Beat Agency
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Posted : Dec 3, 2011 21:26
I always had the opinion that those who think its easy to make commercial music have got no clue what it takes and probably aren't that skilled or experienced musicians/producers in the 1st place www.beatagency.dk
Trevon
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Posted : Dec 3, 2011 21:32
it's not easy to get a number one hit.
but any one can make a decent house-y track.. even with loops.. and medium production skills and synthesis skills..
notice that many of the commercial stuff have big promo money behind.. $$ otherwise those tracks would get nowhere imo.
daark
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Posted : Dec 5, 2011 20:53
Record a stupid singer add melodyne and retrigger from time to time just to see him repeat that stupid thing live( lala la layv) add supersaw lead, get a sample of a bassline and add it in, repeat the same line on other sound, bring some claps and thin snares and hats, add big reverb bang at beginning and end, some eq, compress the hell out of it, then add boobs, get a black guy that aprooves everything thats going on, a chineese dancer, add more boobs, diamonds cars money etc. then add more boobs , profit. All the rest that might be present is just not really needed.
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Posted : Dec 6, 2011 01:24
Quote:
On 2011-11-29 18:46, Xsze wrote:
I tried several times to make this kind of music,
I said to myself not a big deal,simple beat,cheesy
melody and synth sound and groovy all the way.
And it's easy,but my problem is that is too easy
and then I start to tweak the synth,make crazy automations,crazy sounds and then that shit isn't
cheap enought.....that's momment when I realise I
can't make this kind of music......
hahahaha! exactly... this actually happens for almost any 4x4 style i try to recreate... as soon as i get it 'there,' i get bored and want to make it more interesting, and all of a sudden it has a hardtechno beat, with psychadelic atmosphere creeping in everywhere.. it can be annoying actually.. but
this is what makes us unique artists. if you want to sacrifice the insights gained by your natural inclinations, go ahead... perhaps your inclination is just to try to make money. seems to work for some. not my thing personally.
orgytime
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Posted : Dec 6, 2011 09:17
for me money never played a role in music...
getting some listeners seems more interesting to me... and guess what. i like certain pop-tracks, even if they are simple stupid...
now im singing with my gayyy voiccee, to let you know that im sensitive...:
davinski
IsraTrance Junior Member
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Posted : Dec 6, 2011 18:11
love that song, where can i buy it? hehehe
He nails it...the text and music....
access virus ti,waldorf blofeld,korg microkorg xl, roland sh-201, clavia nord wave, korg kaoss pad 3, DSI Tempest, hohner something...
parapsyched
Scratch 22
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Posted : Dec 6, 2011 22:08
"you can`t polish a turd..." is all i can say about the original question. as for production skills this mainstream sh#t is very well produced. it`s a product made & tailored for the masses. but it`s still a turd (musically speaking.)
if u dig deep enough u just might reach the sky...
Beat Agency
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Posted : Dec 7, 2011 02:08
Quote:
On 2011-12-03 21:32, Trevon wrote:
it's not easy to get a number one hit.
but any one can make a decent house-y track.. even with loops.. and medium production skills and synthesis skills..
notice that many of the commercial stuff have big promo money behind.. $$ otherwise those tracks would get nowhere imo.
Please go and make a "decent" house tune and come back and let me (and others) be the judge www.beatagency.dk
Trevon
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Posted : Dec 7, 2011 03:10
ok. I will
btw this remix won a grammy...............
Quote:
On 2011-12-05 21:07, daark wrote:
orgytime
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Posted : Dec 7, 2011 11:04
i found a great related read (short quote)
"Building Up The Rest Of The Kit
The foundation of the track was now laid, upon which I could build the remainder of the drums. I’d decided that I wanted to make them brighter and more urgent-sounding than Chris had chosen to do, as well as steering clear of the reverb effects that had clouded the original mix. Tonally, most of the brightening I wanted could be achieved by bussing all the drums to a single channel and then boosting with the URS Console Strip Pro plug-in’s Pultec EQ emulation at the top end: 6dB shelving boost at 6kHz, with a Q factor of 1.01, to be precise! Channel-specific EQ boosts could then be kept fairly small for the six remaining drum samples (two snares and four hi-hats). Transient Monster supplied a touch more attack for one of the snares, while SSL’s freeware Listen Mic Compressor extended the sustain for an open hi-hat.
Now to try to give a bit more attitude and movement by getting the dynamics of the instruments to interact. The most common way to do this is to apply a common compressor to them, such that the louder hits cause obvious gain-pumping of the drum mix as a whole, an effect which also helps give an impression of loudness by broadly emulating how the ear reacts in response to loud signals. The pitfall of this approach to creating gain pumping is that you can easily compromise the sound of your kick and snare beats in the process, and given that this kick was so important, I figured I’d try an alternative parallel-compression method as a first port of call.
Setting up a compressor as a send effect, and mixing the compressed signal back into the mix, I was able to apply Stillwell Audio’s ridiculously fast The Rocket compressor in its ‘All Buttons’ mode to most of the drum parts, thereby creating an exaggerated pumping effect without interfering with main kick and snare hits (which were bypassing the compression). I could also sneak in some valve saturation from Wurr Audio’s Tube Booster after the compressor, to thicken up the sustain of the snare and cymbal sounds, but again without any transients fracturing unduly in the process.
The parallel processing added aggression and ‘bounce’ to the whole drum sound, and had the beneficial side-effect of pulling up the internal ambience in the samples, giving more of a live feel without my having to resort to any reverb. As I sometimes do, I also added in a bit of background vinyl noise to the drums, which emphasised the room sound further, as: ..."
i have a question for send channals. when mixin those and there is no 100% wet option like in compressors or distortion, i also add original signal, right? so i have to lower the sources volume... how do you do that? and can this "layering" kill the sound (phase issues etc)?
TimeTraveller
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Posted : Dec 7, 2011 11:42
Quote:
On 2011-12-07 02:08, Beat Agency wrote:
Quote:
On 2011-12-03 21:32, Trevon wrote:
it's not easy to get a number one hit.
but any one can make a decent house-y track.. even with loops.. and medium production skills and synthesis skills..
notice that many of the commercial stuff have big promo money behind.. $$ otherwise those tracks would get nowhere imo.
Please go and make a "decent" house tune and come back and let me (and others) be the judge
no offence at anybody. I just also would find it pretty interesting, as you mentioned often that you find it funny and easy shit. Thumps up for your decent house mix here for us to check.
For the trhead question - Still - compress over compress. Maybe with a few compressors in one channel to your liking , one for highest peaks , some more with little settings to make it a bad loud mofo etc.Only this, after hearing your copy, can make it really dramiticaly similiar. IMO. Nice read on soundonsound.
https://soundcloud.com/shivagarden
orgytime
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Posted : Dec 7, 2011 11:50
quote:
"Ninja Rhythm Processing
Such is the importance of kick and bass to dance music that many unusual and specialised mixing techniques have now been developed by producers wanting to out-gun each other in this department. If you’re new to these kinds of ‘ninja’ side-chaining and bus-processing techniques, it can be disheartening trying to get your mixes to compete with those from the big names, so I hope that I’ve been able to shed some light on how they can work for you in practice. At the end of the day, though, no sonic perfection is going to make up for a lack of interest in the arrangement, so it can often pay dividends to revisit and rework this aspect of the production throughout the mixing stage."
THIS
its all about (multiband)sidechaining techniques... triggering each other or just the reverbs etc to get a louder clearer mix
