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Making Electronic Music

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Todd
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Re: Making Electronic Music
« Reply #1230 on: Mar 5th, 2009, 1:46pm »

on Mar 4th, 2009, 10:53pm, robotech wrote:
thanks dude, i heard your new track i like it, who is that girl who does your vocals? she's great.

i had this when i saw you last, yeah it's really nice, i have a few complaints but for the most part it's the best laptop I've ever owned for sure... great battery life, performance etc etc... can't wait for snow leopard


Thanks man haha. New album is about 25% done.. that song is one of many good things. Imogen Heap did the vocals.

Yeah I have a new Macbook Pro too, I think you left before I played my set that night though, can't remember. It's the best laptop in the world, except the battery on my old Macbook Pro was better actually.. but this one is like half the size of the old one so how can I complain?
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Re: Making Electronic Music
« Reply #1231 on: Mar 5th, 2009, 2:09pm »

on Mar 5th, 2009, 1:46pm, Todd wrote:
Imogen Heap did the vocals.


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hornairs
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Re: Making Electronic Music
« Reply #1232 on: Mar 5th, 2009, 3:03pm »

Hey, do u guys know of good places to find accapella's and other useful DJ stuff?
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Mauricio
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Re: Making Electronic Music
« Reply #1233 on: Mar 5th, 2009, 4:59pm »

on Mar 5th, 2009, 3:03pm, hornairs wrote:
Hey, do u guys know of good places to find accapella's and other useful DJ stuff?


there are a lot of different places to look for acapellas on the internet. a simple "song title" + acapella search on google will get you started...

a second option would be to download acapella sound packs from a torrent site such as mininova or the pirate bay

there is also a website called acapellas4u i think that has a lot of acapellas...

getting what you need to dj and make noises etc is always a hunt, there is not one definitive source... sometimes i rip the audio from youtube videos, or get the acapella from a cd... you never know where you're gonna find it but you usually will if you look a little

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Mauricio
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Re: Making Electronic Music
« Reply #1234 on: Mar 5th, 2009, 5:18pm »

on Mar 5th, 2009, 1:44pm, Todd wrote:
You can't as far as I know. What you need to do is set your mix level pan to dead center, then automate the panning in arrangement view for the entire track. After you set your mix pan to 0 the automation envelope will appear in the middle of the window instead of at the bottom, allowing you to move it up or down which is L and R respectively.

I know it's a bit more of pain, but it's a good habit to get into anyway as it will encourage you to automate panning more which will make your mix sound livelier.

Ableton does alot of stupid things like this, never realized it until i switched over to Pro Tools (which is now my deity of choice).



you can also automate the clip's envelope, bottom left corner in clip view there's 3 little buttons, and L, an Musical Note, and en E. E is for Envelope click on that. it will give you access to any parameter that can be automated, and also it will give you the choice to individually change each clip and save the settings so you only have to do it once if for example you want the note to bend everytime etc etc... or you want it to pan this far and that far everytime...

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Re: Making Electronic Music
« Reply #1235 on: Mar 5th, 2009, 5:39pm »

Alright cool, yeah ive checked out torrents there pretty good sometimes, and some websites are good too. I just didnt know if u guys had any secrets haha.
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Re: Making Electronic Music
« Reply #1236 on: Mar 5th, 2009, 8:29pm »

on Mar 4th, 2009, 8:46pm, robotech wrote:
does that make sense at all?

that helped a lot.
thanks.
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lukas.
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Re: Making Electronic Music
« Reply #1237 on: Mar 6th, 2009, 5:31pm »

question for Mac producers

do you ever use vsts/DAW on windows xp bootcamp, if so does it effect the performance at all?
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Mauricio
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Re: Making Electronic Music
« Reply #1238 on: Mar 6th, 2009, 6:31pm »

on Mar 6th, 2009, 5:31pm, LukeSwits wrote:
question for Mac producers

do you ever use vsts/DAW on windows xp bootcamp, if so does it effect the performance at all?


i don't think it hurts performance... but on the new macbook pros for example the new trackpad does not work well with windows... and also the fans on the new macbook pros don't work while running windows on a bootcamp partition. so the result is an insanely hot macbook pro... there is a workaround if you download this program called input remapper... but by default windows uses the higher performance nvidia chip on the macbook pro and it runs hotter... all in all i haven't had that great of an experience running bootcamp on my new macbook pro, but on the older gen macbook pro it should run just fine.
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FISK
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Re: Making Electronic Music
« Reply #1239 on: Mar 6th, 2009, 8:33pm »

on Mar 6th, 2009, 5:31pm, LukeSwits wrote:
question for Mac producers

do you ever use vsts/DAW on windows xp bootcamp, if so does it effect the performance at all?


