quote:

Originally posted by user19503 fuck sako, everytime i see your avatar i think im getting killed any minute.

LOL XD

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quote:

Originally posted by theterran Well, same with EQ smearing I guess. The concept of EQ's adding unwanted noise is simple, fixing the problem requires smart people with fancy algorhythms. Identifying if it occurs also seems easy (Put it in waveform and check the gaps). I guess Advanced is a relative term then...I imagine people having strengths/weaknesses supports the claim. Oh well, sorry to muck up the thread, I can go back through and edit my posts away if you wish ^^.

lol I'm not a thread nazi dude

But yeah, EQ smearing isn't something that's generally known to most producers I don't think. When people ask "why don't we boost frequencies a lot?" Its not an answer that gets returned a lot. General little things like that to keep your sound quality higher are importat once you've mastered the basics though.

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quote:

Originally posted by kitphillips lol I'm not a thread nazi dude But yeah, EQ smearing isn't something that's generally known to most producers I don't think. When people ask "why don't we boost frequencies a lot?" Its not an answer that gets returned a lot. General little things like that to keep your sound quality higher are importat once you've mastered the basics though.

Kewl, this thread shall hopefully become relevant to my novice interests.

quote:

Originally posted by Evolve140 weird chains and heaps of automation

Yeah, interesting effect chains could be a part of it I guess, doing cool stuff to parameters with automation is definately worth looking at...

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I find that learning a bunch of odd controls from your fx chains/synths/whatever to a midi controller and then experimenting within live takes can yield interesting results.


*edit: Also, mixer routing and send/returns are your good friends.

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quote:

Originally posted by theterran What about the obscure stuff like effects work? What do most EDM artists use for their effects? Didn't see much covering this. I know the obvious white-noise stuff, but what about more advanced techniques such as vocal chopping and whatnot? Good vocal effects make a track sizzle.

Here's a quick tutorial on vocal chopping that airbase made.. http://jezper.squarespace.com/tutor...-chop-chop.html

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Last edited by aLviNx80 on Mar-26-2010 at 04:43

Here's a tip I could give about brightening up your snares

Get your snare sample, reverse it, place in on a mixer channel

Add slight reverb with a short tail

Bounce out

should sound like this

[[ LINK REMOVED ]]


Place the sample on a track, reverse it

should sound like this

[[ LINK REMOVED ]]


Pair it with a nice crunchy snare, and it should sound like this

[[ LINK REMOVED ]]


Just my 2 cents!

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quote:

Originally posted by d_Verge I find that learning a bunch of odd controls from your fx chains/synths/whatever to a midi controller and then experimenting within live takes can yield interesting results. *edit: Also, mixer routing and send/returns are your good friends.

Personally I don't really think that using sends and returns are advanced techniques, but if we were making a comprehensive tutorial for all things music related, it'd definately feature.

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quote:

Originally posted by kitphillips Personally I don't really think that using sends and returns are advanced techniques, but if we were making a comprehensive tutorial for all things music related, it'd definately feature.

Yeah of course, but the OP said hey was a beginner and I know a lot of beginners don't always learn basic mixing functions first, which are invalueable.

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How about a tut on getting your fx and one shots ect.. to sound like they are a cohesive part of the track. For me at least, my fx seem to stand apart from the track. Now I know to buss with compression to get percs gelling together, but I'm not sure in what manner to buss fx (if at all) to get them to not stand out so much. Maybe I should upload and link a track I've started and you guys can see what I'm talking about, or tell me it sounds alright and that I'm just crazy.

Here's an obscure production technique I came up with. It might have some professional jargon tied to it that I am keenly unaware of but because of the odd effects it has, I call it a witch.

Basically, in order to use a witch, you need a synth (any sound source, really - could be bongos or kazoos) put through a delay with a high feedback setting and a long delay setting.

Personally, I recommend this delay for this application:



The trick with the witch is that it repeats whatever it hears every 16 beats - although with some delays you could add more bars to it. I've only ever gone as far as 4, though. While it repeats what it hears, what's being stored in its buffer, each time, lowers in volume so you basically are stuck feeding it notes throughout the duration of its use.

What happens is that for every 16 bar phrase recorded into its buffer, that repeats and combines with new phrasing to make an altogether different phrase than that which was recorded, earlier.

I used one on a sine-wave synth for this really old song, here:

http://soundcloud.com/deepeddiezilk...-mary-jane-edit

You can pretty much hear a wind-chime sounding synth playing through the witch in the back-ground.


In this song I used an organ:

http://soundcloud.com/deepeddiezilk...t-waterfall-320


Basically, it's almost like playing a sonic version of Tetris, because you can have a train-wreck if you don't play the notes in exactly the right sequence. It's actually a lot of fun and helps you learn to think ahead, really quickly.

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