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Making Electronic Music

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MERCURIUSFM
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Re: Making Electronic Music
« Reply #1740 on: Sep 13th, 2009, 11:26pm »

on Sep 11th, 2009, 11:30am, gavinmac wrote:
what makes a song 'bigroom'?




stylistically?

its a big sounding track with some good production values and huge long builds and drops. designed for big clubs not so much for small bar ragers.
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Re: Making Electronic Music
« Reply #1741 on: Sep 14th, 2009, 12:24am »

on Sep 13th, 2009, 11:04pm, Biff wrote:
Any reccomendations for a decent external soundcard that's low priced.

i. e. $100 or less.

I'm considering getting that Native Instruments Audio 2 when I can afford it, but I wanted to know if there's anything cheaper that will suffice.


Get the Numark DJ IO... cheap, reliable, if you break it you can just buy another it's like 80$ bucks...
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Re: Making Electronic Music
« Reply #1742 on: Sep 14th, 2009, 9:04pm »

Another thing I'm considering is trying to use the internal soundcard I already have, ( an M-Audio Audiophile 24/96). Which has no headphone inputs http://www.m-audio.com/products/en_us/Audiophile2496.html, but it does have RCA, SPDIF and various other inputs. One Idea my dad was considering was buying a cheap mixer with a headphone input, then hooking that up to the audiophile and using that to cue with in Ableton.

The reason being that the audiophile is already quite a good card for what I'm doing with it

Does anyone know a way to do something like that, would it be feasible?

or should we just go ahead and get an external soundcard.

I'm currently using a desktop PC my dad built for me to make my music on.

Also: I just go word that I'm indeed going to be able to buy an MPD-24 from this guy on Saturday for $100!
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Re: Making Electronic Music
« Reply #1743 on: Sep 30th, 2009, 4:51pm »

can anyone help me with figuring out how this aftertouch thing on albino. im trying to make something similar to the piano in the bloody beetroots remix of shwaze - get u home and someone told me to use aftertouch but didnt go into anymore detail. everything i assign to aftertouch does nothing. they might have been sayin to use it for another question i had and not the piano but i cant get it to work anyways.
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mrtalk69
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Re: Making Electronic Music
« Reply #1744 on: Oct 1st, 2009, 12:16pm »

I need someone to help me with mastering and mixing down songs.

go listen to my music and tell me if you can help me out!

myspace.com/ttttalk
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Smiley Perv
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Re: Making Electronic Music
« Reply #1745 on: Oct 3rd, 2009, 12:39pm »

on Oct 1st, 2009, 12:16pm, mrtalk69 wrote:
I need someone to help me with mastering and mixing down songs.

go listen to my music and tell me if you can help me out!

myspace.com/ttttalk

As far as I can tell, it's nothing too far from accomplishing a really well mix down.
Just as a guideline for myself, this is is just fundamentals that I apply and still use
for alot of what I produce right now. This may not all be directed to you solely but
perhaps someone else may benefit from this.

First off, having the drums set to about -8 or -10 dB in their channels has sit best
in alot of my productions. Although with some of your bassier kicks, they may take
a bit more to tame and using compression just depends on the WAV sample. Of
course, you wanna stay away from clipping so having the drums up to -3 will just
make it harder to control everything. You definitely need to have some headroom
on your master channel so monitor everything from the get go and all this Compression,
Limiter stuff can be done away with unless you're using them for some creative effect.

As far as your Subs, you need to give it the same treatment and perhaps bring it down
about 1 or better 2 dB less than your kick. This especially should apply if you're using
pure sine sub. This doesn't reduce your clipping, it should eliminate your clipping.

Lets just say for example on some dB levels for a general track.

Kick set to -9 dB
Snares set to -13 to -16 dB (-13 on my Dubstep)
High Hats set to -22 to -26
Subs set to -11 to -12 dB
Midrange Synth set to -10 to -14 dB

This will typically leave about -6 or -5 dB of headroom but I like to stay around -8 just to
not overcook some channels during the mastering process.

Alot of the mistakes producers make first time around is that they're producing their session
completely brickwalling the master fader. Understandably, you wanna hear the track as loud
as it should be but that's where monitors play their role. I won't even get into monitors. Should
be irrelevant by this page. Squash the levels and turn your monitors up instead.

