Posted in : Forum : Mixing , Mastering And Production Techniques
Youve created a track but how do you give it that polished edge ? Discuss the art of mixing and mastering and swap production techniques.
my mixes always come out better if i listen to different genres before making, mixing or mastering. if your making the same style beats all day, your ideas and visualizations are too much the same.
ive notice when i make or tweak multiple mixes a day that are the same genre or have the same feel, they arent too exciting, nothing really stands out or its just not catchy at all and sounds too original.
but if i work on mixes that are completely different in genre and tempo, my mixes are a lot more catchy and flow nice
take a break and change ur state of mind (i dont mean with weed, but if thats the case so be it) =P
not really a trick or anything, but i hope it helps at least one person
yeah totally agree with ohchariot.
i do somethin kinda similar in that i'll listen to a few different DJ's, maybe/not from the same genre. and pick out cool ideas or timing variations, different sounds and effects. then when u work on your tune try to recreate some of that, theres a fair chance youll end up with something a little different but hey, now you have something new in your arsenal.
Umm...I just use my ears! And I fiddle with the eq etc for a while....
One thing I do notice about some tracks is the lack of space in them. It sounds like you are in a very small space listening to it. All that causes that is no reverb, or panning. And try and keep your basslines pretty narrow and of course the Kik right in the centre of your head...Synths can be widened then to give more space and depth to the track. Hats and percs need to have all the low freq taken out or they get lost in the mix...
Hmm...thats my 5 pence for now!
I agree with djsalkizar here on the spaceness of some mixes but you have to be carefull with your "main mix reeverb" which is good to be used ass a send channel so that you can adjust how much each instrument is sent to the reeverb and besides it places all of them in the same space.
Compressors are a must be on each channel to keep a pretty good estimated level in dB. Then it comes down to individual instrument reeverb and chorus and panning and eq and delay....we could write a book on mixing techniques :)))).
On the master channel as i've posted a few weeks ago eq, compressor and limiter is necesary. Also try compressing your mix reeverb bus so that you won't be surprised by a big amount of reevrb as some instruments get louder.
Some good tips there Malu, and it's great to see you back Salkizar.
From dubstep form production bible: Big thread of wobble
'Wobble Bass' as it is known is simply a bassline that has an LFO assigned to a Low Pass Filter as an insert effect. LFO stands for 'Low Frequency Oscillator' and is used to change a sound by a defined speed (measured in either Hz or synced to the Tempo in relation to the bars/notes through quantization.)
The way the LFO changes the sound is up to you, you can make the LFO adjust the Volume, the amount of Saturation, Filter Cutoff etc.
Basically any parameter you link it to. Essentially you are just using the LFO to send a changing value to a parameter.
How to get a simple wobble bass.
1) Choose a simple sound on your synth. (Anything apart from a Sine wave )
2) Select your LFO and set it to the speed you want (1/8 would be a good starting point)
3) Now assign the LFO to the Filter Cutoff. Which should for this example be a Low Pass Filter* as the sound we're going for is a deep bass.
4) You now have a basic wobble bass, from here the possibilities for tweaking this sound are endless.
A quick breakdown of what's actually going on. Essentially you are taking a sound (that can be an audio files, generated by a synth, etc) and then passing it through a Low Pass Filter.
Now what exactly does a Low Pass Filter do you ask?
* A Low Pass Filter allows Low Frequency signals to pass through it, but reduces the amplitude (volume) of all the Frequencies above the cutoff point. In general most plug-ins have various Low Pass Filter settings, where the more poles it has the more Dbs it will cut and will yield a harder knee to it. Example: 1 Pole Filter with a -6dB/Oct reduction Vs a 2 Pole Filter reducing -12Db/Oct.
However, you don't necessarily need a LFO controlling your Low Pass Filter Cutoff frequency value, you could just draw in the Automation yourself, but a LFO will yield a loop of consistent values and prevents the possibility of human error. All the LFO is doing is sending a value to your frequency cutoff to keep it consistently changing.
