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The Mother of All PRODUCTION TRICKS Thread
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br0d
IsraTrance Junior Member
Started Topics :
12
Posts :
355
Posted : Jul 11, 2006 14:28
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On 2006-07-06 20:44, snowflake wrote:
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On 2006-07-04 13:44, br0d wrote:
...it costs twice as much to amp in stereo.
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No it doesn't, but it doesn't change the fact the most club indeed are in mono.
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Ok, electrical stuff is not my strong suit here, but when you bridge two mono inputs, do you not double the output voltage (while halving the impedance) which results in a perceived doubling of volume? If you're getting twice the volume, you need half as many amps, which means half the cost. And of course there is the possibility your amps could catch on fire if not rated for the new impedance, but hey, roll the bones.  |
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ethios4
Started Topics :
4
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22
Posted : Jul 12, 2006 08:13
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#1 Production Trick :
EQ the bass out of everything that's not meant to be bass.
Of course this is not an absolute rule, but "mud" accumulates at the bottom of a mix. Even high-hats and upper-frequency synths have some elements of sub-bass usually, and it helps clean things up to EQ that stuff out. Also, be sure the mix doesn't end up sounding "thin" from too much EQ'ing...
"Always use linear-phase EQ's whenever possible" |
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ethios4
Started Topics :
4
Posts :
22
Posted : Jul 12, 2006 08:17
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DIY Exciter :
Create a Send channel. Put a high-pass on it set to ~4kHz with a gentle slope. Follow it with a distortion/saturator plugin.
Now you can use the send channel on each track to control the amount of "exciter" for each track.
When used correctly, this helps create the bright, crisp sound of modern production. When used incorrectly, this creates an annoying, ear-ache noise in the high-frequency from too much distortion.
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shamantrixx
Started Topics :
7
Posts :
549
Posted : Jul 12, 2006 13:30
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On 2006-07-11 14:28, br0d wrote:
Ok, electrical stuff is not my strong suit here, but when you bridge two mono inputs, do you not double the output voltage (while halving the impedance) which results in a perceived doubling of volume? If you're getting twice the volume, you need half as many amps, which means half the cost. And of course there is the possibility your amps could catch on fire if not rated for the new impedance, but hey, roll the bones.
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Yes but you can't connect 2 speakers on bridged amplifier... can you? When in bridge mode amplifier simply doubles the volume powering one speaker with 2 chanels. So bridge mode can save you one speaker maybe but that also is not true... this one speake has to be twice as powerfull to be able to stand the bi-amplified powering from bridged amplifier.
Club is not a car
 "It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception"
Albert Einstein, speaking about his theory of relativity |
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the daleks
The Daleks
Started Topics :
34
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584
Posted : Aug 9, 2006 09:01
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djzed
Started Topics :
3
Posts :
48
Posted : Aug 9, 2006 17:14
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Need more bassy punch on your kick?
Here's a cool little trick:
Layer your kick with a low frequency sine wav, i usually try to use the tonic note. By low I mean around 40-70hz. Then make sure to envelope the sine so it decays out between successive beats.
Be careful with the level of this extra boom though, it may sound very subtle but can have a pretty big effect on your mix so dont crank it up too high.
Cheers my brothers. |
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((( MOKKSHH )))
IsraTrance Junior Member
Started Topics :
37
Posts :
770
Posted : Aug 9, 2006 21:14
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On 2006-05-24 21:07, e-motion wrote:
fregle don't forget... there are no rules. a compressor with a wetdry knob (or as a send effect, which does more or less the same) exists for a thing called stealth compression. this is useful for example (here's a production trick) to give punch to percursion sounds without compressing it too much. just overcompress the sound and lower the wet knob until you like it (or decrease the send channel volume fader).
as for eq i haven't found a use for a send effect eq (or a plugin with drywet knob for that matter)... it sounds too much unnaturl
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indeed mate
IT T@KES TIME N DEEPER SELF-RE@L!Z@T!ON TO FEEL IT ..... N WHN IT H@PPENS , U KNW TH@T U H@V FIN@LLY ST@RTED!!!!!!!!!!
LiFe Is A TriP.....It HaS BeGuN
http://www.mokksh.page.tl |
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Squeezer
Started Topics :
5
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23
Posted : Aug 11, 2006 20:44
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man to do that u only have to use EQualizing on the bass.like pull all ure mediuns up and then lowerthe volume of the track(this should puch the crunchy freqs rigth up!!)then with a multibaNDCOMPRESSOR LIKE the multidynamics of wavearts punchy it up baby!!!!))cheers... |
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Elad
Tsabeat/Sattel Battle
Started Topics :
158
Posts :
5306
Posted : Aug 13, 2006 05:22
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the daleks
The Daleks
Started Topics :
34
Posts :
584
Posted : Aug 14, 2006 09:19
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hey tsabeat, thats a cool idea, I'll try it out.
another one for hi-hats,
pan hard left, send out to bus, add a slight delay (for me its by ear), and then pan the bus hard right
nice chachachacha...
