Audio Engineering and Acoustics ebook bundle mega.nz/#!wEVAVbgB!hwd7vmzaZ9C6wAnVbqIQt37pNUpfpn0t2ecSjZGRNe4 (Bobby Owsinski - The Mixing Engineer's handbook 4th edition, The Recording Engineer's handbook 4th edition, The Mastering Engineer's handbook 4th edition. Timothy Dittmar - Audio Engineering 101, William Moylan - The Art of Recording, F. Alton Everest - Master Handbook of Acoustics, Rod Gervais - Home Recording Studio: Built It Like The Pros, 2nd Edition, Philip Newell - Recording Studio Design
it's barely music, except for the ending when you start to get something going ...
i really don't know who would even listen to this
at LEAST add a chord progression or something because it just sounds like random emotionless noises
Chase Phillips
Compressor before Reverb or after? My FX chain (within the plugin, not necessarily on the channel itself) has always been compressor > eq > reverb But now after switching stuff around, reverb > compressor > eq honestly sounds better to me, especially for pads and leads, it really flattens it out in a pleasing way without sounding over-compressed or anything and the EQ on top keeps the reverb in check
I dunno, the game done changed for me now. How do you guys organize your fx chains, specifically for synths? I thought I was ordering it the "industry standard" way, could have sworn I read it should usually be ordered this way in some Sound On Sound article, but yeah I just dunno I mean, yeah if it sounds better this new way go with it, but I just wanna make sure I'm not glossing over any phase issues or something that may not have even occurred to me.
Camden Moore
how do you mix sounds with juicy low end with the sub bass? In rap in particular. I have these nice thick key chords, but their clashing with the 808.
Adrian Sanchez
The discord, but I'm not sharing.
Thomas Hernandez
That's not a richard picture you fucked up
Juan Clark
Production-wise, this sounds good. On a musical note, the second chord in the progression sounds a little off to my ears. It works well enough until the lead comes in, and then after that it just never feels like it fits. For some reason my ears want the second bass/lead note to be an F instead of an F#.
Asher Russell
is there anything good here or should I trash it lads?
hmm yea i don't really know my scales or music theory so i usually just fuck around with notes until feels right. ill change it to an F.
on an somewhat related note ... is there ever a time when i can just say fuck scales and just play notes based on emotion rather than intellectual music knowledge? don't they do that in jazz to an extent?
Justin Thomas
There aren't any rules do what sounds good to you
But I do eq>comp>hpf/lpf I rarely apply reverb or delays directly to the chain, and instead send to return channels so they wet signal can be processed independent from the dry signal. My returns FX chain typically goes Reverb or delay>LPF>comp (sometimes)>eq (sometimes)
Then apply slight comp on the Stereo bus to glue it together
Eli Wood
Hey I was the guy in the last thread who is getting into modular and shit. Here's a hopefully better version of what I posted there, which you'll probably like better if you're into Gesaffelstein clyp.it/a0vd4j3v Any thoughts/suggestions?
Noah Powell
I'm trying to recreate the old TLC & Destiny's Child production sound. Specifically She'kspere's stuff.
Goddammit, I accidentally had my arp set an octave too high. Here's a less physically painful version clyp.it/vkhfqo1e
Leo Robinson
Im working on mixing this and adding final touchs to the arrangement kind of falls apart at 3:45 (havent gotten there yet, plus i reckon it needs an extra synth)
specially not buying the drum game change at 1:00, too many kicks? slightly off placement?
Ayden Turner
Such a liar it's shit lmao
There's no "always" it completely depends on what sound you're going for. The "standard" is eq >comp> reverb (if you really need he insert as opposed to a return)
If I need a really controlled reverb it's usually in parallel to eq and possibly sidechained compression- otherwise everything goes into a send or it's *subtle* just for a bit of depth as opposed to an effect.
Everything you do ever can be "analyzed" in theory- stop being a lazy faggot and learn it. There's a shit load of noodling in jazz but the soloists actually keep track of modulation and purposefully hit notes dissonant to the chord he band is playing.
Improvisation/"emotional" intimuition is a result of internalizing theory and knowing how to play what you want without thinking about it
Jace Diaz
got the soundtoys 5 bundle yesterday and its dank as fuck buy it if you can and if you cant just pirate it
Here's a neat tip: if you want to get better, start by only using 3xOsc and Sytrus. Learn those in and out before fucking around with other vsts because they teach you how to actually make a sound
Oliver Russell
read the manual when you need help with how shit works you just press f1
Thanks a lot dude. Trust me, this has not been a smooth process at all. I've basically been screaming while moving dials around for 12 hours, according to my roommate
James Parker
>ghetto house fyi the vocals are sampled from a Mase song.
glad you liked the concept. ill probably brush it up and mix it.
Jose Butler
not that user but it depends eq before comp can clean up the signal, preventing certain frequencies from triggering the compressor unexpectedly. such as a growling bass frequency when you only care about the highs getting compressed.
