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The Mother of All PRODUCTION TRICKS Thread
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Raoul V
IsraTrance Junior Member
Started Topics :
26
Posts :
583
Posted : May 26, 2006 10:34
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On 2006-05-25 23:13, PoM wrote:
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PoM - why would you add the 40ms track delay ?
And you convert your entire track to mono to check the mix ? Don't really see the point in this. Care to explain
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with the small delay sometimes it s sounds better and maybe it s for problem with phase , i m not sure,this trick is often used with guitars.
i find it easyer to do the balance of all sounds in mono, then in stereo i adjust the volume just a bit,it works better for me in this way.
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using a short delay time and panning to one side and haveing the delay on the other at less than 40or30 will make the sound stretch between the two speaker i think.. |
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illusions
Erebus
Started Topics :
40
Posts :
626
Posted : May 27, 2006 08:31
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yep, 'fattening'. but to do that for the whole track ? sounds kinda messy to me. but for individual instruments, definitely.
gonna try out your mono mixing method though  thanks |
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Kitnam
Mantik
Started Topics :
110
Posts :
1151
Posted : May 27, 2006 21:18
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On 2006-05-26 04:24, the daleks wrote:
can someone explain the use of ghost notes, or hell dead notes.
i understand the low velocity part, but how do you use . i.e. in between full velocity notes, where is the timing?
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"hell dead notes" was a funny writing mistake only. its simply called ghost- or deadnotes. this are notes of a drum played more quiet or more damped as the usual notes.
they surround the loud "hits" of a drum making the groove more filled, dynamic and therefore living.
the timing is the taste of the producer, if the girls shake asses, you got it. i always focus on getting a natural feeling, imagine how a real drummer would hit the drum you are editing.
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EYB
Noized
Started Topics :
111
Posts :
2849
Posted : May 28, 2006 18:14
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Take care of ur reverb, too much or a wrong setup reverb will destroy the mix.
U can use short delays for creating depth too, it can be good for creating room in the mix, if u use it instead of reverb for some elements.
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pants!
Started Topics :
1
Posts :
79
Posted : May 29, 2006 07:31
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On 2006-05-26 04:33, the daleks wrote:
also I heard it is good to eq after the compressor
what do you guys think?
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i always thought eq then compress, so the compressor is only working on the bits you want. |
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orange
Fat Data
Started Topics :
154
Posts :
3918
Posted : May 29, 2006 08:29
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On 2006-05-29 07:31, pants! wrote:
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On 2006-05-26 04:33, the daleks wrote:
also I heard it is good to eq after the compressor
what do you guys think?
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i always thought eq then compress, so the compressor is only working on the bits you want.
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its what works for u!
orange
http://www.landmark-recordings.com/
http://soundcloud.com/kymamusic |
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EYB
Noized
Started Topics :
111
Posts :
2849
Posted : May 29, 2006 13:48
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It always depends on the source, there is no general rule for the eq/comp chain.
Mostly my chain is:
eq
comp
eq
First eq to take the unwanted, 'space filling' sounds, like the subs then compression and finally shaping the sound to perfectness with the second eq 
Signature |
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marSpider
Started Topics :
8
Posts :
46
Posted : May 31, 2006 16:21
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delay ... 30 to 60 ms delay time in this range is refered as doubling because it makes a sound seem like it been played twice... often used in vocals and instruments, should be carefull to use it if a sound is pure and has clarity... 1 to 30 ms this one is called fatening because our ears and brain are not quick enough to hear two sounds (now a little trick, play a bit with feedback in this range and you have a tube effect ------ between 9ms and 1ms you get another flanger now if you crank the width or depth and close it you get a chorus ).... 0 to 1ms phaser or PHASE CANCELATION... ABORT... ABORT...SYSTEM OVERLOAD!!?!!?!?.....
does the signature for me ---www.acidplanet.com/hypnosense |
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icodon
IsraTrance Junior Member
Started Topics :
12
Posts :
120
Posted : May 31, 2006 19:14
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On 2006-05-24 16:29, l337 wrote:
Kick/Bass:
ONce you have your bass and kick track, bounce them down as once audio wave and give it its own track.
then mute the original bass and kick, compress the mixed bass/kick audio track with some medium compression, then bring the fader down to "zero" (so no sound)
unmute the original kick and bass tracks, then slowly raise the mixed kick/bass track, until you can just hear it coming into the mix....
this should if done right , give your overall kick/bass a nice pumpy feeling!