Watch those peak levels on each channel and don't be so obsessed about getting your dB
levels to an absolute number. Alot if is easier to manage if you just get your levels all right
the first time. To get the best loudness in the end of it all starts from the beginning and
being able to retain headroom and having a better workflow in the creative process is the
best benefit. You won't have to spend tedious amounts of time fighting to dig out a sound
that's been drowned out by that crash sizzle.

I can try to add on unless there's something you'd like to ask in between. Hope this helps for now.
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Re: Making Electronic Music
« Reply #1746 on: Oct 3rd, 2009, 1:08pm »

on Oct 1st, 2009, 12:16pm, mrtalk69 wrote:
I need someone to help me with mastering and mixing down songs.

go listen to my music and tell me if you can help me out!

myspace.com/ttttalk


I guess it depends on what you use but i go this route with pro tools


i put down everything to -4db to start off, even the master fader
sometimes i push more than -4 if needed, but we will get into that later

make sure your kick is your reference point to the loudest peak
make sure your levels are hot for this whole -4db thing to work
compress your drum samples so they're all barely clipping
now once you got all that mixed good

put the master fader at 0 db and pop in an 1176 compressor on it

the 1176 plays such an important role (for me atleast)
this compressor will let you pump but with a good warm feeling
no digital clipping
it's different that normal compressors so just play with it till you figure it out

then do the same with the master fader get it the loudest you can before it clips

after that.. bounce down the stereo file with compression

and open it up in a new session now maximize the stereo file and you're done



but in the end it's just practice
like painting
you keep on painting till you picture becomes clearer, faster each time

it's good to follow guidelines but everyone has their own way and their own ears so try messing about till you find what works for you


but two main things you should look for
is the 1176 compressor plugin
and any good maximizing plugin

i use maxim and set the output to -1 db then usually pump the threshold till about 6-8db
« Last Edit: Oct 3rd, 2009, 1:10pm by Diego De la Vega » Logged

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Re: Making Electronic Music
« Reply #1747 on: Oct 4th, 2009, 08:10am »

on Sep 30th, 2009, 4:51pm, slyman wrote:
can anyone help me with figuring out how this aftertouch thing on albino. im trying to make something similar to the piano in the bloody beetroots remix of shwaze - get u home and someone told me to use aftertouch but didnt go into anymore detail. everything i assign to aftertouch does nothing. they might have been sayin to use it for another question i had and not the piano but i cant get it to work anyways.


I don't know what particular sound or synth you're going for but just some help on your Albino synth.
The Aftertouch value of each separate note is used as modulation source. Your MIDI keyboard must
support this. If this doesn't work it is likely that your keyboard has no polyphonic aftertouch (unipolar).

Aftertouch in mono is the same, however only one aftertouch value is used for the whole keyboard.
All notes being played on a specific channel share the same monophonic aftertouch value. This is
how most keyboards work (unipolar).

If you're asking about what value to assign to your aftertouch, I'll look into this track and listen to what you're going for.

Edit: Best I could do with a spare 10 min This is a .FXP patch I just made:
http://www.megaupload.com/?d=TF0B45U8 Perhaps this can start you off but remove
Delay and try better delay plugins. Also, you can try to make two layers with one having
a bit less Delay and Bitcrush a bit.
« Last Edit: Oct 4th, 2009, 08:32am by Smiley Perv » Logged

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Re: Making Electronic Music
« Reply #1748 on: Oct 4th, 2009, 11:29am »

Cheers!
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Re: Making Electronic Music
« Reply #1749 on: Oct 4th, 2009, 3:17pm »

smiley perv, i eventually read the manual and saw that i needed a midi keyboard which i dont have. i just dont understand y it doesnt work wen u draw in the notes because if u were recording the midi from ur keyboard it would b doing the same thing
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Re: Making Electronic Music
« Reply #1750 on: Oct 4th, 2009, 3:40pm »

on Nov 5th, 2008, 5:50pm, Kyran wrote:
Basically, Low frequencies sound like shit when you spread them out in stereo or when you put on effects like chorus. They just turn to mush and lack definition. But spread out basslines sound epic, so you filter out the low frequencies and keep them dead center and relatively unprocessed, and then duplicate the track, this time you cut the lows and then spread everything else out and add extra effects. This way the lower frequencies in the bass line stay centered and clear, and the higher frequencies are spread out to make the bass fatter.


