46
Samples/Plugins/Software/Gear / Re: What's your go-to reverb plugin?
« on: January 09, 2016, 07:41:30 am »
Still using Audio Damage Eos, but I need to upgrade to Sean's newer stuff at Valhalla!
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47
WIPs / Re: Kafka 1 - Just something thats vibey
« on: January 09, 2016, 02:57:08 am »
Hey armanip!
Nice, grungy atmosphere you've got going there! Really deep, dark vibe indeed. I feel like some of that percussion could carry more high end to bring it more presence in the mix, but I don't know this style too well. It does work how it is; it just lacks a little bit of that brightness.
Keep working on this, because it's really nice!
Nice, grungy atmosphere you've got going there! Really deep, dark vibe indeed. I feel like some of that percussion could carry more high end to bring it more presence in the mix, but I don't know this style too well. It does work how it is; it just lacks a little bit of that brightness.
Keep working on this, because it's really nice!
48
WIPs / Re: Water | Cute Bass (the new genre I invented)
« on: January 09, 2016, 02:53:28 am »
Nice track you've come up with! Reminds me of an artist called 'Waveracer', who does a lot of floaty, melody 2-step like this.
Only criticism I can think of is possibly having a little intensity going into each drop. Other than that, it's well-produced and very tidy!
Only criticism I can think of is possibly having a little intensity going into each drop. Other than that, it's well-produced and very tidy!
49
Mixing/Mastering / Re: Panning Different intances L & R
« on: January 09, 2016, 01:31:01 am »
Try and think of your overall project as if it were a band on stage. You wouldn't lump the singer, guitarists, bassist and drummer all into the middle; they spread across the stage and have their own space. It's helpful to break your track down into it's segments (drums, drum overheads (cymbals, etc), synths, vocals, etc), and think of how these bulk groups should have a sense of space and position.
I started doing my mixdowns in stems a year ago, and the difference in track mix quality was huge. Even just subtly panning different leads/pads/main sounds a little out to either side makes a massive difference in how your track can breathe and carry a sense of stereo space and width. Your low bass, kick, and vocals, should definitely sit in the centre, but move everything else about. Thinking with a stage band analogy helps break you away from the tiny little sonic details, and start thinking in broader aspects and overall sound, too.
I started doing my mixdowns in stems a year ago, and the difference in track mix quality was huge. Even just subtly panning different leads/pads/main sounds a little out to either side makes a massive difference in how your track can breathe and carry a sense of stereo space and width. Your low bass, kick, and vocals, should definitely sit in the centre, but move everything else about. Thinking with a stage band analogy helps break you away from the tiny little sonic details, and start thinking in broader aspects and overall sound, too.
50
Samples/Plugins/Software/Gear / Re: Your favourite Hardware Synths...?!
« on: January 08, 2016, 11:12:52 pm »
What would be recommended for someone looking to dip their toes into the realm of hardware synthesis? Is it worth getting any of the newer, cheaper units like the Arturia MiniBrute or small Moog offerings, or should I save up towards a grand and get something really decent?
Matt, that picture just makes me drool. Do you use any of the Mutable Instruments modules?
Matt, that picture just makes me drool. Do you use any of the Mutable Instruments modules?
51
Mixing/Mastering / Re: Multi-Band Compression Topic
« on: January 08, 2016, 11:09:40 pm »
Have any of you guys ever considered dynamic EQs in place of multi-band compression? I'm only just starting to scratch the surface of these types of EQs, and so far they've given me so much more control than a standard multi-band plugin.
You set up and use them much like your standard compressor, but use the EQ bands to zero in on where you want to tighten up/reduce the sound, then compress via EQ band rather than an entire multi-band area, such as midrange.
There's a free one over at Tokyo Dawn called Nova (http://www.tokyodawn.net/tdr-nova/), if you're curious. I'm in no way affiliated with them; they just do amazing stuff!
You set up and use them much like your standard compressor, but use the EQ bands to zero in on where you want to tighten up/reduce the sound, then compress via EQ band rather than an entire multi-band area, such as midrange.
There's a free one over at Tokyo Dawn called Nova (http://www.tokyodawn.net/tdr-nova/), if you're curious. I'm in no way affiliated with them; they just do amazing stuff!