Gavin Gonzalez
>tfw can't afford to buy it and can't afford to pirate it either because of hard drive space.
All those percs sound weird and very quiet. The beat is also very sparse compared to the busy synthwork. Nice work on the synths senpai, those arps and pads are amazing. Just fix the beat and it'll be alright.
nigga use that damn limiter 10/10 tho
Jack Powell
>All those percs sound weird...
Thanks for the feedback my man, do you have any suggestions on the drums?
Anthony Miller
thanks
i used to have this problem too but then i went from using 4 bar loops to 8 and it just went away, worth a try
Mason White
No, but as the other guy said it can prevent certain frequencies from triggering the compressor. The thought behind this is "well why would I compress what I'm just going to take out"
Personally I eq after fairly often because I set the compressor to tone the sound and don't want any eq changes interacting with it- depends on what you're doing. If you're doing a "standard" method to control dynamics, try compessing first.
Landon Watson
Best way to mic a melodica?
Liam Turner
>Take signal >Duplicate it into two new signal chains >On one you put a low-pass filter >On the other you put something that flips the polarity >You sum the singals What do you get?
You should get a highpassed version of what you started with, right?
Colton Lee
Pretty much, thought I'm guessing there's gonna be some weird phase interactions depending on how the filter is made. Probably gonna be highpassed with some slight combing.
Liam White
Yes, the filter has zero latency.
For some reason though, it doesn't cancel out the high frequency properly, and it just does a weird shelf type thing.
What could be the cause of this?
Owen Thompson
i don't think filters are perfect the way you think they are bro
Austin Johnson
... and on top of that there's no practical use of these questions you tend to ask
Joseph Long
Best way to loop a sample of a held out pad? I'm using logic and I can't seem to find any zero crossings so the sample pops whenever it loops again.
Blake Thompson
adjust fades in and out
Blake Parker
Ableton calculates the latency and shows it to you, and the one I'm using (Fabfilter Pro Q2) has a zero-latency mode, which shows latency as zero. If I use Ableton's default EQ and use the 12dB per octave slope I get no problems and the signals cancel properly, but if I switch to the 48dB one I get the problem.
I know filters don't work by actually lowering the volume of individual frequencies, but instead use some phase tricks, but that's irrelevant.
>there's no practical use of these questions you tend to ask Actualy it does, because I'm making racks to split frequency and also sum perfectly at the end (multiband compressor and EQ3 don't), so I'm using a series of phase inversions to get the different bands. I'll draw it for you if you want.
>(multiband compressor and EQ3 don't) Multiband comp does work with what you are trying to do. That is inherently what a multiband does.
Sebastian Turner
The "don't" clearly refers to the "sum perfectly at the end" part. Meaning it splits the spectrum into bands, but when you sum them back together, the sound isn't the same as what you started with, which means it didn't split them perfectly.
idk then...I've never had issues with it using multiband that way.
Phase cancellation like that would only work with linear slopes, so that's why the 4 pole didn't work
Levi Adams
>linear slopes What do you mean?
Also, I don't know how but I made it work. I'm mapping the parameters to the macros right now. Do you have Fabfilter Pro-Q 2? If not, tell me what EQs you have and I'll make you a rack with one of them.
Joseph Martin
needs a dope bass line. would love a bounced version of this I could use in future samples and projects if you're interested in sharing this.
christ m8. I know distortion is "in" these days with the new hip hop thats being shitted out, and you've got a marketable sound here for that genre but like user said throw a limiter on please lol. Or just turn down the saturation or whatever you have going on there, it's too much. maybe throw your bass and vocals into this distortion chain but ever so slightly. Most people pulling this genre off arnt blasting the whole track with that kinda compression. Good shit though, fix the distortion and throw that shit to adam22's live podcast and 1000's of young tweens will hear it live and you'll get a good following from that.
If you don't have ProQ2 just put whatever zero-latency filter/eq you have in the right places and set them to llowpass where it should lowpass and highpass where it should highpass.
To see if it sums perfectly to zero you can put the splitter rack inside another rack, then create a new chain parallel to it inside the new rack, and flip the polarity of that one. It should sum to complete silence.
I also added a little delay thing (for sounds shorter than 300ms) to show the bands in sequence one at the time (a spectrogram like Sonogram SG1 or iZotope Insight is best) but you can deactivate it with the macro.
Thomas Morales
if you're trying to process bands separately why does it matter that the dry signals would sum perfectly at the end lol
Levi Stewart
How do you guys start the mixing process and how do you get through it? For me, I set my kick and snare to get -10db, and the overall drum kit midi to around -6db. Then I work from there. I usually like to have my bass around -12db. >newfag
Easton Gray
yeah none of that matters.... working from the drums is a good strategy though
volume eq reverb in that order for
Jayden Allen
Have any of you bought sample packs? Any recommended companies? There are so many out there. Mainly looking for techno stuff
Michael Cox
Hi /prod/. I need a little help with the song i'm making. I use need a good drum loop to fit this sample i've been working on. If anyone can help let me know and i'll shoot you an e-mail and we can collab.
