pur nphinity
New member
pur nphinity said:
while keeping 1 at it's orignial pitch
while keeping 1 at it's orignial pitch
TheOracle
New member
Dont forget to adjust your volume for each layered duplicate.You start duplicating the same snare or kick and pitching it up or down for a thicker sound it's also going to increase in volume not just thickness in frequency.I usually find adjusting volume on each layered sample slightly and then EQ'ing together and then compressing can work out quite well.
I usually mess around with distortion as well at some point in this..either before or after EQ'ing and compressing.I experiment with that factor.
I usually mess around with distortion as well at some point in this..either before or after EQ'ing and compressing.I experiment with that factor.
Rexs are good if you want dirty sound... I guess you are already making your own and using the MCLASS tools to shape things up.
Staying in Reason try using Spider Spliter to route the same sound into different effects and then back into 1 Audio Stream... you can also use the Vocorder to give you FFT filtering on bands based on a carrier....
Some of the other things are mixing issues... You might have to duck some beats under a different audio stream so that one you want to head comes out...
look up side-chain mixing... then more routing...
Also .. spectrasonics has stuff you might be able to use... look up STYLUS RMX and ATMOSPHERE and listen to the demos on the site... they are MP3 so you will not be able to hear everything perfectly but you'll get the idea... everything else is post prod stuff .. stutters, bb, enviromentals...
Try things like dopler shifts, Dyn Eq on beats to give them feeling ect... it takes time.
Staying in Reason try using Spider Spliter to route the same sound into different effects and then back into 1 Audio Stream... you can also use the Vocorder to give you FFT filtering on bands based on a carrier....
Some of the other things are mixing issues... You might have to duck some beats under a different audio stream so that one you want to head comes out...
look up side-chain mixing... then more routing...
Also .. spectrasonics has stuff you might be able to use... look up STYLUS RMX and ATMOSPHERE and listen to the demos on the site... they are MP3 so you will not be able to hear everything perfectly but you'll get the idea... everything else is post prod stuff .. stutters, bb, enviromentals...
Try things like dopler shifts, Dyn Eq on beats to give them feeling ect... it takes time.
E
Egopanic
Guest
A lot of Energy also gets lost in doing over-quantization! Beats don`t have always to be exact, otherwise they lose the groove......it`s all about the groove baby ;-) !!!
^^
i think two big ones have been mentioned.
the quantization thing is a big one. even if your whole track is right on grid, if you throw one hihat loop over it thats 'loose', itll instantly add more excitement.
and the pause and attack thing. that i think is really important, and something that a lot of people miss. thats the stuff thatll make people remember your tune. someone once said that its the spaces in between the notes are the important part of a song. i think that is some of the most important advice a beatsmith could get.
and the 'groove' tip is for the small scale, your loops, while the pause tip is more of an arrangement tool, on the larger scale.... kinda cool.
another thing you can think about- try thinkin about the frequency spectrum of the track as it goes along. for example you can keep a certain range down until say, a big drop in the track, and at that point, bring in something that fills up that section. it can make for big drops. i think when your hearing a track, you dont really notice those missing frequencies until they are there. and then its like you realize you were missing half the sound.... i guess thats why filters sound so cool.....
peace.
i think two big ones have been mentioned.
the quantization thing is a big one. even if your whole track is right on grid, if you throw one hihat loop over it thats 'loose', itll instantly add more excitement.
and the pause and attack thing. that i think is really important, and something that a lot of people miss. thats the stuff thatll make people remember your tune. someone once said that its the spaces in between the notes are the important part of a song. i think that is some of the most important advice a beatsmith could get.
and the 'groove' tip is for the small scale, your loops, while the pause tip is more of an arrangement tool, on the larger scale.... kinda cool.
another thing you can think about- try thinkin about the frequency spectrum of the track as it goes along. for example you can keep a certain range down until say, a big drop in the track, and at that point, bring in something that fills up that section. it can make for big drops. i think when your hearing a track, you dont really notice those missing frequencies until they are there. and then its like you realize you were missing half the sound.... i guess thats why filters sound so cool.....
peace.
