going over just about everything.

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Samples/Plugins/Software/Gear / Re: What's your go-to reverb plugin?
« on: January 09, 2016, 09:21:59 pm »
valhallashimmer for the big stuff and RC48 for the other stuff.

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Mixing/Mastering / Re: Multi-Band Compression Topic
« on: January 09, 2016, 09:14:06 pm »
turning multiband compressors into multiband gates can give you some really good and cool shit. using them on drum tracks sampled from other songs can really clean shit up.

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i'm working on this dark remix of belispeak by purity ring and i've found that i really have no idea how to make like 'dark' future bass sounds that don't sound dumb and muddy. any tips?

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Awesome to get mentioned on here already!  ;D

I bet about 95% of my synth sounds are probably made in Sylenth. I like to keep my sounds simple and clean.

I'd say future bass is definitely more about songwriting than it is about sound design. Like a few people here already mentioned, adding 2nds, 4ths and 7ths to your chords will help give them a bit more depth and emotion (not just for future bass obviously). I tend to use a lot of dissonant harmonies in my chords as well, I think a lot of people aren't used to using those types of harmonies in their chords. My music teacher in high school once asked me to describe a dissonant harmony and I answered "they always sound ugly" and he said "not if you use them in the right way", and that actually completely changed the way I wrote my chords.

Also something I absolutely looooove is using nice clean sounding, slightly detuned saw (most of the time using 2 voices) synth leads for my main melodies or solos. I use an LFO to add vibrato and then I automate the gain to make it sound funkier, I also use a lot of pitch bending and/or portamento as well to give it a bit more depth. To make it sound smoother I always use a nice lowpassed ping pong delay. Highpassing out anything below 120 Hz on the leads always seems to help with that as well.

One little trick I always use is slightly bit crushing the leads to give them a little 'crunch'. If I'm using a bit crusher though, I always lowpass anything above 20K, you might not hear those super high frequencies but your dog might. :( Even if you're not hearing it it might still clean up your mix and bit crushers always add nasty unwanted frequencies.

Are there any particular bit crushing plugins you would recommend? Been using bit crushing a lot more lately and I can't seem to find a decent plugin. :/

On stream I've seen him use the standard ableton redux effect, not sure if he's changed it up recently though!

yeah really most bitcrushers do the same thing so theres no point in not just going with redux unless you want some port and starboard attachment bullshit 

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Sound Design / Re: What's the weirdest sound you've created?
« on: January 09, 2016, 05:14:50 am »
managed to get some cool shit going with a sample of a friend vomiting. no clue where the project file is though.

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i personally like to use white noise as a sidechain trigger. lets you sculpt exactly what you want.

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Mixing/Mastering / Vocal mixing tips/tricks
« on: January 07, 2016, 06:00:16 pm »
didn't really see a thread for mixing vocals, so thought i'd make one myself.

some personal tips of mine:
  • if you're having trouble getting your vocals to punch through a mix, try using a mid-side EQ and scooping out around 1k-2k by a few db in the mid channel, like so. (this tip only really applies if you're mixing vocals over a wav/mp3 instrumental that you don't have much control of. if you have control over the instrumental, eq the problem elements and not the whole master channel for better results.)
  • alternatively, using sidechain on a multiband compressor around 1k-2k with a fast attack and medium-slow release can achieve the same effect, and can preserve the mids when the vocals aren't present
  • ad-libs sound cool with a bit of the haas effect, but be careful because they can disappear when listening in mono
  • to add some buildup to the vocals, make a duplicate vocal channel and throw a long tailed reverb on it set to 100% wet. cut off the first bit of the vocal (example) then bounce the channel to a wav file. delete the first bit where the vocals are playing (example) then reverse the bounce. move it over to before the start of the vocals, mess around with the fades, lower the volume and bam, you've got yourself a nice buildup/riser (example). i personally also like to throw a frequency shifter set to ring with automation set to go from 1hz to 10hz for a cool effect.
i'm not the best producer in the world so i have no clue if any of these tips are "right" per-se, but they do sound damn good imo when used correctly.

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Finished Tracks / karma fields - skyline (dontloveme remix)
« on: January 06, 2016, 03:54:15 am »
https://soundcloud.com/dontloveme/skyline

something i finished a few months ago, probably my best work yet.

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