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-- The Perfect Kick - Here's How
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Thats true I'm working on it though instead of aimlessly working on another track today I've been trying to read the entire Dance Music Manual instead of just going to specific parts for reference when I need (and I don't even do that enough really). I'm learning some pretty need stuff too and then I'm gonna get the book Ralphie recommended. I'm also realizing although I had 4 years of piano lessons when I was 9-13 I really don't know shit about theory and think about time to address that issue too.
I'm getting sick of finding melodies by accident and although I have tools like improvisator to help I wanna learn how to sit down and play a melody w/out backtracking a thousand times to find keys that work. I can read and play music but I don't know shit about theory and thats jut a fact. I'm also thinking my 3 year stagnancy in production is more a sign that I lack technical know how rather than a sign to start finishing tracks again. I know I can finish a track but I honestly don't want to because I don't know how to make the sounds that appeal to me the most. And since I learned how to program from presets the majority of sounds I know how to make now sound just like presets. I tried changing my approach once before but I always wind up closing the books and opening FL. I may honestly just uninstall the shit for a few months so it forces me to focus on other things.

Man you always sound like you can't enjoy creating music unless your music sounds polished and professional and you're doing it in the most efficient, fun way possible. It just doesn't work like that. My workflow is garbage, my computer is outdated and absolutely horrible for producing (tracks sit at around 90-95 CPU usage without even being played in the DAW, and that's usually long before I finish the song), I have no monitors and a stock soundcard and I can't program my own sounds, but I still enjoy producing and refuse to let myself enjoy it less because my music doesn't sound like Andy Blueman's (yet)

Theory becomes almost instantly useful so just stop making excuses and start reading up on it if that's what you want to do. Stop spending time with your face in a book and open up FL and have some fucking fun for once. I used to worry all the time that my music would never sound anywhere near as good as the pros out there but I'm getting pretty close aside from a few technical issues I can't really iron out without proper equipment, and I only got to the point I am now because I quit worrying about things, as counter-productive as that sounds. I acknowledge and use criticism and I still read up on production techniques but I don't let it control what I do or how I do it because I'm enjoying myself too much to let it bother me. You should try doing the same, instead of taking time off because you're overwhelmed just make music for the fun of it instead of trying so hard all the time

I think you are just anxious. I used to no be able to turn my computer on for a few months a while back as I placed this pressure on myself to always have to do something incredible. Just set the time, set the task, and just work. Make schedules and deadlines. Divide creation from learning. Spend half on learning half on creating. Unless I suppose if you only have 2 hours or less then just create.

as M4B says, if you do not have a workchart you will probably end working in circles, a never ending loop..

A thousand thanks Dave West!

I don't know where you are now Dave but I am one very happy guy for this advice from so long ago. I tried your settings after a lot of frustration working by myself trying to get the right bass and kick cutting through my mix and your suggestions worked a treat! Many thanks!

putting this amount of effort into a fucking kick, and you have the reason why trance music is fucked today.

That's actually a lot less effort than most MEs put into tracking and mixing real kick drums. Hell, it's even less effort than I usually put into mic'ing and mixing the kick when I was doing live audio. Setting up multiple mics and dealing with spill/bleed, room/stage noise, the annoying drummer who spends more time complaining about how much kick in his monitor than he spends practicing, yada yada yada - that's far more work than layering a couple of static samples. Then you have to deal with the kick in, kick out, overhead, and room mics, compress and EQ each one. Anyway, yeah, layering a few samples is ruining trance.

quote:

Originally posted by cryophonik That's actually a lot less effort than most MEs put into tracking and mixing real kick drums. Hell, it's even less effort than I usually put into mic'ing and mixing the kick when I was doing live audio. Setting up multiple mics and dealing with spill/bleed, room/stage noise, the annoying drummer who spends more time complaining about how much kick in his monitor than he spends practicing, yada yada yada - that's far more work than layering a couple of static samples. Then you have to deal with the kick in, kick out, overhead, and room mics, compress and EQ each one. Anyway, yeah, layering a few samples is ruining trance.

THIS.

I love it when people complain about something taken all of 10 mins (even an hour) ITB, and don't think to compare it to how long it would take to get a good recorded kick?

First mic setup with the trusty D12, and a coupld of Rooms, and prolly overheads at bare minimum. Then you've got to use a nice pre and get a nice hot level. That already has taken up more time than Dave West's tutorial. Now you've got to do a few takes with a drummer that all the above demands, then cut the kick, layer it, comp it, compress it, eq it and bounce it.

All said and done - 1 hour minimum and that's before teardown and carefully packing it all away again.

Kids these days. Don't know how easy their Schranz is.

I helped a friend set up mic for 90 piece orchestra.

Decca mics , standard room pairs and spit mics for every section.
A bunch of spot m/s pairs.

Room was in Europe so he was a little paranoid so we were using measuring tape.


Probably could of used a stereo room and single spot mic per section.
Budget was small. h Wanted to cover any possible bleed / phasing issue.

Prague huh? amirite?

I've done full 90 a few times and it can be a little daunting. You really don't want a shitty recording when the talent can be up to $50k a day.

There are ways to keep it simple though. Decca tree is always the way to go IMO, but certain people I know hate them.

It's really room pairs and splits for each section, overheads for any percs and spots for each section. Then obviously mics for solo instruments, and usually spread rooms (out perimeter). That is a lot of mics and channels though. Phasing is really dealt with by distances and it's not as big a deal as people make out - you just have to do the flip phase test for each and adjust, but even then, as long as you've got enough discrete tracks you can just nudge the file in in the mix. You're fucked though if you're limited on the mics and get phasing issues you didn't hear during soundcheck.

One I guy I know (classic recorder, not score) runs a loudspeaker to some of the sections (brass, strings) which is a hot feed from their mics. It basically doubles the sections and makes it sounds more full. Never done it myself but he swear by it and given he's the go to guy for the big SACD recordings, he must be on to something. I still don't really understand how he manages the feedback or phasing.

I was at the met last autumn to see Lang Lang and Mat Orch - I was amazed how little mics they used. I know it's only performance but they still wanted a recording. He had a 40 piece on stage with him and only counted 12 mics total, mainly schoeps, mostly hangin room (then again, the room aint bad).

Is this for any genre or we talking trance here? (I thought this forum was for that genre).

Also won't some of the eq'ing / filtering be dependant on the initial kick sample chosen?

quote:

Originally posted by SiTrance75 Is this for any genre or we talking trance here? (I thought this forum was for that genre). Also won't some of the eq'ing / filtering be dependant on the initial kick sample chosen?

True to form most discussed IS for Trance,however there are some of the people who post here who are audio professional's and deal with a long list of genres that isn't necessarily electronic.

"Also won't some of the eq'ing / filtering be dependant on the initial kick sample chosen?" Absolutely,but wouldn't that be with anything? Not to mention,what you are adding to it also changes and may possibly need adjusting.

🤠 Duda on DeadMau5's kicks. Duda, Duda.

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