G
Ghost2424
Guest
Using the old analog tape player to resample is a great idea. I've never heard or thought of doing that before.
reaktor is.......
a whole other thing......
not completely comparable....but yea, it does kick the crap out of a lot of stuff.....as long as you have ten years to devote to it.... those romplers still suck though.....haha.
if youre into reaktor, dont sleep on the NI electronic intruments 2. its the best stuff ive seen out of reaktor...
peace.
a whole other thing......
not completely comparable....but yea, it does kick the crap out of a lot of stuff.....as long as you have ten years to devote to it.... those romplers still suck though.....haha.
if youre into reaktor, dont sleep on the NI electronic intruments 2. its the best stuff ive seen out of reaktor...
peace.
SO FO REAL
New member
Some suggestions for increased energy:
Make ample use of quiet space in your beats.
Have all of your instruments accenting at the same time.
Make extensive use of stereo
Use multi-layered bass drums and distorted snares
Think of melody lines in terms of drum rythyms
These are just suggestions of course, not rules, fa sho... Good Luck!
Make ample use of quiet space in your beats.
Have all of your instruments accenting at the same time.
Make extensive use of stereo
Use multi-layered bass drums and distorted snares
Think of melody lines in terms of drum rythyms
These are just suggestions of course, not rules, fa sho... Good Luck!
G
Ghost2424
Guest
What do you mean by make ample use of quiet space? Do you mean leave breaks in the song (ex: like a stutter stop and go type feel). Or do you mean just have no quiet spaces at all?
SO FO REAL
New member
Yea, like a beat in the measure that is silent; nothing is going on. Eminem has done this some in his beats like in "My Name Is"
those are good.
another good one, sort of like the idea of silence.-- add an odd # of beats right before a big drop. like add 3 extra beats or 1 extra beat. or even add an odd bar right before the drop. that really messes with people. its works REALLY well at building energy especially in dance music..... it takes a little effort to make it 'work' without it sounding like you just fuct up.... but itll get people jumpin.... the djs will hate you though, cuz they will never be able to mix through your track...haha.
peace.
another good one, sort of like the idea of silence.-- add an odd # of beats right before a big drop. like add 3 extra beats or 1 extra beat. or even add an odd bar right before the drop. that really messes with people. its works REALLY well at building energy especially in dance music..... it takes a little effort to make it 'work' without it sounding like you just fuct up.... but itll get people jumpin.... the djs will hate you though, cuz they will never be able to mix through your track...haha.
peace.
G
Ghost2424
Guest
Yea ive done something like that before except i used it at the beginning of the song. I would come in on the 3rd count(like if there was a 4 count i would start my drum loop on 3 instead of 4) it's pretty funny to see the reaction.
E
Egopanic
Guest
I totally agree!
B
b_karv
Guest
From what I can gather it seems like that you have gotten the sound you want but its just not in your face & bright.This may just be matter of proffesional mastering to the whole track.
Any track that hasn't been mastered professionally sounds really dull even the Prodigy's pre-mastered tracks.
What happens in professional mastering is they usually put the track whole track through a very expensive mutli-band compressor(Hardware) that when use by the right person has the power to bring out the bass & kick & just brighten the track up.
If you want to see how much difference it can make, I suggest if you haven't already done so is on the MASTER channel of your sequenced track place a good VST compressor. I suggest the L2 or L3 compressor that is part of the Waves Mastering tools. Play around with the settings eg. increase the gain. You will notice if used properly that your track will sound alot louder & brighter. Times this result by Hundred & that is the result you should get with a professionally mastered track.
If you want actual tips on how to get your track ready for mastering let me know. But as I said I am assuming you have got your track sounding pretty good levels\quality wise but it just ain't grabbing you.
Hope this helps
Any track that hasn't been mastered professionally sounds really dull even the Prodigy's pre-mastered tracks.
What happens in professional mastering is they usually put the track whole track through a very expensive mutli-band compressor(Hardware) that when use by the right person has the power to bring out the bass & kick & just brighten the track up.
If you want to see how much difference it can make, I suggest if you haven't already done so is on the MASTER channel of your sequenced track place a good VST compressor. I suggest the L2 or L3 compressor that is part of the Waves Mastering tools. Play around with the settings eg. increase the gain. You will notice if used properly that your track will sound alot louder & brighter. Times this result by Hundred & that is the result you should get with a professionally mastered track.
If you want actual tips on how to get your track ready for mastering let me know. But as I said I am assuming you have got your track sounding pretty good levels\quality wise but it just ain't grabbing you.
