Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - clearskys

Pages: 1 2 3 [4]
Mixing/Mastering / Re: Let's talk clipping
« on: January 06, 2016, 04:15:28 am »
Yup, don't worry about clipping before the master channel. Anything on that front is fair game, don't sweat it. Use a hard/soft clip to keep headroom levels down before hitting the master buss though - that'll help you squeeze out any extra decibels going into maximizing.

But yeah, I guess you already know - keep your master channel (pre-fx) below zero at all costs. Unless you're going for that +0.5/1.0 db of distortion that some records have.

Sound Design / Re: resampling
« on: January 06, 2016, 04:05:06 am »
Take the speed of your project up 50%, and resample your drums to an audio channel. Take your speed back down to the original tempo. Do this and keep a pitch-shift sample warp type on, and you'll have a cool texturized drum layer. Yay, resampling!

Sound Design / Re: tsonars-y type of sounds
« on: January 06, 2016, 04:01:38 am »
Synths? Drums? What are we talking about? Can you post a link to a track that you would like to emulate?

Sound Design / Re: The Kick Designing Thread: Click, Punch, Thump!
« on: January 06, 2016, 03:55:39 am »
My process looks something like:

1. Super picky sample selection and acquisition
2. Load sample into BigKick by Plugin Boutique
3. Tune kick and use built-in ADSR envelope
4. Use surgical EQ to remove noise, other artifacts
5. Use UAD Transient Shaper to lightly push the attack of the kick into forefront of the mix.

Other times, I just take non-kick like sounds and just squeeze and warp them in any sample editor until they sound like the various parts of a kick. It's always more fun when recording your own, but the aforementioned process does the job for 'EDM'-type genres.

Sound Design / Re: Intuitive Processing, Reflex Decisions, Good Habits
« on: January 06, 2016, 03:47:36 am »
The most obvious one I can think of is high passing all of my sounds at 110-120 and adjusting to taste, compressing, and then metering to balance the gain of the channel again, but then I just move on in most cases.

Post your good (or bad) habits!

LOL, 110-120? Jeez, I do 200-250 on everything that isn't supposed to have low-end content in it.


Good Habits: Surgical EQing
Bad Habits: ...Surgical EQing, LOL.

But all jokes aside, a good surgical EQing habit has got to be deflating the shit out of anything that's under 40Hz. I just brickwall highpass anything under that frequency point to make sure that any inaudible signal is nullified before proceeding to a master comp or limiter.

Headphones are great to hear details with, but hearing music on monitors in a room helps you understand the physical properties of sound and how it spreads and bounces.

This. Unless your binaural perception is immaculate, you're probably going to find yourself with a lifeless mix that has everything either hard-panned, or mono AF.

Depends on YOUR preferences at the end of the day. Just keep in mind monitors allow you to visualise and appreciate the placement of instruments across a 180 degree spectrum (from L to M to R) much better than cans.

Samples/Plugins/Software/Gear / Performing Live, Playback, Sync
« on: January 06, 2016, 03:28:40 am »
By now, I feel fairly confident in saying that a 2 deck system going to front of house is the most basic form of live performance one can achieve. Whether this is handled well by FOH staff is another question entirely, but it got me thinking how to truly perform live...not across one machine, but across multiple machines, MAYBE even multiple machines running different DAWs. This would harness the computational power of more than one device, and enable you to play out entire project files live without too many problems (theoretically).

In the past, musicians had to rely on more primitive technology, and I remember an early FutureMusic mau5 interview in which sample accuracy and minimal latency were clearly a problem. (

"There is too much jitter, MidiTimeCode seems to be stable somehow. Except, Live cannot send MTC (but receive), so you have to run a program or an external device, that provides MTC. Only, but minor, problem is, MTC doesn't not include tempo information, so you have to setup the tempo on the´╗┐ different machines and then start. That is also possible in between, e.g. you change the tempo in the course of a song, we tested it and happened to be successful."

To have the data be super tight and sample accurate across multiple devices would require a hardware solution, which got me curious as to how to solve this problem in my own DAW without going and purchasing an AVID Sync I/O (or similar) that would be reliant on SMPTE streams.

Being an Ableton user, this got me thinking that there's a M4L device that seriously needs to be made. Simply put, a plug-in that converts SMPTE to MTC (which is more sample accurate) out in Live. Live only takes MTC in, and if you want to send MTC out, you need to Rewire and slave with another DAW. I think it would be something cool, and something super useful for people so they don't have to a) rely on midi clock and b) worry that their devices arent SMPTE compatible.

That being said, in a hardware solution, SMPTE gets converted into MTC when it goes down a MIDI cable. The aforementiond M4L device would keep everything in house and reduce costs for everyone wanting to communicate with another DAW, external device, etc. (via Ethernet or otherwise).

Upon further consideration, to do it as software would require a plug to read and write the actual linear time code from a hardware emulation, so unless your coding is pristine you will have latency issues. At this point, I was lost, so I consulted Steve Duda for answers. Here is what he had to say:

Long story short - we knew SMPTE wasn't sample accurate (still, MTC > SMPTE) , and without resorting to an ITB solution, you can branch out either to external hardware solutions, or use ReWire (or a similar API).

Any additional thoughts are much appreciated!

Sound Design / Re: Drum Layering
« on: January 06, 2016, 03:00:12 am »
For me, I start with a 200Hz hit which I then layer with a transient which can vary what frequency it hits at, I'd say roughly between 500Hz - 1kHz maybe? I then round off my snare with either a noise from a synth, a clap or an acoustic snare layer which can be lifted from a drum break or from a drum sampler like Addictive Drums or Superior Drummer.

Cool, I dig it. I usually load up a Drum Rack in Live and find complimentary samples from all forms of sources: live instrumentation, sample packs, NI's Battery.

Apart from sample selection, I've been finding more and more that compression on the drum bus is of paramount importance in not only making the drums glue together, but also enhancing the groove. Taking those original drum layers and using parallel compression on them, then bouncing them out is something that beefs up the percussive elements almost every time.

I like to go one step further and be fancy by adding foley sounds to the claps and hats. Everyone by now knows that deadmau5 used his own naked ass slaps as claps on his early stuff - that's one form of foley - but using an apple crunch or someone biting down on chips can also really enhance the attack of your downbeat (I hear this quite often in Amon Tobin and Koan Sound material).

Sound Design / Re: Royksopp Bass Tutorial
« on: January 06, 2016, 02:51:32 am »
I'll be the first to say this is really cool and well done, and that you DO make really pretty music! Thanks!

Appreciate it, thank you!

Sound Design / Royksopp Bass Tutorial
« on: January 06, 2016, 02:40:52 am »
Hello all,

I made this tutorial a while back and figured some of you might find it interesting to look at and analyse. It's the signature Royksopp bass sound found on most of their 'Junior' album, particularily evident on the track 'Vision One'.

Feel free to see how I came about making it here:

Thanks, and let me know if you have any questions!

And thank you Mat for putting this all together!

Pages: 1 2 3 [4]