Tips & Advice
1.) Sub bass wobble would normally be a Sine wave at around the 40-50 Hz range which would repeat the same chords as the mid-range bass wobble. The only difference being that with a sub bass wobble there is no point in assigning the LFO to a Low Pass Filter because the sound is too low for the low pass filter to have any effect, so the LFO is assigned to the amplitude (volume) instead. Another reason for not applying a Low Pass Filter to the Sub bass is because it would typically be a Sine wave which possesses no Harmonics to be adjusted by the Filter.
2.) The sound of an LFO can also be adjusted by the wave type you choose. The default setting for an LFO generator is a Sine wave, although on most synths you can chose from Triangle, Sawtooth, Square wave, Random, Noise. To get a nice sounding bass, it is a good idea to use as many oscillators as possible on different octaves.
3.) Try messing around with the attack and release of your sound as this can have an impact on the sound of the bass. Long attacks tend to create a more ambient sound, and is a technique traditionally used with ambient pads.
4.) Something that I find useful is to bounce the bassline to a .wav file, so that it can be chopped up and put in-sync with other elements of the song; because the majority of the time you will find the first wave of sound in the wobble bassline will will be half the length of the other waves due to attack rates. So the best thing to do is to chop that freak sound off the beginning of the file in your DAW (Logic Pro, Reason, Cubase etc) and start off with the second wave which should be fully formed. This way it will not be too early of late when keeping in sync with other elements such as a second bassline.
5.) Another method you can use is creating a clone layer of your original sound and setting up a new LFO setup for that to beat alternatively in the space left by the original LFO. Or go that crazy Drum & Bass Reese route and split the frequencies to Low, Mid and High, then set different LFO rates for each band then recombine into one sound.
6.) For more variation automate your LFO speed and intensity.
7.) Where you place insert effects in relation to the filter (pre or post) will yield different sounding results.
Other methods to achieve a wobble like sound:
Tremolo, (This effects volume rather than frequency)
Modulation of PWM,
Oscillator Pitch assigned (in a liberal amount) to LFO.
Filter Envelope assigned to LFO (using a re-triggered envelope).
(submitted by Faun2500)
9.) Assign a second LFO to modulate the speed of the first LFO.
Sine wave: The smooth value change possible.
Triangle: Similar to a Sine wave but slightly more ramped & synthetic sounding.
Random: A mixed bag.
Sawtooth: Will have a very fast attack with a slower release which will sound very rugged.
Square wave: Will be a simple open close style. Very harsh and will generally cause a very harsh sound. (Often used in DJ Hazard style bass-lines). Detune two square waves for a nice dark sounding bass.
Ok Ive read every single post in here and Copy and Pasted important things to Microsoft Word to create my own little handbook to read. Thanks a million guys!! Best thread on here
just a few things i bounce around with workflow , if i have a new beat i always try every bass line i have made in the past because you never know what will just hit the spot and can throw you to the next level. in acid i can chop a sample up like a drum pattern to individual beats and drop a new sample in like a conga track or voice, never sounded bad so far,
This is how i create my "art":
1-usually put sum cushion in the air for starters jus to get my focus and creativity up
2-i will take a sound, main rhythm and just continuously add different sounds to it....i may go thru 20+ sounds before i finally find the one i am looking for. adding snares and hats are THE easiest to add to my music.
3-finally, comes the bass....the part that usually makes the beat in my opinion
4-i add my signature sound bite to the beat after reviewing the beat several times and then there aint notn left to do except enjoy!!!
Does anywone have any tips for sampling production?
Do you mean sample production ie. making loops, or making music using a sampler?
If your talking making loops, that's very dependent on the program you use. If it's Fruit loops don't ask me, there a gazillion others on here using that one.
Basically the routine goes as such.
1. either recorder a live instrument or output a vsti synth line, into a compatible .wav files on your hd.
2. Find you best 2-4-8 bar loop (depending on the time signature it may even be 5 or 7 :D)
3. Create in and out points on the sample so that it loops seamlessly. This can sometimes be the trickiest part of it all, depending on the source file and the program you use to slice loops.
