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Messages - Marrow Machines

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32
Mixing/Mastering / Re: Losing Brightness when mastering
« on: December 10, 2016, 05:52:17 pm »
This sounds good dude.

If you're doing bedroom stuff, this actually is really enjoyable to listen to due to the fact that it hits my ears in a non invasive way that other more professional masters do.

I can see how there's a lack of high end, but man.....this feels really good to me.

I had a question about EQ that i asked one of my padnas, and they said that it's a very specific situation on a per track basis.

I would suggest, if you want more top end you're going to have a make a compromise in the low and mid range section. If you're pushing every thing as it is with balance, this is the result you're going to get. Because this is really balanced.

If you want to bias your mix, you need to alter in relation to the frequency content.

It's a balance of sub traction and addition based on frequency range.

33
Mixing/Mastering / Re: High End
« on: December 10, 2016, 05:47:04 pm »
There's probably less high end allowed in those synths than you realize. Add to the fact that he doesn't overdo it with volume levels. You can get a lot more high end or allow a lot more highend in a sound when it isn't the loudest part of the mix. I think of highend as 8-10k plus though so I might be perceiving things differently but most of the highs in this song sound like hi hats to me.

This is definitely worth considering.

If you filter out the high and low end, and then adjust with increased volume, you've tamed both ends of the spectrum and increased the more audible content of that particular sound (the mid range) by focusing the mid range to be more apparent.

The sound on the opposite ends of the spectrum are there still, but at a lower quantity, but what makes up that sound is actually what you hear. Thus the frequency range of the signal is important.




Also, you need to realize what's making certain sounds be the sounds given their particular means of projection. Is this on a sound system? is this in your home studio? the differences between the two lie in the fact that you're dealing with two different systems in which they operate. Big loud bumping sub bass in a club is different than how it sounds in the studio. The club system is made to project like that where, it'd be a pain in the ass to mix with that level of sound coming out.



34
Mixing/Mastering / Re: High End
« on: December 07, 2016, 08:17:11 pm »
You gotta control the high end as much as the low end dude.

You do that controlling the range at which you hear (both ends of the spectrum) of the sound/track in question.

Understanding the human frequency range of human hearing, helps you understand the range at which you should be processing the sound.


Understanding standing the frequency range at which your speakers operate at helps you understand the range at which you should be processing sound.



Understanding you own limitations of frequency range that you hear helps you understand the range at which you can process sound accurately.


summing those three points of understanding helps you make better mix decisions.

Understanding the limits at which those three understandings are applied, is also very crucial. Mostly because it gives you the insight as to what a more applicable procedure to process sound of any variety.



35
Mixing/Mastering / Re: The thought process of mixing for EDM productions
« on: December 07, 2016, 01:45:40 am »
My first thought is a different drum would probably make the difference.  Any suggestions on a different kind of drum?

overhead and room mics.

36
Sound Design / Re: bass distortion
« on: December 06, 2016, 06:37:55 pm »
Layers man.

37
Save the patch or create a new project where all of the sounds are not bounced and proceed to mix with audio stems.

Mussar described a great way to navigate this process.

38
Mixing/Mastering / Re: mixer and master
« on: December 06, 2016, 06:35:25 pm »
you have to assign inputs to certain mixer inputs...


i think that was the problem all along...

39
Composition/Arrangement/Theory / Re: Applying Groove
« on: December 02, 2016, 12:55:02 pm »
I tend to write out all my parts on the piano and record them.

I capture the velocity changes and nuances from velocity changes through synth programming.

But my grooves are purely a bass line and drum writing exercise. Every thing supports those components.

EDIT: i don't start off with a piano sound, but i write things out on a midi keyboard.


I typically find sounds that i like first, and then try to alter the sound to how i play/what is recorded.

40
Digging into your eq's to create some space might work. If it really sounds terrible you might have to go back to your sound design. You could try side chaining your tracks that you want on the edges of your stereo field with your track you want in the middle to let that come through first and then adding some ambience to the outer edges.

That doesn't create control, it just creates a tunnel to which a more mono sound can be heard as more mono (or as stereo as you make it)

41
There's no way around it, you're going to have some level of compensation in the mix in order to achieve what you want to achieve.

The mix is the reference point that you set your song in, so you do gain some intuition as to what it is and how you want things to sound like given enough understanding of layers, DAW techniques, and handling of proper signal flow.

I recently found out that, mastering does have a hand in making the average loudness of the track bang much more harder than that in the mix.



Considering those points above the conclusion is this:You need to be using sounds that are of the particular variety that you want to best emulate (before you know how to make your own in that style), understanding that the mix does set the way your master will sound, The master will raise the average level of your track.