52
Mixing/Mastering / Re: Frequency Guide
« on: January 08, 2016, 11:04:48 pm »
They're definitely good reference points, and these charts help newcomers understand the terms used for the different freq areas, such as 'boominess' and 'brightness'. It also helps new producers learn where they can make a start on an EQ when it comes to making simple adjustments.
53
Mixing/Mastering / Re: layered synths make hiss noise
« on: January 08, 2016, 10:58:27 pm »
Roll it off at the high end, at least on a couple of the layers. The hiss would be from too much treble above 10khz.
Trail either cutting the highs off, or using a high shelf filter, and just bring them down until the cut is fairly noticeable, then move them slightly back up. You'd be surprised how often treble can be just as clogged up as the bass end can be!
Trail either cutting the highs off, or using a high shelf filter, and just bring them down until the cut is fairly noticeable, then move them slightly back up. You'd be surprised how often treble can be just as clogged up as the bass end can be!
54
WIPs / Re: Tyler Wildman - Lavender Town Syndrome
« on: January 08, 2016, 11:21:07 am »
Hey Tyler!
Love the track name! I know the pop culture reference, and I love how the mood of the track reflects it.
There's two things I can point out that could use improvement. The first is the bass-line. While it carries good low bass energy, and doesn't appear to clash with the kick (rather, compliments it quite nicely), there's not a lot of sound above the low bass area (above 150hz), which is where your bass starts to gain it's presence in the mix. The result is that there's a bit of a hole around that low mid area (150-300hz or so, approx.) and it creates disparity between the low end and the rest of the mid/high content. Like there's a gap in the spectrum.
The second would be the crunchy sound from the get-go. Its like a distorted loop or shaker. It's got a lot of content in the 'pain frequency area' (3khz-5khz), which stands out and makes it sound quite harsh to the ears.
This track is full of atmosphere and melody, and it makes for a great listen. I loved how the main lead going into the track climax acts as a sidechain trigger against the backing pad. It creates this really cool rhythmic effect that not many producers use these days! It also gives the lead a lot more emphasis which carries really well into the main part.
I've followed on SC because I'd love to hear more like this!
Love the track name! I know the pop culture reference, and I love how the mood of the track reflects it.
There's two things I can point out that could use improvement. The first is the bass-line. While it carries good low bass energy, and doesn't appear to clash with the kick (rather, compliments it quite nicely), there's not a lot of sound above the low bass area (above 150hz), which is where your bass starts to gain it's presence in the mix. The result is that there's a bit of a hole around that low mid area (150-300hz or so, approx.) and it creates disparity between the low end and the rest of the mid/high content. Like there's a gap in the spectrum.
The second would be the crunchy sound from the get-go. Its like a distorted loop or shaker. It's got a lot of content in the 'pain frequency area' (3khz-5khz), which stands out and makes it sound quite harsh to the ears.
This track is full of atmosphere and melody, and it makes for a great listen. I loved how the main lead going into the track climax acts as a sidechain trigger against the backing pad. It creates this really cool rhythmic effect that not many producers use these days! It also gives the lead a lot more emphasis which carries really well into the main part.
I've followed on SC because I'd love to hear more like this!
55
Inspiration/Creativity/Motivation / Re: Artists that have "made it": where do you find new sources of inspiration?
« on: January 08, 2016, 11:12:14 am »
Honestly though, discipline is so much more important than inspiration.
Nail > Head
Understand and create the discipline first. Quite often, the inspiration will follow, and when it does, you have the self-motivation and focus to really grab it and use it.
56
Inspiration/Creativity/Motivation / Re: EDMProd - A blog about creativity & workflow
« on: January 08, 2016, 11:09:35 am »
Can attest to how helpful this blog is. The workflow and consistency tips are so important.
57
Samples/Plugins/Software/Gear / Re: Cool Free Plugins?