4. At that point you can simply output the loop as a new file that can be used indefinitely forever and ever and ever or until people get so sick of hearing it that they hate you.
Really there are so many different techniques for actual sample creation, they don't need to loop if it's simply an fx loop or a sample 'hit'. A sample can be several words that just sound cool together, ot it can be utter noise that has been run through a bevy of effects to create some other worldy sound. The key is to just save stuff as you find it interesting and useful. You'll go back into your file bank oneday and say "hey that was a cool little loop! I better use it for this piece..." Loop making is so very fun, and producing/sequencing these loops is what this site is ALL about. I hope you find som euse in these production tips.
This is a post-production trick but it should help some people.
As soon as you've finished a song, if you put it on a CD, put it in an envelope and mail it to youself, as long as the date and time is recorded by the Post Office and they seal the back too then you have hard proof that you created the song on or before the date stated. This is one of the easiest ways to proove you own the copyright on something.
SNARE RUSH -
Sounds like - https://www.looperman.com/tracks/detail/17520
- What it is: a drum and bass snare SFX that is awesome.
- How i did it: I used a sample stretcher (Fruity granulizer) on a snare drum hit and stretched it until it was seamless, that's yer base. next apply reverb and control its wet amount (Front/Back) then the panning (Left/right) then its pitch (up/down) and its volume (opacity). play with those envelopes and se what happens.
In addition to HelixMusic's post you can also email yourself a copy of all of your songs in rar or some sortve format.
NEVER OPEN THE EMAIL!!
If you hear your work somewhere else, you can use that as your copyright. However i reccommend post office and a blank cd. Hard copies r much better.
hello people, just been reading thread, nice work peeps.
just got some tips with regards to sampling, they may have already been posted some where else but as im new i wouldnt know ya dig
zero crossings-these are important for smooth looping-in your audio window zoom in on ya start and end points, you want them to be as flat as possible. this will mean that you can loop it without no nasty pops and ish.
looping-just been getting into this, if u have a sampler (esx24 nxt advanced etc) load a sample ie a kick drum then set the loop time really short, in essence u are creating an oscilator, u can then repeat this process but change the octaves, mess around with lfo's, adsr, filter etc to create sounds that are your own, been finding kick drums work well for b-lines, just mess around untill something works
map a sample to the keyboard- doing this opened up bear doors in my creation process. have found that bumping a percussion loop up about 4 octaves can give good results for weird snare sounds.try with anything might not work all the time but is fun to hear what new rhythms/melodys are produced
clean up ur samples- if recording from vinyl first clean it!. make sure ur recording level does not clip but make sure it is not low and then raise the volume after as it will sound well not as good, NYQUIST theory if you do not already know then get to know as its very important for analogue-digital recording, a bit heavy but worth it. if ur recording has some clicks and pops in it and theres nothing you can do from source then use ur audio window to hone in on them and delete them (make sure u zoom in as u dont want a big chunk missing. use filtering/filtering to get rid of unwanted noise-at source or after.
chopping-for smooth chop playback i find it easy if i have choped the samples so they are all the same length ie 1/8th so you can start creating patterns that will fit or just go mad chop the ish out of it. oh and remember ur zero crossings
mono or poly playback- basically when it is in mono you can cut off the sample playing by pressing another key, really handy. and surprise surprise having it in poly means that (depending on the chop/sample length) u can press two keys at once and the two samples will play together, or one will still play when u press another key (if it is one a one shot setting)
oh and just a little neat trick regarding gates- try adding one to a lead line then if you have a hi-hat track send it out to bus then on the gate assign the side chain to the bus then play around with the threshold. u will notice that the lead will only play when the hi-hat is playing and the lead will follow its pattern. i find this handy to use at the end of a phrase and a good method to stutter sounds.
right thats aboot it for now, apologies if what i have said does not make sense or i havent clearly expressed the pionts, just get back to me about anything or just google it. DOME
this is a great guide =D
10 points to Falter for the idea
Wow, that was amazing. I just mix my whole track, samples and all. You just went around that and took it 5 levels higher. Nice.