Gamma Riders EP out now on iTunes and Amazon.com!
The Daleks : www.myspace.com/thedaleksupreme
A-Boys : www.myspace.com/akibaboys |
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Trip-
IsraTrance Team
Started Topics :
101
Posts :
3239
Posted : Aug 15, 2006 12:39
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D-Alien,
your suggestion of shortening the compressor event on the bass raises a question:
While the tail of the kick are low frequencies slope-down - which might as well collide with louder lower freqs of the bass.
Why would I want to keep the tail out of the side chain feed of the compressor?
Now that's in theory, because I haven't tried your suggestion in action. But I have doubts ;/
Please clarify this one for me.
Crackling universes dive into their own neverending crackle...
AgalactiA |
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br0d
IsraTrance Junior Member
Started Topics :
12
Posts :
355
Posted : Sep 4, 2006 03:00
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On 2006-06-30 23:13, D-Alien wrote:
@1337
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. |
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You can also achieve this by creating two instead of one group for sidechains, using a pre-fader send to send the kick track as a key to grp 1, inserting a bandpass eq on this group, pulling its fader all the way down, and then pre-fader sending grp 1 to grp 2, which is where the sidechaining compressor lives. |
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br0d
IsraTrance Junior Member
Started Topics :
12
Posts :
355
Posted : Sep 4, 2006 03:07
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On 2006-08-15 12:39, Trip- wrote:
While the tail of the kick are low frequencies slope-down - which might as well collide with louder lower freqs of the bass.
Why would I want to keep the tail out of the side chain feed of the compressor? |
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I think it's not so much wanting the sub frequencies not to trigger the compressor, so much as giving you the liberty to be lazy about the kick design if you so choose. The way I see it, you can either engineer the hell out of the kick by using the milliseconds formula (in full on or anything with fast bass) to make sure that the kick tail doesn't delay the compressor release too much, or you can slack off by using the kick keys he mentioned. One benefit is that you can use MIDI kicks rather than audio kicks with this method.
Of course a lot of people bother with neither, but if engineering tricks amuse you and you want that extra ~0.5db out of the mix...
Basically what you are trying to do is keep the kick from compromising the first b of kbbb.
You know what I am trying to track down now, is a sidechaining compressor that not only does frequency dependent keying (many do, like compadre) but one which also does multiband on output, so you don't have to rely so much on attack and release to keep the kick from borking up the HF content of the bassline on beat 1.
I mean really the ultimate is a bassline with no muted 16ths, no xbbb but rather a bbbb where the kick just steps in and asserts itself only in the band where it really matters, 80Hz-250Hz or so, for only as long as it needs to. Because the kick is a nice accent but the bassline is the king, and searching for perfect kicks to sit on top of crazy basslines is a bit tiring. I think a lot of people just EQ out the really lows for the kick but it'd be fun to mess with this more precise and dynamic tool.
Aside from all the analysis, I think the $64,000 question is, what does Deedrah do? |
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Ajja
Yab Yum
Started Topics :
5
Posts :
86
Posted : Sep 4, 2006 23:23
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Reverse reverbs & delays.
1. reverse the audio file that is to be delayed.
2. insert a delay or reverb on the channel.
3. turn the dry/wet mix to 100%.
4. bounce (export) this to disk, including to tail of the delay/reverb.
5. import the bounced audio file to a new channel.
6. reverse the new audio file.
7. move the new audio file to the left to compensate for the length of the tail.
7. reverse the original audio file back to its original direction.
8. remove the delay/reverb from the original channel.
now you have the original audio file on one channel & the reverse reverb/delay on the new channel.
love & light
New Ajja album coming soon on Peak Records!
www.ajja.leufamilyiron.com / www.peakrec.com |
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djzed
Started Topics :
3
Posts :
48
Posted : Sep 5, 2006 05:30
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On 2006-09-04 03:07, br0d wrote:
You know what I am trying to track down now, is a sidechaining compressor that not only does frequency dependent keying (many do, like compadre) but one which also does multiband on output, so you don't have to rely so much on attack and release to keep the kick from borking up the HF content of the bassline on beat 1.
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Same! Let me know if you have any luck finding such a thing. |
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harsh reduction might make it fat as hell 