Hope this helps
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Ghost2424
Guest
Sure i could use the tips. I've been figuring out how to do this whole music thing by myself. By commin on here and researching on the web. I've tried to master my stuff in sonar and I also have T-racks by i don't know how the mastering process goes i just kinda wing it.
B
b_karv
Guest
Yeah no worries... I was given these tips by a sound mastering engineer just before I was gonna give my track to her to get mastered.
Rule number one don't put a compressor on the master channel. If the whole track is compressed it is harder for the sound engineer(the person mastering your work) to make any changes.... By putting a compressor on the master you are sort of doing what the sound engineer is doing but only with crappier hardware\software.
Now the next thing is your sound levels. They usually like the volume level on the master peaking around -3db...Note this very quiet. And when I mean -3db master it doesn't mean the master volume is just turned down to -3db it means you have to turn the volume down on each indiviual track to achieve this.
The next thing is the levels of each instrument
I am presuming that you are making dance(ie House, trance etc) music? For Dance music the most important thing is the Kick & bass. Make sure the kick & bass are nice and loud & that they can be heard very clearly. We(myself & my mate who producers music with me) usually start off with the kick & bass & get that sounding right before we add any other instruments. Volume for any other instrument comes down to taste & the type of sound you want to achieve.
Eqing wise, I am not going to go too in depth as we will be here all day. But generally the rule is that you should be able hear all the instruments in the mix even at very quiet levels. If you have two instruments are in the way each other try panning them(try not pan main instrumens eg bass, drums, main synth etc). Also panning add's interest or what i call 'Energy' to track. You should try panning some sounds in your mix if you haven't done so, it will give it some movement.
Lastly a note with eqing when getting your track professionally masterd. Try to keep as much low end in the track & avoid having too much high end in the track. It is easy for the engineer to cut-away the bass but harder for him/her to add it. Whereas for high-end it is easier for the engineer to add highend(brightness) than to cutting it away.
Now after doing all this you will find that your track sounds very dull but don't worry mastering should make the track sound brighter.
I noticed you asked in another thread the price for Mastering. I live in Australia & I got my track done by an engineer who had worked on alot of commercial music hits. She charged $120 Australian for an hour. It is usually 1 track per hour.
Anyway the aforementioned is only a guide but overall my advice to you is just try and make your track sound as good as you can & let the mastering process do the rest. But remember as the professionals say 'You can't polish a turd.'
Rule number one don't put a compressor on the master channel. If the whole track is compressed it is harder for the sound engineer(the person mastering your work) to make any changes.... By putting a compressor on the master you are sort of doing what the sound engineer is doing but only with crappier hardware\software.
Now the next thing is your sound levels. They usually like the volume level on the master peaking around -3db...Note this very quiet. And when I mean -3db master it doesn't mean the master volume is just turned down to -3db it means you have to turn the volume down on each indiviual track to achieve this.
The next thing is the levels of each instrument
I am presuming that you are making dance(ie House, trance etc) music? For Dance music the most important thing is the Kick & bass. Make sure the kick & bass are nice and loud & that they can be heard very clearly. We(myself & my mate who producers music with me) usually start off with the kick & bass & get that sounding right before we add any other instruments. Volume for any other instrument comes down to taste & the type of sound you want to achieve.
Eqing wise, I am not going to go too in depth as we will be here all day. But generally the rule is that you should be able hear all the instruments in the mix even at very quiet levels. If you have two instruments are in the way each other try panning them(try not pan main instrumens eg bass, drums, main synth etc). Also panning add's interest or what i call 'Energy' to track. You should try panning some sounds in your mix if you haven't done so, it will give it some movement.
Lastly a note with eqing when getting your track professionally masterd. Try to keep as much low end in the track & avoid having too much high end in the track. It is easy for the engineer to cut-away the bass but harder for him/her to add it. Whereas for high-end it is easier for the engineer to add highend(brightness) than to cutting it away.
Now after doing all this you will find that your track sounds very dull but don't worry mastering should make the track sound brighter.
I noticed you asked in another thread the price for Mastering. I live in Australia & I got my track done by an engineer who had worked on alot of commercial music hits. She charged $120 Australian for an hour. It is usually 1 track per hour.
Anyway the aforementioned is only a guide but overall my advice to you is just try and make your track sound as good as you can & let the mastering process do the rest. But remember as the professionals say 'You can't polish a turd.'
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Ghost2424
Guest
Very detailed....I appreciate it bro! I know a lot of it is trial and error but this is a great starting point for me.