Thanks for the tip!
I added your page to my website because the tips here are really good. Thanks, The Compusician
Brill' tips keep em comin'!
one of my fav tricks to add depth to a snare drum
if your snare is sounding alittle weak in your track and you dont want to pump it up to upstage your drums and/or bass or if pumping it up isnt having the desired effect...what i like to do is to add a little bit of and echo or reeverb to it, this will give your snare more depth and reality with out upstaging your other insturments if done properly..(experiment with the revereb and find the right medium)
Step 1 : Avoid over-compression
Compression is an essential tool in the mixing process and at some point you will find yourself reaching for your favourite plug-in, but a common mistake is to go too far. Some modern systems allow a nearly unlimited amount of processors to be used, but this sort of power requires the user to have a certain amount of self control.
ItÃ¢â‚¬â„¢s really a case of asking yourself if a signal truly needs compressing or if you are applying the process simply because you can. Music is about dynamics and movement. If you squash the life out of every part in your mix the end result can closely resemble noise.
Of course, there is nothing wrong with selective creative compression as an effect but remember to keep an eye on those gain reduction meters and the amount of compressor plugs across your mixer.
Perfect the balance between compressed and dynamic signals and your mastering processors will thank you for it.
Step 2: There is no doubt that some sounds in your mix will need certain frequencies to be boosted or cut. There is a temptation to boost high or low frequencies on every sound, as this may flatter the sounds in isolation. Bring these heavily EQÃ¢â‚¬â„¢d sounds together in the mix and the result may be confused and over-colored. In this scenario it is likely you are listening to more EQ than actual signal.
A good way around this problem is to use subtractive equalisation, as opposed to additive. This involves removing unneeded or problem areas of a signal and boosting the level. This results in the area you want to boost being raised in volume without adding any artificial processing. Using this method you will hear much more signal and less EQ, leading to a clearer and less coloured sound.
Step 3: we you progress through the mix-down stage more and more processing takes place and files are often bounced and exported with the new FX destructively imprinted. This is a great way to gain CPU headroom and stop your computer from melting, but if not approached cautiously, excessive bouncing of files can back you into a corner.
You may have found yourself re-loading a project and realizing you over-processed a part in the last session and have to re import and the dry file. Often any edits and automation can be lost in this process, along with a few hours work.
A good workflow technique to avoid this situation is to have a dry version of the part present in your mix. When re-importing the processed sound into your project make a new track and keep the processed channel intact. Turn off the processors to save CPU and mute the channel to take it out of the mix. In some DAWs you can actually hide the track or make folders to contain all your muted sounds. This keeps your work area organised and always gives you the chance to step back quickly and without too much work.
Step 4:Filter bass frequencies for a clearer mix
In most genres of music a good balance in the bottom end is critical to a tight overall mix. The biggest pitfall here is to simply have too many instruments occupying the same frequency range. In electronic music, for example, it is not uncommon to have only the kick drum and bass occupying anything below about 250hz. All other instruments can be safely treated with a high pass filter to avoid anything below this area interfering with these all important instruments.
In other styles of music this extreme filtering may be too much but similar rules apply and a lot of thought should be put into instruments sharing the same frequency. Of course, instruments with a more organic frequency response, such as acoustic guitars, drums, brass and wind instruments, will not react well to hard filtering, so more subtle techniques such as shelving EQs should be employed. Broadly speaking though, carving areas for your low frequencies will result in a generally more coherent mix, whatever style you work with
This is such a good idea, thatnks alot guys, its all helpful for someone like me. I figured out a couple of these things out on my own but this type of stuff on this site saves me mad time
You galz n guyz got some great ideas for production, I keep getting a muddy sound from my guitz, It sounnds good going in, but muddy during playback... totally confused
any tips for Creating A Latin Hip-hop Beat? or Carribean like
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Looper Time : 2018-12-18 16:02:15 | Version l-318