106
Sound Design / Re: "How To Make a Nosie" Great free book on programming synths.
« on: January 09, 2016, 05:09:50 pm »
Thank you, checking this out asap!
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107
Sound Design / Re: What's the weirdest sound you've created?
« on: January 08, 2016, 09:43:28 pm »
I have a folder titled 'Unique Sounds' from just messing around with Sylenth and Massive.
The sounds range from pirate sounds, bird chirps, Mario Kart, an ocarina/flute sounding thing, and well, a motorcycle rev (pulled the attack all the way up & did other shit)
Most of the time I don't ever think of a practical use for these sounds, but I save them anyways.. hey you never know
The sounds range from pirate sounds, bird chirps, Mario Kart, an ocarina/flute sounding thing, and well, a motorcycle rev (pulled the attack all the way up & did other shit)
Most of the time I don't ever think of a practical use for these sounds, but I save them anyways.. hey you never know
108
Mixing/Mastering / Re: Panning Different intances L & R
« on: January 08, 2016, 08:30:50 pm »Personally, I only pan things L/R when I have the same exact channel panned the other direction. If I pan Saw 1 to the Left, I will pan Saw 2 to the right in the same manner.
I use this same "equal panning" technique for toms, one-shots, fx, so forth. Sometimes I will simply pan things both L/R, say 35%, just to create more width in my track and free up room in the dead center.
The same concept I use for individual Oscillators. For example, Sylenth1, Osc A1 and Osc A2; if I detune Osc A1 40% and pan it left, then I detune Osc A2 and pan it right.
Perhaps it's just my OCD for why I choose to equally pan these things, or maybe it is really just inexperience.
Sometimes unequal panning can give unique sounds to your track, so I wouldn't discount it entirely. Personally I just haven't hit that experienced stage in my productions yet.
You know that panning the exact same sound equally left and right does absolutely nothing to the sound stereowise?
Maybe its the delays & reverb thrown on the specific FX I was thinking of, but stereo width aside, in regards to my track it absolutely sounds better than when I use only one layer centered.
109
R&A Graveyard / Re: Notifications
« on: January 08, 2016, 07:38:35 pm »
Definitely agree. I sent them a direct message the other day with this suggestion actually - not surprised it's been suggested multiple times, great idea
110
Inspiration/Creativity/Motivation / Re: What Artists inspire you the most?
« on: January 08, 2016, 07:30:15 pm »That's why I love this forum, the chance to make these friendships and connections is amazing
I always find myself looking for new producer friends.
I'll be hanging out with my friends doing whatever it is and I find myself saying, "Damn, I can't talk about music production with a single one of these people.."
And you know, my friends are awesome, but you gotta surround yourself with people who share similar aspirations
111
Samples/Plugins/Software/Gear / Re: Cool Free Plugins?
« on: January 08, 2016, 07:28:42 pm »luckily i still have camel crusherdont know why they stopped.... its a good plug in!
I went to download this for free, found out the Apple bought the company and they removed free downloads.
112
Mixing/Mastering / Re: Frequency Guide
« on: January 08, 2016, 07:16:58 pm »I really wouldn't use stuff like this. All these so called guides are harsh oversimplifications and guidelines that are never really true in most cases. Its best to use your ears and determine what works best through practice and trial and error.
Practice makes perfect that is true. And while I do agree it is best to find what works through trial and error since your art is unique, sometimes these "guides" - not rules - help new producers get acquainted with the frequency spectrum.
A new producer may have no idea how to get their kick to be "snappy" or punch through the mix more. Hell, they may not even be aware that such EQing can help their mix to the degree which it actually can.
113
Mixing/Mastering / Re: Compression: Your Need to Know Guides
« on: January 08, 2016, 07:11:44 pm »and a little (36 minutes) addon ))
https://www.youtube.com/watch?v=w-EQzY8hzCw
Excited to watch that later, nice work
114
Mixing/Mastering / Re: Frequency Guide
« on: January 08, 2016, 07:06:31 pm »I think this is a great resource for producers of all skill levels... thank you!
You're welcome, glad you found use for it. There is a ton of information and articles out there on any production topic, and although they're all a simple Google search away, I think it helps to "re-post" these articles on here in case someone hasn't seen them yet.
115
Mixing/Mastering / Re: Panning Different intances L & R
« on: January 08, 2016, 07:00:21 pm »
Personally, I only pan things L/R when I have the same exact channel panned the other direction. If I pan Saw 1 to the Left, I will pan Saw 2 to the right in the same manner.
I use this same "equal panning" technique for toms, one-shots, fx, so forth. Sometimes I will simply pan things both L/R, say 35%, just to create more width in my track and free up room in the dead center.