/r/drumkits is all i've ever used.... i'm curious too tho
distorted 808 sample played really low lol
well that same synth playing the entire time isn't helping to break up the monotony
it sounds like a good recreation, there's not much to think of it
Kayden Phillips
are there any mix benefits to using chorus on certain tracks?
I've never had a point in my song where i thought "oh, this track just needs some chorus and it will do what i want it to do" and i feel like i'm missing out on something regarding that.
Jack Russell
it's 80mb or so, mate
Oliver Cruz
for widening a mono source, for example
Nathan Reyes
Not that user but they sound fine. Its likely just his feel for it.
Because I may not process all of them, so the remaining ones have to be untouched. And if you analyze the signal with a pure wave you can see that it fucks up your phase (like an allpass filter), which, depending on the sound, can be imperceptible or can totally ruin it.
And even if those imperfections were imperceptible, why keep having them change your sound when you can have perfection with no downsides?
My method even gives you more control, and if you use ProQ2 you can set the cutoff at a specific note instead of a random frequency.
The only downside is having to think a little for the forst time, so I guess if you're a brainlet it might be a problem.
Ryan Rogers
Really? The download I found was around 500MB
Aiden Murphy
Keep at it but i dont think people are gonna be leaping at the oppurtunity to collab with you just yet.
Elijah Miller
>And even if those imperfections were imperceptible, why keep having them change your sound when you can have perfection with no downsides?
... because it's imperceptible
idc that you want to be perfect about it, i just can't imagine needing to be this specific for processing a particular band. mb compression is already a thing, and if i wanted to add an effect on a particular range of frequencies i would just add it in parallel rather than trying to substitute and over think the phase issues
Pretty much all of the drums and sounds I'm using were custom made with layering and eqing, or sampling from ridiculously obscure stuff. Really took me a long, long time so not really sure I wanna share them. But if I ever do, I'll post them in a /prod/ thread.
Also have a few early 90's MJ snares and Cheiron ones.
Cameron Mitchell
I made this song where I play guitar chords with three of the same note, create chords like this with three different notes and place one of these chords in either ear and one in the middle. Do you enjoy it? Also, do you tend to enjoy krautrock? Because I think it's somewhat od an acquired taste, so if you don't like the best of it this will probably not do it for you.
>... because it's imperceptible But it's not, like I explained in the rest of my post, which you conveniently ignored. I guess you're not yet at the point where you care about the phase relationship of the parts in the mix.
>idc that you want to be perfect about it, i just can't imagine needing to be this specific for processing a particular band. mb compression is already a thing, and if i wanted to add an effect on a particular range of frequencies i would just add it in parallel rather than trying to substitute and over think the phase issues Just because you have no use for it it doesn't mean nobody else does either. I, for example, use things like that constantly in my sound design.
Saying "why do you need that lol" about a superior version of something, with more features, zero downsides, that also uses less processing power (since you can use simple autofilters instead of multiband compressors) and yields better results, just because you need to create something that requires a tiny bit of thought the first time you make the preset, is simply stupid.
>over think Is it really that much of a problem for you to think a little in order to get better at what you do?
Joseph Barnes
you don't need to get all defensive and splurg out i'm literally just asking what kind of stuff you do with that man lol
Xavier Martinez
...
Robert Sanchez
whoa hey man that's mean i just want to know his sounds ._.
... but i laughed
Aaron Edwards
Maybe it's because I'm not a native speaker but I don't see you asking me that in your posts. I just see "it's useless to me so it's useless to everybody". To answer your question, I use it for sound design (applying non-mixing "creative" effects, layering, and generally for any change I want to make on some frequencies but not on others) and for mixing (super useful for managing the stereo spread at different ranges to keep the low end mono and the high end wide, or to apply different amounts of whatever, for example a reverb, to different frequencies).
>Putting effort and taking your work seriously is fedora I guess this is Sup Forums after all. So stupid of me to expect diligence and professionalism. Do you go on in depth tutorials and call the instructors fedora as well?
Joshua Wood
>super useful for managing the stereo spread
ooooookay i had my doubts that maybe i was being the ignorant one but nvm you're a noob. that should take like 5 seconds. as for layering that's not how i would do it but whatever works for you. i go additive or actually create something new for that layer
Christian Reyes
>So stupid of me to expect diligence and professionalism.
come on guys, the rest of us need to step it up. /prod/ is clearly not dead
Thomas Stewart
Fill me in on guitar, /prod/. Everytime I look up some stuff it's mostly "just slam an SM57 in front of it, do some compression and saturation and you're done" but all my guitars always sound like shit. Anything else that can be done to just have a good sounding basic guitar sounds, like overdubs or something else?
I always use EQ. Other than that idk. Getting a good clean guitar is harder than a distorted one. Try placing the microphone in different places. Also lower mic gain and turn up amp volume. Sometimes does the trick for me when I'm stuck. These are noob tricks btw.
