@Lydian I'll get back to you on that today man, thanks!

I understand when people give the "practice" advice, I get it, but that doesn't really help me out. I specifically asked for resources to help me understand why progressions work, as in why does V resolve nicely into I, why do some chords lead nicely into others (something about voice leading im assuming?), how to properly use inversions, etc.

There's definitely some theoretical aspect here that I don't know that'd help me get a better idea of what works. From there comes something I could actually practice.

Guys, does it really matter? Everyone of us has a big volume knob on a soundcard, so listening levels are not the issue. We all throw the result into a limiter, so output loudness isn't effected by this at all. We don't produce so delicate and quiet music bitdepth would become an issue, so why to worry? As far as it's not clipping on the master (preferably not even on tracks), I'd say it's ok.

Only problem you might have is if you rely heavily on track's meters without actually reading their value. Then you might wanna make a good habbit so you don't get lost. But otherwise, no stress.

It really depends on what sound or genre you're going for. Personally, I don't think you should over do it, unless maybe if you're producing a synth-heavy dance track. If your sounds are good quality, well mixed, and full, you won't need 30-40 tracks to make a good sounding song.

Quote from: VOIID on January 11, 2016, 12:04:32 pm

Why don't you just sample those kicks you wanna imitate and then layer them with something else? lol

because I'm not interested in being limited to the kicks that professional producers are able to create on their own, that I manage to get my hands on. All the kicks are very different, but all have similarities that I can't seem to re-create. The two main things hard to emulate is the powerful 'umf' in the mid, and avoiding the overbearing snappy noise on the transient while still having it slam.

Become a famouse douchebag :^)