The same concept I use for individual Oscillators. For example, Sylenth1, Osc A1 and Osc A2; if I detune Osc A1 40% and pan it left, then I detune Osc A2 and pan it right.
Perhaps it's just my OCD for why I choose to equally pan these things, or maybe it is really just inexperience.
Sometimes unequal panning can give unique sounds to your track, so I wouldn't discount it entirely. Personally I just haven't hit that experienced stage in my productions yet.
I use this same "equal panning" technique for toms, one-shots, fx, so forth. Sometimes I will simply pan things both L/R, say 35%, just to create more width in my track and free up room in the dead center.
The same concept I use for individual Oscillators. For example, Sylenth1, Osc A1 and Osc A2; if I detune Osc A1 40% and pan it left, then I detune Osc A2 and pan it right.
Perhaps it's just my OCD for why I choose to equally pan these things, or maybe it is really just inexperience.
Sometimes unequal panning can give unique sounds to your track, so I wouldn't discount it entirely. Personally I just haven't hit that experienced stage in my productions yet.
116
Composition/Arrangement/Theory / ADSR Tips to 'Bigger Drops'
« on: January 08, 2016, 04:17:34 pm »
ADSR Bigger Drops Tips and Tricks
Before I get into the actual topic's guide here's a little introduction -
In generally I take notes on every tutorial I watch, and have compiled a pretty lengthy Word document containing all my notes. Over time, I will try and make threads with these notes.
Broad list of contents included:
Sylenth Masterclass
Massive Masterclass
Sound Design (Sylenth & Massive)
Sound Engineering
Mixing
Mastering
Compression (all forms)
Music Theory
Relevant Information, Tips, Tricks ...
_________________________________________________________________________________________
Now on to ADSR Tips to 'Bigger Drops'
This ADSR course is actually available for free on YouTube rather than via their website monthly subscription. I highly suggest watching the video, and only use my notes as a supplement. The video is extremely informative and shows you how everything is done.
https://www.youtube.com/watch?v=FlX5zt1aGms&index=3&list=PLlsEknwQnAoTBNMJ2SUJAocUpXa05bE9d
PRE-DROP
1. If you do not have a good transition into your drop, the drop will not sound big
a. The ear is pretty stupid, it does not have a memory
b. Using wisps and white noise risers will get the ear ready for change and forget
2. Cut out the last 2-4 bars of bass frequency right before the drop, but still play the melody
a. Add drum loop in the 1-2 bars right before the drop
3. The average listener can discern between a decibel change (4dB is a lot of change)
a. The use of space is extremely important
BIGGER DROPS
1. Layering (*)
a. You do not want to choose a layer sound that sounds very similar to your main lead
i. A layer is not a double, it is supposed to be an orchestra (bass, viola, cello)
ii. Do not choose a sound that is too dissimilar
2. Mid-Side EQing (*)
a. One EQ -> mid only
i. This allows you to take out the low frequencies of the mid-range, as well as some highs
b. One EQ -> side only
i. Boost 3,250 Hz range (human ear can hear this mid-range)
ii. Boost 6,700 to 30% less than “annoying” level
3. LFO Tool (*)
a. Use it on an “Aux Send”
i. Bus 1 -> send to each layer
ii. Use sidechain compression
4. Tempo-Synced Reverb w/ Sidechain Compression (*)
a. Vengeance V-Verb
i. Sync pre-delay to 1/8th note (or pick whichever you’d like)
ii. Mix -> 100%
b. LFO Tool
i. Sidechain-compress tempo-synced reverb (low rate of Sidechain-compression)
5. Stereo Delay
a. Helps fill out your mix
Before I get into the actual topic's guide here's a little introduction -
In generally I take notes on every tutorial I watch, and have compiled a pretty lengthy Word document containing all my notes. Over time, I will try and make threads with these notes.
Broad list of contents included:
Sylenth Masterclass
Massive Masterclass
Sound Design (Sylenth & Massive)
Sound Engineering
Mixing
Mastering
Compression (all forms)
Music Theory
Relevant Information, Tips, Tricks ...