You might need to look into more subtle understanding of your signal processing techniques (and others as well given a particular problem you're having), get more of a technical understanding of you DAW and how it works and what it can do, dive more deeply into mix decisions and considerations when thinking about your mix and desired sound output (with respect to signal flow and technical understanding of daw)

42
Samples/Plugins/Software/Gear / Re: Headphones or Speakers ?
« on: November 29, 2016, 11:06:14 pm »
I had a pair of cheap speakers (40-50 dollars, i don´t remember) and one headphones with much better quality ,the Sony NWZ-WH303 (I´m not saying that they´re awesome and the best but are better than the speakers)

Should I start to produce more with the headphones ? How good are they?

Ahhh man, this is one of those questions everyone starting out has. I went through it myself and did a lot of research so I'll attempt to shed some light :)

So, to make sure I understand your question, you're asking if you should produce on your headphones as opposed to speakers since your headphones are higher quality, and if so, what might you be missing out on by not using monitor speakers?

So, the headphones you have are indeed pretty decent, though they are NOT what one would call studio headphones. They seem like they're made for recreational use. The difference is that studio headphones have a "flat" frequency response and are very honest, whereas recreational headphones boost the bass and treble like crazy to make it seem like everything sounds better on them :) However, this is more of an issue for MIXING, not necessarily when you're first starting to produce and just playing around with sounds and building your track. Mixing and producing DO go hand in hand however, so you might want to look into a pair of studio headphones.

There are 2 main types of studio headphones - closed back and open back. Closed back are like what you have, and open back are, ...um... open on the outside haha. If you are in a quiet home studio open headphones will sound better, but if you're in noisy environments or produce on the train or on the bus or in coffee shops go wth closed back headphones.

The most popular closed back cans people recommend are Audio Technica ATHm50x. They're around $160, but you can def get cheaper headphones, I'll put a list of resources for you to research (based on your budget of course) at the bottom.

Ok, so your cheap speakers are not going to do you many favors when producing or mixing or anything. You should keep them though, because they say to get the best mix possible you should be auditioning your tracks all over the place - cheap speakers, cheap earbuds, car stereo, etc etc. Basically get as many different "looks" at your track as you can on different systems.

For proper studio monitor speakers, it's kind of like studio headphones. There are a ton to choose from. As people in this thread have mentioned, with monitor speakers you'll feel and hear the low-end of your music more. If you forced me to choose yes or no, then YES, it IS better to produce and mix on monitor speakers as opposed to headphones. But again, there are many degrees of truth here. Many famous producers have had great results using really crappy gear, and not even having monitor speakers for instance.

So, to recap & conclude - you can absolutely produce w the headphones you have, because why not, people have had to make do w worse :P Is it ideal? No. For a more ideal setup, find yourself some studio headphones (open or closed back depending on ur situation). Your existing cheap speakers should be used to occasionally listen to your mix for reference, but probably won't make the best monitors. If you can afford it, you should buy some monitors.

Educate yourself on this stuff and you should get an idea for what to buy. Here is some recommended reading, I found these guides to be some of the most well informed (and they're beginner friendly):


closed backs help simulate and isolated environment inside your head. typified use is in more noisy environments or when you mic drums or loud ass band mates who won't STFU.

Open backs are typified as the mixing headphone of choice; they are the studio grade headphones that you make mix decisions on.

The difference between utilizing those two comes with understanding and relevance between the two systems (eventually three systems when you involve the studio monitors or any other number of alterations due to studio headphones and speakers).

Get open backs, and get studio speakers.

If you have to choose one, getting a really nice pair of headphones (in the 300 buck range will last you a while;my preference is beyerdynamic dt 990), and they are the really nice entry level to professional mixing options.

every thing is colored for a specific purpose, so to say that studio monitors are "flat" would defeat the purpose of having different brands; they'd all have the same functionality if they were all of the same in operation.

The best way to go is to pick a budget save up, explore and listen to what you want to get familiar with for thousands of hours when you produce.

The only real difference you need to understand is the utilization of the tools that best optimizes performance for a specific reference point.

On top of open back headphones and studio monitors, i have audio technica x40(i read they were better than the x50 in terms of quality and performance) closed back, and i use them as often as i can when i mix and master. I tend to use them as a way to check feeling and what a decent pair of consumer speakers would sound like (they do an ok job in mixing, but they're just not as accurate as open backs)

43
Samples/Plugins/Software/Gear / Re: Kick Samples?
« on: November 29, 2016, 12:44:34 am »
just use a synthesizer.

Sine wave, make a click. Boom

Look into 808 samples or VST drum machine

44
Writing better music.

45
Mixing/Mastering / Re: Keep FX/Delay/Reverb When Bouncing to Audio or No
« on: November 24, 2016, 08:03:11 pm »
What if you send an aux from the individual drum tracks to another bus, without the kick, with the same comp settings. Send that pre-fader to the reverb and keep the dry bus out of the mix?

I hope it makes sense :s

You just separated bus components then with out certain elements from the drum group.


There's ways to get the routing you want for different group busses.



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