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Topics - Kenny Troy

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Hey guys, so i've been playing around with the panning and stereo separation on one of my tracks for about two hours now and I'm still a little confused. Or maybe I just can't discern the sounds at a higher production level..

Four channels, two mixer slots

Layer One - fruity stereo enhancer 10% (basically all the way left), fruity side reverb w/ large hall & high diffusion and 50% separation on the reverb

1. Pluck Chord octaves 6th octave - pan 30% left, 60% channel volume
2. Pluck Chord octaves 5th octave - pan 40% right, 77% channel volume

same synth, same mixer track, different octaves

Lead Synth - fruity stereo enhancer 30% (left), fruity side reverb w/ small hall & small diffusion
1. Synth 5th octave - pan 100% left
1. Synth 5th octave - pan 100% right

same synth, same mixer track, same octave, only panned opposite.

What I was trying to accomplish was to increase the stereo field such that the the pluck synths would be far out on the side with a large reverb hall to increase stereo field usage, and then take my main saw/horn synth and have that blast somewhat more toward the middle.

Would I be offsetting/masking the hard panning of the lead synth by having the pluck chord play w/ a large reverb hall? I have tried to reverse the panning and stereo separation of both layers but it seems to sound worse. There's quite a few combinations of panning and stereo enhancer and reverb settings to try.. sometimes I don't trust my ears.

Working toward a Showtek Cannonball/Slow Down/ How We Do type of composition... not even close yet their processing is unreal :P

Thoughts, comments, tips, experiences with working on the stereo field usign pan/sep/reverb?

Would you like to hear the track?

Hey guys, I've been searching endlessly and toying around with FL and Massive but have had no luck with this..

I have two atmosphere pads layered, and on one of them I want to pan a specific frequency (400-500hz) across the stereo field.

First I thought I should find a way to pan specific frequencies within FL, and I did read somewhere that this was possible but I have had no luck finding how to do this or with my experiments.

Second, I thought I would try to pan the 'noise' function within Massive by browsing parameters, linking, then creating an automation clip and etc. Haven't been successful with their either.

I haven't taken ADSR's Massive (or Serum) masterclass yet.. gotta get on that

Any thoughts or suggestions?

Appreciate it guys, thanks!

Samples/Plugins/Software/Gear / Re-Use of Samples
« on: June 28, 2016, 04:11:29 am »
Decided I wanted to mess around with some melbourne bounce production.. so I go to watch this video

Skipped to the :35 second mark where they are picking a kick sample. Immediately was like what the fuck, I've seen that kick drum sample before.

Turns out that exact kick drum (VDE2 Progressive kick) is the same kick sample I've found in my KillerZ and Ollie James sample packs.

Previously I noticed that my KillerZ and Ollie James packs contain a lot of the same samples, but one artist took the time to at least process them. Also one of the above artists also just blatantly re-named a Vengeance kick sample and stuck it in their pack (found by right clicking the sample -> get properties).

Both artist packs were obviously free.

Out of curiosity, how many of you have noticed this with some of your packs?

Figured I'd share. Thoughts? Who cares? Annoying? Shitty?

Hey guys, I wanted to discuss tuning kick samples to fit the key of the track and the different methods one can possibly use to do so. For reference I am using FL 11 (Edison method), and also have Pro-Q 2 which can be used to tune samples.

I've watched nearly every video tutorial online, including the ones on ADSR Courses which I thought were pretty darn good, but I still feel as if I am struggling to correctly tune my kick samples.

What is your preferred or most effective method used to tune kick samples? Tips, tricks?

Basically I am just going to buy Nicky Romero's Kick 2 as it seems like the easiest and one of the best ways to tune kicks... however I want to be able to tune any sample to fit the key of my track as well not just kick drums.

Edit: Maarten Vorwerk suggested Melodyne, so I am currently on a trial run for that, and most likely going to buy it.

Whenever I use Edison and change the semitones of a sample it comes out extremely distorted and basically fucks up the entire sample... yet Dyro did it perfectly in his Razer tutorial so I'm clearly messing something up here.

Thanks in advance!

Hey guys, I'm looking for some opinions, reviews and advice regarding two of Black Octopus' sample packs that I'm looking to get

Ultimate Bangers & Anthems

Have you purchased either of these sample packs yourself? What do you think of them? Prefer one over the other?

Have you heard about or read reviews from friends who have used these packs?


Mixing/Mastering / Sidechain Compression "Mathematics"
« on: March 10, 2016, 05:05:57 am »
Maybe you guys could help me out here..

I'm trying to find the "math" behind sidechain-compression for best ratio and release values on my kick/bass. I understand I could do it by ear and see what sounds the best, but I'm wondering if there's a mathematical way to determine what values to use. Maybe there isn't one, but there is a lot of science and math involved in music after all.

Essentially what I am trying to achieve is having the release time on the limiter parallel that of the decay time on my kick so the bass is at max volume as soon as the kick is fully decayed.

I suppose I would first want to determine the decay time of my kick - I've searched many forums and can't really find an answer to this. Does anyone know how to find the decay time in ms? Edison?

Mixing/Mastering / EQ attached to notes?
« on: February 29, 2016, 06:13:11 am »
I was EQing a melody I wrote and noticed a specific frequency I wanted to cut out within the synth. When I make the EQ cut it sounds better, however as my melody is played the specific frequency I want to remove changes with each different note.

I'm fine with leaving the cut where it is because it does improve the quality, but if being extra picky helps my music then so be it

Anyone have suggestions or a solution to fixing this?