_________________________________________________________________________________________
Now on to ADSR Tips to 'Bigger Drops'
This ADSR course is actually available for free on YouTube rather than via their website monthly subscription. I highly suggest watching the video, and only use my notes as a supplement. The video is extremely informative and shows you how everything is done.
https://www.youtube.com/watch?v=FlX5zt1aGms&index=3&list=PLlsEknwQnAoTBNMJ2SUJAocUpXa05bE9d
PRE-DROP
1. If you do not have a good transition into your drop, the drop will not sound big
a. The ear is pretty stupid, it does not have a memory
b. Using wisps and white noise risers will get the ear ready for change and forget
2. Cut out the last 2-4 bars of bass frequency right before the drop, but still play the melody
a. Add drum loop in the 1-2 bars right before the drop
3. The average listener can discern between a decibel change (4dB is a lot of change)
a. The use of space is extremely important
BIGGER DROPS
1. Layering (*)
a. You do not want to choose a layer sound that sounds very similar to your main lead
i. A layer is not a double, it is supposed to be an orchestra (bass, viola, cello)
ii. Do not choose a sound that is too dissimilar
2. Mid-Side EQing (*)
a. One EQ -> mid only
i. This allows you to take out the low frequencies of the mid-range, as well as some highs
b. One EQ -> side only
i. Boost 3,250 Hz range (human ear can hear this mid-range)
ii. Boost 6,700 to 30% less than “annoying” level
3. LFO Tool (*)
a. Use it on an “Aux Send”
i. Bus 1 -> send to each layer
ii. Use sidechain compression
4. Tempo-Synced Reverb w/ Sidechain Compression (*)
a. Vengeance V-Verb
i. Sync pre-delay to 1/8th note (or pick whichever you’d like)
ii. Mix -> 100%
b. LFO Tool
i. Sidechain-compress tempo-synced reverb (low rate of Sidechain-compression)
5. Stereo Delay
a. Helps fill out your mix
117
Mixing/Mastering / Frequency Guide
« on: January 08, 2016, 04:06:10 pm »
There are a ton of frequency guides out there easily accessible via Google, but I wanted to share a basic one with you. Good for some novice producers who may be unfamiliar with the entire frequency spectrum.
I'll continuously update it as people put forth new knowledge and information.
Frequency Guide
50 Hz
1. Adds fullness to bass instruments (kick drum, toms, bass)
2. Cut in the 50-100 Hz area if they are too thick or interfere with clarity of low-end mix
100 Hz
1. Boosting here gives the low frequency instruments a ‘harder’ sound
2. Adds fullness to the snare
200 Hz
1. “Muddiness frequency” - can often cut this frequency somewhat
2. Can add fullness to vocals and snare
300 - 600 Hz
1. Cuts here will increase punch for kick drums
2. Reduces boxiness and gives a thicker sound
3. Boosting at 400 Hz can add clarity to bass line
700 - 900 Hz
1. Boost to bring out the bass line without cluttering up the low end
2. Targeting upper harmonics to make them audible in the mix, while leaving the bass alone
3. Reducing 800 Hz takes out the cheap sound of acoustic guitar & DI sound
1K - 4K Hz
1. Boost 1.5 kHz to increase string sound of bass guitar
2. Cut to reduce nasal sound of vocal
3. 3K Hz adds attack to almost any sound
4. Gives you more punch
5. Gives more presence to piano parts
6. Boost between 2-4K Hz to bring out the beater of the kick drum
5K Hz
1. Adds extra presence to vocals
2. Brings more attack to tom drums
3. Cuts will make instruments more distant without having to lower the volume
7K Hz
1. Use a de-esser targeting between 6 – 8 kHz to reduce sibilance
2. Boosting can add extra life to dull vocals
3. Increase to add sharpness to synthesizers
10 KHz +
1. Anything above 10K adds air and high-end ‘sheen’ to instruments
Additional Information
Babasmas -
20 - 200 Hz : Body, Shape, Curve, Warmth/heat)
200 - 1500 Hz : Thickness, Energy
1500 - 4000Hz : Agressivity
4000 Hz - 20 kHz : Clarity, Shine, airiness.
I'll continuously update it as people put forth new knowledge and information.