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I did it but I could not taste the "pumpy feeling" you have mentioned. Does it works for an especific stile or with any kind of bassline?
...GrooveŽnŽdooR... |
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ess765
IsraTrance Junior Member
Started Topics :
25
Posts :
169
Posted : May 31, 2006 21:45
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I completely understand and agree with PoM when he says that you can enhance and fatter the stereo presence of a lead or pad synths mainly ( although percussion and some others might work too)
I ll give the example on reason, cause it s more basic and then you can apply it to your favorite sequencer, cause what s important here is the result to be achieved, not the software itself.
Let s say you have a subtractor (wich is a mono synth) lead synth connected to the mixer bus 1.
If you take a look on Reason s rear connection(by pressing the tab key), you ll notice that subtractor is connected to the mixer only as a mono signal, what means that only one cable will be linking the subtractor to the mixer (the mixer bus has a left and right input, while the synth has only 1 mono output.
You may listen to the synth played, and you ll notice that the deepness and the richness of that synth is quite poor missin stereo presence and a more wide and fat sound.
The solution for this problem is simple, and you can use this example as a simple theory that can be applied to other sequencer:
Between the subtractor and the mixer, we create an Spider audio merger and splitter device. Then we send the subtractor output signal to the splitter input. It will produce 4 possible outputs(we ll need only 2). The first output will be sent dry as it comes from the subtractor to the first merger input (obvioulsy we have the same numbers of inputs as merger outputs: 4).
Now, we introduce a digital delay (ddl-1) between the merger output 1 and merger input 1. Just pan it all right but leave the delay effect disabled (we only need the panning here for the dry substractor signal).
Now we connect the second splitter output into the second merger input. Again we insert a digital delay device(ddl-1) between this second splitter and merger connection. This time we pan the signal all 100% left, and use a 3 step delay 100% wet.
Here is the only point I d disagree with PoM: 50 ms delay it a too long delay for this aplication. You should use somethnig between 8 and 12 ms, cause yu don t want a delay feeling, but a very subtle stereo presence (I mean subtle in way not to look like a delay, but as a stereo enhancement you ll notice a big difference.
Now you connect each of the merger outputs into each of the mixer inputs on channel 1.
Now you ll hear a really improved synth sound, much more fat and rich.
Obs: This is really helpfull even for the stereo synths in Reason, such as malstrom for instance. The only difference here is that you won t need the Spider audio splitter and merger device. You can send the dry signal as a left input directly to the left input on your mixer channel 1, and then insert a digital delay device(100% wet and panned)between the right malstrom output and the right mixer channel 1 input.
The important here is not to use it with Reason, wich I haven t used much anymore. But this analogy can help to achieve this simple effect on your favorite sequencer, and will improve your synth sound quality for sure.
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D-Alien
Oxidelic
Started Topics :
51
Posts :
619
Posted : Jun 30, 2006 23:13
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@1337
why u should render all your kikbass line.. its too much for something much easier. U can use a good Bus play so that u can achieve the sam effect without any bouncing... but in real time. just send your bass kik to buses, make the send effect to be post so that the sended signal is with the same fx,eq,comp chain, mute the the original sources and start playnig with the buses. u can Eq them, u can compress them, u can filter them, and they will act just like Clones, Replicas of your original bass kik. U can lower the volume, reequalize them and try to bring them back on the stage now woth the original source togather...
but i think all this is unnesecary ejejejej cuz if u have a good mixed track later u need just a decent multiband compressor or a good limter so that your track can get good punch...
Other use of buses as Invisible Objects, like ghost notes u can use for some side-chain reasons. Imagine u have a bass sidechained with a kik, the kik controles the compression of the bass and this is fine until u notice that the tail of the kik is affecting too much. u put the release of the compressor on its minimum but the problem persists.. what to do? make a replica of your kik using send slot to a free bus, mute this bus, put a EQ there and cut all below 200-300hz,and boost about 400-500hz its relative, depends much on the bass kik u use, but anyway. The idea is to cut all the subbas freqs as they use longer waves and so that thay make this tails. the tail of the kik is very usefull sometimes but just if it is correctly eqed, sidechained with the bass too. so, when u're ready with your bus (replica of the kik) u have to go to the bass's compressor and asign there the bus as we've just created as a sidechain bus. Now its not the Whole Kick that is compressing the bass but just the Punch parts of it! and they are much shorter than the ones below 300Hz so u're opening space and making the comrepssion release time faster. making this bus and muting it (but with the send at 0db and the bus too) u're creating an invisible, ghost object that is just the exact part of the kik that is compressing the bass. later u can ajust how the the tail of the kik interacts with the lower frequencies of the bas via some small tetris-like EQings between them.
