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-- Effects, transitions, whooshes, swooshes
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quote:

Originally posted by johncannons1 vengeance

no thanks

quote:

Originally posted by Kysora Stutter the volume of the entire track, that's one of my favorite effects to use. http://www.youtube.com/watch?v=HNGuYC7OCmw 3:58 is one of the best transitions I've ever heard using stutter effects. Aksesson - Perfect Blue has a pretty good one too near the beginning. Silence is pretty effective, even if you just let the track fade into nothing for a measure or two with anything that's delayed/reverbed playing until it's quiet, and then bringing everything back in. I also liked throwing in 2 measure breaks, where you build up to the end of an 8/16 measure phrase and instead of leading into a new phrase, interrupt it with 2 measures of whatever transitions you want before leading back into it. It gives a lot more impact to otherwise boring reverse cymbals or stutters or whatever, I think, and it creates a lot of tension. Dunno if any of this stuff is standard or would fit with the music you make, but they're things that work well enough for me.

i dont see what's so impressive about that at 3:58, it just sounds like DBGlitch

Flanger/Phaser?

Some other things to do:

This one can work better if you actually finish the track first, or a decent part of it (so you have more to work with for the transitions).

But render the entire track, throw it into Slicex, or anything similar that will chop the track by its peaks. Preferably around a 16th note sensitivity.
At this point I lock the track so it loops for 1-2 bars before the transition (however long you plan on making it) then I'll sit there and punch my keyboard triggering random slices throughout the entire track. (obviously theres other ways to do it besides rendering the whole track, you can take the first bar of the intro, break, drop, outro, etc and combine them, then slice to save RAM)
This will obviously give the track a more edited feel rather then the cheesy vengeance swooshes. I like that you can take slices from the bass, lead, drums, essentially whatever you want from the full track and combine it to do a fill for earlier parts (helps build anticipation triggering 16th notes of elements that haven't even dropped into the mix yet. You can trigger a roll (never forget rolls can be accomplished in hundreds of different ways) or leave some silence and give it a more breakbeat feel. Just focus on being modest and effective when you do it, rather then bold and chaotic.

If you wanna take it a step further, you can create a fill for the transition using the slices, THEN render the fill and process that through w/e fx you choose.
Automate a reverb over the fill, pitch it, filter, crush, do w/e you want. Just be creative, and you WILL find something you like. I personally love using fills in my tracks with elements from the track, (rather then swooshes) because it just gives the track a more uniform feel. But I still will use a swoosh just to get to end of a track, and then I'll go back and redo the transitions. Otherwise theres no point having insane transitions in a track I'm not even planning on finishing.

Honestly, I think its down to the volume of the fx your using(up/down lifter). You can use them a lot to spice up the track, just has to be sorta in the background, not to loud or quiet, just perfect. It adds a lot of tension if your using right samples. I just use the VEC3 FX trance buildups or the VEE2 up/down lifters. Don't really like its impact fx tho.

quote:

Originally posted by tehlord LOL That's pretty much exactly what i've just done. Without the post drop tail though.

Heh, one of those "HEY! i think i figured something out!" moments where pritty much everyone knows about it already?




Happens to me to often. But then again, im kind of slow, in a good and cute kind of way.

Huge delays, on whatever.

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Did a small test with delay and hpfilter.

Time-Stretching!
Great for those HL2 sounds.

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Im suprised how far upp my head is in my ass when im trying to figure out new things...

Test with using hp reverb instead of delay.

quote:

Originally posted by Crash [[ LINK REMOVED ]] Im suprised how far upp my head is in my ass when im trying to figure out new things... Test with using hp reverb instead of delay.

Both FFFAAAARR too subtle for my liking


Both work well though

I was reading tweakheadz and he mentioned a method about putting a delay before a limited and running a vocal through the delay at an intensity that causes it to self oscillate (when the feedback is so high it starts to loop outta control and get more chaotic) but the limiter locks it down so it just keeps going and going like its gonna explode.
He mentioned doing this with vocals, but I'd imagine theres a lot of things you can self oscillate through a delay to get all sorts of different sounds.

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