Frequency Guide
50 Hz
1. Adds fullness to bass instruments (kick drum, toms, bass)
2. Cut in the 50-100 Hz area if they are too thick or interfere with clarity of low-end mix
100 Hz
1. Boosting here gives the low frequency instruments a ‘harder’ sound
2. Adds fullness to the snare
200 Hz
1. “Muddiness frequency” - can often cut this frequency somewhat
2. Can add fullness to vocals and snare
300 - 600 Hz
1. Cuts here will increase punch for kick drums
2. Reduces boxiness and gives a thicker sound
3. Boosting at 400 Hz can add clarity to bass line
700 - 900 Hz
1. Boost to bring out the bass line without cluttering up the low end
2. Targeting upper harmonics to make them audible in the mix, while leaving the bass alone
3. Reducing 800 Hz takes out the cheap sound of acoustic guitar & DI sound
1K - 4K Hz
1. Boost 1.5 kHz to increase string sound of bass guitar
2. Cut to reduce nasal sound of vocal
3. 3K Hz adds attack to almost any sound
4. Gives you more punch
5. Gives more presence to piano parts
6. Boost between 2-4K Hz to bring out the beater of the kick drum
5K Hz
1. Adds extra presence to vocals
2. Brings more attack to tom drums
3. Cuts will make instruments more distant without having to lower the volume
7K Hz
1. Use a de-esser targeting between 6 – 8 kHz to reduce sibilance
2. Boosting can add extra life to dull vocals
3. Increase to add sharpness to synthesizers
10 KHz +
1. Anything above 10K adds air and high-end ‘sheen’ to instruments
Additional Information
Babasmas -
20 - 200 Hz : Body, Shape, Curve, Warmth/heat)
200 - 1500 Hz : Thickness, Energy
1500 - 4000Hz : Agressivity
4000 Hz - 20 kHz : Clarity, Shine, airiness.
118
Inspiration/Creativity/Motivation / Re: What/Who inspired you to start?
« on: January 08, 2016, 03:56:08 pm »
I really fell in love with EDM around three years ago, maybe early 2013.
November 2014 or so I decided I wanted to start DJing so I bought a DDJ-SR. I fucked around with it for a while, started to learn how to mix, made a few hour long mixes and all that.
Come February/March 2015 and I was like, wait. I'm playing someone else's music. I want to play my own music. DJing will get me nowhere, to achieve success I have to create something of my own.
And so the journey began. An endless learning adventure and whole new world opened up. I didn't take it seriously until probably July, and now I want to do absolutely nothing but devote my time to creating music (despite attending University to complete my Economics degree).
November 2014 or so I decided I wanted to start DJing so I bought a DDJ-SR. I fucked around with it for a while, started to learn how to mix, made a few hour long mixes and all that.
Come February/March 2015 and I was like, wait. I'm playing someone else's music. I want to play my own music. DJing will get me nowhere, to achieve success I have to create something of my own.
And so the journey began. An endless learning adventure and whole new world opened up. I didn't take it seriously until probably July, and now I want to do absolutely nothing but devote my time to creating music (despite attending University to complete my Economics degree).
119
Mixing/Mastering / Re: How should you layer supersaws?
« on: January 08, 2016, 03:47:02 pm »
Some generic tips:
1. Play multiple octaves on different layers (say two identical synths, one D#5 and one D#4)
2. Pan L/R
3. Detune Osc, place a LFO around 1% on that Osc
Here's a little insight as to what I do. This isn't an exact format, but maybe it will help show you what can be done
Let's say we're writing in D#5
Supersaw 1 - D#5, Pan 100% Left (55-60% volume)
Supersaw 1 - D#5, Pan 100% Right (55-60% volume)
Square Wave - D#5, Center
Supersaw 2 - D#4, Cener
That is just a general example showing how you can pan different layers and play at different octaves. I didn't include anything about incorporating EQing, cuts, boosts, plugins, effects, etc.
You can add a white noise layer for extra brightness, use a LFO on a detuned Osc as mentioned before (check YouTube on how to do this), so forth.
Honestly, the best thing to do is to sit in your DAW and try different things. There is no "golden rule" for creating these sounds. But hey, if you want to have a reference... Showtek - Booyah. That sound is LOUD AF.
1. Play multiple octaves on different layers (say two identical synths, one D#5 and one D#4)
2. Pan L/R
3. Detune Osc, place a LFO around 1% on that Osc
Here's a little insight as to what I do. This isn't an exact format, but maybe it will help show you what can be done
Let's say we're writing in D#5
Supersaw 1 - D#5, Pan 100% Left (55-60% volume)
Supersaw 1 - D#5, Pan 100% Right (55-60% volume)
Square Wave - D#5, Center
Supersaw 2 - D#4, Cener
That is just a general example showing how you can pan different layers and play at different octaves. I didn't include anything about incorporating EQing, cuts, boosts, plugins, effects, etc.
You can add a white noise layer for extra brightness, use a LFO on a detuned Osc as mentioned before (check YouTube on how to do this), so forth.
Honestly, the best thing to do is to sit in your DAW and try different things. There is no "golden rule" for creating these sounds. But hey, if you want to have a reference... Showtek - Booyah. That sound is LOUD AF.
120
Samples/Plugins/Software/Gear / Re: The Black Octopus free samples page
« on: January 08, 2016, 03:34:34 pm »
Browsing now, appreciate this guys. I've always been a fan of your sounds and packs but I can't buy every pack out there you know 
Thank you
Free bump
Thank youFree bump
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