hope u got the idea
Sound:
www.myspace.com/oxidelic
www.myspace.com/setanicmusic
Image:
www.antumbra-studio.com |
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Cannabis
IsraTrance Junior Member
Started Topics :
26
Posts :
246
Posted : Jul 1, 2006 01:16
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Quote:
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On 2006-06-30 23:13, D-Alien wrote:
@1337
why u should render all your kikbass line.. its too much for something much easier. U can use a good Bus play so that u can achieve the sam effect without any bouncing... but in real time. just send your bass kik to buses, make the send effect to be post so that the sended signal is with the same fx,eq,comp chain, mute the the original sources and start playnig with the buses. u can Eq them, u can compress them, u can filter them, and they will act just like Clones, Replicas of your original bass kik. U can lower the volume, reequalize them and try to bring them back on the stage now woth the original source togather...
but i think all this is unnesecary ejejejej cuz if u have a good mixed track later u need just a decent multiband compressor or a good limter so that your track can get good punch...
Other use of buses as Invisible Objects, like ghost notes u can use for some side-chain reasons. Imagine u have a bass sidechained with a kik, the kik controles the compression of the bass and this is fine until u notice that the tail of the kik is affecting too much. u put the release of the compressor on its minimum but the problem persists.. what to do? make a replica of your kik using send slot to a free bus, mute this bus, put a EQ there and cut all below 200-300hz,and boost about 400-500hz its relative, depends much on the bass kik u use, but anyway. The idea is to cut all the subbas freqs as they use longer waves and so that thay make this tails. the tail of the kik is very usefull sometimes but just if it is correctly eqed, sidechained with the bass too. so, when u're ready with your bus (replica of the kik) u have to go to the bass's compressor and asign there the bus as we've just created as a sidechain bus. Now its not the Whole Kick that is compressing the bass but just the Punch parts of it! and they are much shorter than the ones below 300Hz so u're opening space and making the comrepssion release time faster. making this bus and muting it (but with the send at 0db and the bus too) u're creating an invisible, ghost object that is just the exact part of the kik that is compressing the bass. later u can ajust how the the tail of the kik interacts with the lower frequencies of the bas via some small tetris-like EQings between them.
hope u got the idea
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good stuff:)
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l337
IsraTrance Full Member
Started Topics :
55
Posts :
817
Posted : Jul 2, 2006 19:23
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thanks for the tip
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l337
IsraTrance Full Member
Started Topics :
55
Posts :
817
Posted : Jul 2, 2006 19:26
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Quote:
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On 2006-06-30 23:13, D-Alien wrote:
@1337
why u should render all your kikbass line.. its too much for something much easier. U can use a good Bus play so that u can achieve the sam effect without any bouncing... but in real time. just send your bass kik to buses, make the send effect to be post so that the sended signal is with the same fx,eq,comp chain, mute the the original sources and start playnig with the buses. u can Eq them, u can compress them, u can filter them, and they will act just like Clones, Replicas of your original bass kik. U can lower the volume, reequalize them and try to bring them back on the stage now woth the original source togather...
but i think all this is unnesecary ejejejej cuz if u have a good mixed track later u need just a decent multiband compressor or a good limter so that your track can get good punch...
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one question tho....
if you send the kick/bas tracks to a bus...
and put FX on that bus, for the New York trick you want the original kick/bass tracks playing with the compressed tracks under them so to speak...
wil you still get the original tracks...original
i.e
send the originals to one bus, and send to another bus, the one bus playing the original, and the other playing the original modified?
is that what you are saying?
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Alex - Aural Invasion
Aural Invasion
Started Topics :
37
Posts :
514
Posted : Jul 2, 2006 20:04
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Very nice thread!
Is anybody familiar with 'gainpumping' using a optocompressor on drumbus's? or maybe someone got a opto comp and can give a wet/dry gainpump demo mp3 ? I read it can really make your drums come alive and sound even harder
myspace.com/auralinvasion
reverbnation.com/auralinvasion
www.aural-invasion.com |
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