I came really close to installing bootcamp just so i could use the glitch plug in, and then effectrix came out and i gave up the idea. Im afraid that if i did i would install nothing but games and get no work done.
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Re: Making Electronic Music
« Reply #1240 on: Mar 6th, 2009, 8:36pm »

Answering a question by 5th that stemmed from a Fake Blood joke about subtracting vocals from a a track. Thought I should post it here for everyone to read.
If you have two copies of a track that are identical except one is an acapella or instrumental, you can subtract one from the other and be left with the difference. Say you have an instrumental track, and you want vocals, you would phase invert the instrumental (with your audio editor of choice) and then add it to the original track. When they're summed together, you'll be left with only the vocals. The opposite works too if you have the vocals and want the instrumental.
The tracks have to be identical in every other way though or it won't work properly. They need to come from the same source, be the same quality, etc.
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on Mar 13th, 2009, 05:06am, TYLER wrote:
EDIT: I JUST REALIZED THIS ISN'T THE WHERE I GO ON MUSHROOMS THREAD.
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Re: Making Electronic Music
« Reply #1241 on: Mar 6th, 2009, 8:49pm »

^^ A good youtube video about exactly what you're talking about.

http://www.youtube.com/watch?v=S0BLpoEYx4U&feature=related

This method also works great for trying extract stems and samples.
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Mauricio
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Re: Making Electronic Music
« Reply #1242 on: Mar 9th, 2009, 07:03am »

does any one have a copy of the BBE D82 Sonic Maximizer Plug-In for MAC OS X that I could have or trade for?

I want to use it with the PSP Vintage Warmer to boost and enrich my sound in Ableton so my DJ sets sound as good as possible...
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Taylor
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Re: Making Electronic Music
« Reply #1243 on: Mar 10th, 2009, 09:20am »

on Mar 9th, 2009, 07:03am, robotech wrote:
does any one have a copy of the BBE D82 Sonic Maximizer Plug-In for MAC OS X that I could have or trade for?

I want to use it with the PSP Vintage Warmer to boost and enrich my sound in Ableton so my DJ sets sound as good as possible...


you mean so they sound as fluffed as possible?

just throw a compressor with a 3 db boost in it and a limiter on that shit
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Mauricio
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Re: Making Electronic Music
« Reply #1244 on: Mar 10th, 2009, 09:27am »

on Mar 10th, 2009, 09:20am, Taylor wrote:
you mean so they sound as fluffed as possible?

just throw a compressor with a 3 db boost in it and a limiter on that shit


haha yeah pretty much... I'll try that. i started noticing that when i push songs too far out of their bpm range they start sounding really flat and lose significant volume. so i did some research and found a post about a way to alleviate that by using the D82 & PSPVW... i tried it on my pc and i got good results when i used it on a big system at the club i work at...

the post goes as follows:

Josh Von's Guide to BOOSTING PUNCH AND GAIN in Live

This is the best chain for Live set mastering I have found after 4 years of using Live and after many, many comparisons. It is not the only formula people use -- but it is one that works extremely well in a variety of circumstances (both studio and live gigs) - has definite reasons why it works for this purpose- is simple to set up - and does all this at a reasonable cost.

Notes:

Why does this work?
I explain this as I go along .. patience padawan Razz Shocked Tune

Where can I hear the result?

If you want to hear sets processed this way, listen to some of the sets available on my website:
http://www.joshvon.com/music/josh-von-music.htm

A majority of the tracks in my sets were taken from 320kbps MP3s. Most were not played at original tempo - some were also changed pitch up to 15 bpm in either direction at the same time. In addition, sections of the set change tempo up and down in realtime as well. ... all with little noticeable degradation of the sound.

In my opinion this formula is what makes all that possible -- I couldn't and would not mix this way without it. In combination with Live's Complex mode on the clips, it makes your tracks much more elastic and flexible -- as a result your options in mixing are greatly enhanced.

(Make sure and download 320kbps versions of the sets and listen on a quality system, not the 128k streaming versions on the site. Read my notes to see how the tracks were altered to make the sets possible)

--

The formula uses two commercial plugins (available for both PC and Mac):

- the BBE Sonic Maximizer ("BBE")
http://www.bbesound.com/products/maxim/newplugin.asp

- PSP Vintagewarmer 1.x ("VW").
http://www.pspaudioware.com/plugins/vintage.html

They need to be set up in that order (BBE --> VW) in the master channel of Live for best results. Here is a rundown of the settings with screenshots:

---
1 - BBE Sonic Maximizer

The BBE compensates for the "smearing" effect of complex mode and other warp modes that work on the transients of the tracks to allow time and pitch stretching.