FYI: The frequency I'm removing on the root note is 724hZ as done below (except not as drastic of a dB cut)

Sound Design / Atmosphere Pad/Fx (Ex: Blasterjaxx)
« on: February 25, 2016, 12:14:12 am »
Hey guys,

So I've been working on a new track and the last component I wanted to create to finish the intro was an outer space/atmosphere pad similar to those used by Blasterjaxx (eg: Mystica, Legend Comes to Life, Vision, Titan)

I checked YouTube, found a few tutorials, and began making the pads there to get an understanding of how they work. Currently I have one that is not so terrible, created through Massive.

I've been tweaking a lot of components, including the "Noise" between metallic, paper and bright noise to give it an "airy" feel and a few other things.

Unfortunately I haven't really been able to find something that I really feel fits with my track.

Any suggestions on creating pads like this?

Samples/Plugins/Software/Gear / ASIO4ALL: Latency issues
« on: February 03, 2016, 02:06:42 pm »
EDIT: problem is fixed when laptop charger is plugged in. problem persists when it is not charging

Hey guys,

So I've been exclusively using ASIO4ALL v2 since my primary sound driver always gives me latency issues.. and Asio4all was able to solve that, for a while.

I'm now experiencing the same exact issues with Asio as I was with my primary driver. The buffering and latency is so horrible that I can't even play a single synth sometimes.. but this is a new issue as Asio never had latency problems for me before.

Comp Specs

Edit: I changed the buffer size to 2048 samples, and it helped a little, but did not fix the issue of crackling/latency.

Edit 2: I closed a lot of open synths and plugins, and it did help, however I still experience some crackling.

Edit 3: My CPU load is just hanging around 90.. but only when this one specific project folder is open, when my laptop charger is not plugged in

Does anyone else have this happening? Suggestions?

Thanks guys

WIPs / Festival Bounce [Updated]
« on: January 18, 2016, 02:15:19 am »
Added a new version I've been working on. Still have a lot of EQ/compression/limiting to do, but I'd still love any feedback.

- Added some bass to the drop, have to still limit and add Kickstart
- Gonna fix the bridge

Leave a  track and i'll give feedback and ty
This is a track I've been working on for a while, and at first I wasn't gonna upload it but fuck it I'm curious as to what people think. I have about 10 tracks semi-complete.. but I have a horrible time actually finishing any of them. For whatever reason I seem to just give up and say it's not good enough.. but this one I want to finish even if it's just for pure experience, which I really think I could benefit from.

Anything after the drop is just future ideas and possible arrangement, haven't got that far yet as I wanted to finish the first half of the song before moving on.


- Is the song entertaining? Yeah, I know.. "big room" but I personally like big room and almost all other genres too

- It's not 100% mixed, compressed, EQ'd and all that but I'd love feedback anyways on what you think can be EQ'd to give more presence or has too much presence

- Stereo field? I'm thinking about panning a few drum instruments

- General feedback?

I'm going to upload a future house song I wrote the other day as well, maybe in a week or so once I complete more sections of the track, as of now it's just a drop.

Thanks guys!

Comment a song of yours and I will give you a complete and thorough review!

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
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.


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


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

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.

Mixing/Mastering / Compression: Your Need to Know Guides
« on: January 07, 2016, 06:28:23 pm »
Compression is a difficult topic to cover, and often many producers struggle to grasp the capability and an effective use of compression.

What is compression?
When should you compress?
How do you even compress?
What is Dynamic Range?
What is Uplift Compression?
Why Do Attack & Release Matter?
Why Use Gain-Compensation?

These are only a few questions and topics that are covered below. I highly suggest reading these articles, as they are imperative to having a concrete understanding of compression in its entirety.

Two articles which were essential to my knowledge, understanding, and application of compression in my mixes were written by Mike Senior and Hugh Robjohns from SoundOnSound. Below is a link to these articles.

If you have your own articles or any relevant information, feel free to pass it along and I will modify the table of contents for quick and easy access to all those who are interested.

** I was debating to make an entire table of contents and compression guide, however I feel as if this information is so readily available via Google searches, so it may be redundant.

I have a Word document of nearly every compression article I have ever read.. If you think it is a good idea, let me know and I will gladly put in the work to collect and organization all relevant compression information, and will even make a concise organized list of all relevant compression tips, tricks, and threads on TPF.

Parallel Compression

1. Downward Compression
2. Dynamic Range Reduction
3. Uplift Compression
4. Upward Mobility
5. Parallel Compression

Compression Made Easy

1. Dynamic Range
2. Compression, Peak Reduction, Threshold & Input Gain
3. Gain-Compensation Controls
4. Balancing, Multing & Compressor Choice
5. Starting to Mix with Compression
6. When Compression is Not the Answer
7. All Other Controls
8. Ratio
9. Why Attack & Release Matter
10. Snare Compression: Three Different Settings
11. Side-Effects
12. Summing Up
13. Compressor or Limiter
14. Which Parts Do I Need to Compress?
15. EQ or Compressor First?

Andivax's Compression Tutorial

Hey guys. I'm always curious to hear new opinions and for open discussions. With the creation of Mat's new forum I wanted to contribute with some discussion every day about music.

Today's topic comes from a tweet from producer, D.O.D, who tweeted something regarding how many new tracks he receives as promos often sound "generic."

Rather than having an unorganized Twitter discussion I wanted to bring it here for the true music producers to discuss, not all of Twitter.

There are of course many sub-genres of electronic music, so for each it may help to specify if it applies.

In regards to D.O.D, I was speaking about "big room house"

For example, the song structure and arrangement found in Hardwell and W&W's "The Dance Floor is Yours." As far as "generic" goes, this would be a similar structure I would assume. Same goes for the instruments used in each 8 bar section, etc

> What defines "generic" and how can you avoid a generic structure, so forth?

This could obviously could be applied to many genres so be sure to specify.

Let's discuss

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