« on: January 08, 2016, 07:52:21 am »
They're only available in 32-bit, but if you can bridge them, Variety of Sound make some amazing freeware. Incredibly generous given how great these little plugins all sound.
https://varietyofsound.wordpress.com/
Tokyo Dawn Records do free plugins as well. TRD Nova is a very powerful mixing and mastering tool, as is Kotelnikov.
http://www.tokyodawn.net/tokyo-dawn-labs/
It can be a little hit-and-miss, but this blog keeps a good track of newly-released freeware. Their yearly Top lists highlight a lot of great, free gear.
http://bedroomproducersblog.com/
https://varietyofsound.wordpress.com/
Tokyo Dawn Records do free plugins as well. TRD Nova is a very powerful mixing and mastering tool, as is Kotelnikov.
http://www.tokyodawn.net/tokyo-dawn-labs/
It can be a little hit-and-miss, but this blog keeps a good track of newly-released freeware. Their yearly Top lists highlight a lot of great, free gear.
http://bedroomproducersblog.com/
58
WIPs / Re: How do I make my leads sound more smooth and not so raw?
« on: January 08, 2016, 07:39:38 am »
Sounds counter-intuitive, but give removing some of the high end a try.
In a lot of cases where sounds like this are stacked, removing some the high end with either a low-pass filter or shelf filter helps alleviate all that treble stacking up, which is what it sounds like is happening in the clip.
If you're using white noise to carry the very highs (10khz and up), try cutting that area and above back on the other layers. You'd be surprised how often this works (especially on pads) to let the highs breathe a little, but still shine through.
In a lot of cases where sounds like this are stacked, removing some the high end with either a low-pass filter or shelf filter helps alleviate all that treble stacking up, which is what it sounds like is happening in the clip.
If you're using white noise to carry the very highs (10khz and up), try cutting that area and above back on the other layers. You'd be surprised how often this works (especially on pads) to let the highs breathe a little, but still shine through.
59
Mixing/Mastering / Re: DnB Help - How do you mix the kick and subbass?
« on: January 08, 2016, 07:34:39 am »
Worth noting that in bass music, like Drum n Bass, the kick will often sit above the sub bass in the mix. Sitting the kick higher up around 80-120hz lets you fill the low end with bass/sub bass elements. You will need to make room for each one in the mix, so try not to have too much kick weight under it's fundamental range that's going to fight the sub for space. Make dips and cuts in the bass for the kick, too.
60
Mixing/Mastering / Re: Multiple bass layer mixing
« on: January 08, 2016, 07:28:08 am »
Frequency masking and clashing is a common issue with bass, because there's only so much room to play with. Sidechaining will only get you so far when it come to mixing bass together well.
Two things that really help me when it comes to mixing bass:
1. Pick just one bass element to carry frequency under 80hz, and cut every other bass element off around this point. In your case, have the bass kick carry the low weight and cut the other two off.
2. If two elements share a similar bass frequency fundamental, and changing either sound is not really desirable or feasible, decide which is better off carrying the lowest fundamental (so, the 808 kick in the key of E would rest around 41hz for example - check on a spectral analyzer if unsure), and use a notch or sharp cut to EQ out that frequency on the other sound. Then, go to the next fundamental octave (for octaves, double the frequency hz, so if E0 is ~41hz, E1 becomes ~82hz), and cut that from the first sound instead. What this does is emphasizes each sound's main fundamental frequency, but also avoids clashes by letting just one sound play it out and not two competing for it.
If that's not explained very well, I can edit in some screenshots to clarify it.
Two things that really help me when it comes to mixing bass:
1. Pick just one bass element to carry frequency under 80hz, and cut every other bass element off around this point. In your case, have the bass kick carry the low weight and cut the other two off.
2. If two elements share a similar bass frequency fundamental, and changing either sound is not really desirable or feasible, decide which is better off carrying the lowest fundamental (so, the 808 kick in the key of E would rest around 41hz for example - check on a spectral analyzer if unsure), and use a notch or sharp cut to EQ out that frequency on the other sound. Then, go to the next fundamental octave (for octaves, double the frequency hz, so if E0 is ~41hz, E1 becomes ~82hz), and cut that from the first sound instead. What this does is emphasizes each sound's main fundamental frequency, but also avoids clashes by letting just one sound play it out and not two competing for it.
If that's not explained very well, I can edit in some screenshots to clarify it.
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