If you use these modes and push the BPM and/or pitch of the tracks past what they were originally written at, you will get a certain amount of loss of clarity, mushiness on the hi frequencies, and overall degradation away from the original sound.

The BBE works on the transients of the tracks and restores punch and clarity. This is not a traditional harmonic exciter and there is no other effect that I am aware of that does quite the same thing.

BBE Settings:



Lo Contour and Process - both at 1.5 notch up (very slight);

And thats it: there are only two knobs for the actual processing, very simple controls. Set the Output knob either all the way up, or use your judgment to balance it with all of your other gain stages in your chain.

Do not overdo these settings!.
Stick with a very sparing amount, too much BBE will make your sound in the hi end too harsh or metallic sounding. You are only giving just enough to compensate for transient degradation

--
2 - PSP Vintage Warmer 1.x (not Vintagewarmer 2 as of this writing - see below)

The VW re-boosts the gain of the set, adds back some warmth, punch, and sparkle back, and acts as a slow limiter. It uses analog tape saturation simulation algorithms in doing what it does, and it does it extremely well for our purpose here.

As a general rule compression on the master in a Live DJ set is a bad idea, because dance tracks are already extremely compressed through various stages and additional compression muds up the sound.

However - the VW processing with these settings is a very unique plug (as the BBE is) and is the only compressor / limiter I have found that adds back the warmth and punch to the master output without degrading the sound or making it more "mushy"

Flipping this on with the settings below will immediately give you a huge difference in the warmth and punch of your output without mucking it all up.

(Note: The most recent version of Vintagewarmer at this writing is version 2, which adds almost 50ms latency to your output when placed on the master channel. Until this is addressed I cant recommend
VW2)


VW Settings:

Note: Settings are for the original Vintagewarmer; I do not own and am not familiar with the enhancements on the new VW2



Drive: +2

Lo: +2 / Freq: ~80hz

Hi: +2 / Freq: ~7hz

The Drive, Lo / Lo Freq, Hi / Hi Freq controls are adjustable! These will function as your EQ - these settings are very good ones for most material, however go ahead and adjust these to fit your style and preferences.

- Tune your Hi and Lo Freq know where it sounds right for your set: I try and bring out my kick / bass warmth , and snare / shaker ranges -- 70 to 100hz for the Lo Freq -- 5 to 8khz for the Hi Freq ....

- Drive control is your master "push" control for the tape saturation boost. Be careful with this, as too much will add mud and mushiness back! I have found anywhere from +2 to +4 works best; more than +4 is where it starts pushing too hard for me but use your judgment.

As with the BBE - a little goes a long way, especially with Drive. If you overdo these controls, you will degrade your output and defeat the purpose

The rest of the parameters:

Mix: 50% / Output: 0db / Knee: 0 / Speed: 100 / Release: x1 / Cieling: 0db

Singleband / Multiband - keep switch on singleband processing

Stereo / Mono - keep switch on stereo (of course)

The most important settings here to leave alone would be Mix, Output, and Ceiling. The Mix setting is key because too much processing starts to muddy the sound back up - it functions like a wet dry control and it makes all the difference turning that down (50% is fine). Output and Ceiling are @ 0db because theres no need to attenuate the sound at this stage.

--

Final Notes:

- Dont change the order of the plugs. Any limiting is always last in your chain hence the VW there.

Also- the BBE helps clarify the sound, but at the expense of a bit of harshness and hi frequency "metallic shine" on the sound ...

the VW tape saturation helps neutralize this side effect so it needs to come after. This is another important reason why I have settled on these two specific plugins and have not found any substitutions to date (ie. they have "synergy": the sum is mysteriously greater than the parts)

- Do not change the settings on the BBE, leave them close to the way they are in the screenshots. Very important as too much more will start making your sound harsh

- To make final adjustments to your sound, DO NOT use any EQ on the master. Rather, use the Drive Control, the Lo and Hi knobs, and the Frequency knobs on the VW. These are all you need.

- DO NOT add any additional FX in your master -- if anything, you might want to include a simple EQ4/EQ8 EQ hi-pass that cuts off all the bass below ~40HZ or so: bass below here can often rob your sound of clarity and overload house PA's - but thats it

Important!:

Too much and / or the wrong kind of processing on the master out will wreck your sound! - be careful! If you change this formula or add additional plugins:

- make sure you carefully listen to the result on different systems

- compare your render to sets you are trying to emulate,

- and do this over a period of time to make sure your ears are not fooling you into thinking its better than what you had, when it may not be

« Last Edit: Mar 10th, 2009, 09:41am by Mauricio » Logged

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