Will someone please explain this technique to me more thorough, I dont think i understand it?

What does spreading mean? Is it just taking a mono track and making it stereo?

And should i use low-pass filter or high-cut filter?

How i understand it is that you take a track and duplicate it into three, and then use low-pass filter on one of the tracks and leave that track unprocessed and in mono. The other to tracks you use high-pass filter, chorus and process into stereo. Is that right?

But why do you need to identical track? (the two with the high-pass filter)
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Re: Making Electronic Music
« Reply #1751 on: Oct 4th, 2009, 4:31pm »

on Oct 4th, 2009, 3:17pm, slyman wrote:
smiley perv, i eventually read the manual and saw that i needed a midi keyboard which i dont have. i just dont understand y it doesnt work wen u draw in the notes because if u were recording the midi from ur keyboard it would b doing the same thing

I don't doubt that you would be able to control or modulate your Aftertouch without
a MIDI keyboard regardless of whatever DAW you are using. However, you have to understand
what Aftertouch is and how it works. Basically, just as some MIDI keyboards have a
Modulation wheel to control Modulation, some MIDI keyboards support Polyphonic Aftertouch
or Pressure sensitiviy.

Theres two ways Aftertouch works. One is with "Channel Pressure" in which your MIDI
keyboard will sense all the pressure from multiple keys but will usually generate the
data from the key that has the most pressure.

The other way is with "Polyphonic Pressure". This is when Aftertouch data is genertated
for individual keys. So depending on what value exactly you are trying to modulate, you'll get a stronger or lighter effect out of each note depending on how soft or hard you hold
the key.

So if you're just drawing in notes, you won't hear any differene in what your Aftertoucn
is Modulating. You'll have to Automate or edit in the Velocity data in as well.
« Last Edit: Oct 4th, 2009, 4:50pm by Smiley Perv » Logged

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Re: Making Electronic Music
« Reply #1752 on: Oct 4th, 2009, 4:49pm »

on Oct 4th, 2009, 3:40pm, pox wrote:
Will someone please explain this technique to me more thorough, I dont think i understand it?

What does spreading mean? Is it just taking a mono track and making it stereo?

And should i use low-pass filter or high-cut filter?

How i understand it is that you take a track and duplicate it into three, and then use low-pass filter on one of the tracks and leave that track unprocessed and in mono. The other to tracks you use high-pass filter, chorus and process into stereo. Is that right?

But why do you need to identical track? (the two with the high-pass filter)


When he says spreading I think he's referring to Panning and deciding where to place your instruments or various channels in the feild. I found this article to be pretty good at explaining panning:

http://searchwarp.com/swa422659.htm
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Re: Making Electronic Music
« Reply #1753 on: Oct 6th, 2009, 9:31pm »

Dont even TOUCH mastering until you have made the mix the best you can, you can always tell if youve made a poor mix when mastering changes the song that dramatically.

You wanna add EQ to the master, dont.

Go to places you think need EQ and add it there.

You want to compress something, do it on where you think it needs to, not the master.

Once you are happy with the sound you wanted, go for it.
Seriously the whole process takes about 7 hours if you do it properly, and you wont be unhappy.

When i master for other people i always ask them to give me seperate recordings of everything and jazz up what needs to be done, then master it.

Use your ears, you'll always know if you need more Bass or not, and compare your tracks to big name ones, or one that you got inspiration from.

There are are 4 songs that i think are mastered decently, or hell, just because i know what they sound like through every speaker system that i use, and normally if i can get my lows to sound like that, and highs to sound like that then i know im in for a pretty good run.

There are some awesome guides on the net and magazines on how to master, thats how i learnt, and obviously going with my gut!

(ps those songs are:

Megadeth - Holy Wars
Felix Cartal - Drone
Scissor Sisters - Shes my Man (goose remix)
Pantera - Walk)

Thick chunky songs with lots of heavy guitars / synths and bass kicks.
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Re: Making Electronic Music
« Reply #1754 on: Oct 7th, 2009, 1:29pm »

hypothetically how would one go about creating a song that would win him an mpd32?
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