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My workflow is so convoluted that I haven't finished a track in three years. I get distracted with my pretty hardware FX rack and end up doodling around with the 4 tap delay on my rack, and forget to write the track. By the time I've revisited it, I'm no longer hip to the lukewarm 4-bar loop I laid down. I'm going to try a more structured approach and also turning off my FX rack until I am done with the track composition.
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Apr 16, 2008 20:12
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| # ¿ May 3, 2024 01:26 |
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I've been producing drum and bass and related genres for about 12 years now, on and off. I'm just now getting back into it after about a five-year hiatus from dnb. here's something I slapped together over the weekend. You'll smell lots of neurofunk and atmospheric in my tracks. It's longer than Vietnam because I focus on DJ-friendly material. Apps: Renoise 2.0, couple of VSTi's. 
Jonny 290 fucked around with this message at 19:05 on Sep 7, 2009 |
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Sep 7, 2009 17:37
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I may. It sounds "cool", but to be honest I didn't spend enough time finding some good vocal stuff to throw on top. Appreciate the comment.
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Sep 7, 2009 20:15
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Oh man, I just got a wild hair up my rear end and pulled my Akai S2800 setup out of the closet. Goodbye afternoon.
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Sep 22, 2009 20:01
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slardel posted:some experimental whatever https://soundcloud.com/mathbonus/you-are-not-to-blame, I never really work with vocals so this was cool to do You have a great ear for mixing and keeping dynamics. Nice!
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Jul 18, 2012 18:28
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CareyB posted:There's a closed hat on the off beats here and there but its quite hidden away in the mix, and I considered adding a new one in for the second drop, though I quite like the vibe it has right now. There's no compression on my percussion kit, mostly because it's all high hats except the clap and snare (and a tom later on). Take it this what you mean by parallel compression? Parallel compression isn't really a common trick, but it can be used very effectively. What you do is take a submix of your drums (via sends or whatever) and run them through a compressor, set pretty heavily. 10:1, 20:1 is not unheard of. This is a pretty brickwalled mix and would sound TERRIBLE if you ran it by itself. But what you do is run almost 100% dry drums and fade up the brickwalled drums until it sounds better. It's a good way of adding sort of a passive air/breathing/motion to a drum clip, without hosing the actual dynamics - you get the good transients and rhythm of uncompressed drums, but get that juicy, energetic pumping going on too.
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Apr 10, 2013 16:13
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I think it is vitally important to learn the basic block diagram of a mixing desk when dealing with DAW software. Once you learn the concept of a 'channel strip', and what sends and subgroups are, and how they all split out and then are mixed back in, managing signal flow in Logic and other DAWs becomes a lot easier. I don't meant to condescend to any of the newer folks with this statement; it's just a fact that the DAWs are generally structured around the paradigm of a mixing desk, which has been the standard recording 'interface' for like 50 years now, so some of us don't even really think about it any more.
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Apr 11, 2013 15:44
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I bought a 61 key, and am really glad I did; not because I can play keys well (I really can't), but because I can run two synths, each with a two-octave range, and still have one octave left over for a third synth or some pads or maybe transposing loops. It's really flexible and useful. The 25's are good if you're writing in a cramped dorm room or airport terminals, but if you can spare the scratch and room for a 49 or larger, definitely do so.
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Apr 11, 2013 18:43
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I don't layer the kicks at the patch level, but I do run a subby kick and a clicky kick for a lot of more techno-y things, and run them in separate tracks. Most of the time they are in lockstep, but sometimes I mix up a pattern here and there and just want one sample or the other. This also allows me some more tonal variations due to individual velocity channels.
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Apr 18, 2013 04:29
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| # ¿ May 3, 2024 01:26 |
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Your kick is a little too big for a psy-ish track. A lot of psy uses very tight, scooped kicks - this gives room for that bass line. I think if you rein in the kick some, suck out most of that 'body' it has and add some click, you'll make a bit of room for your bassline - which in my opinion could use from a little higher cutoff and more mid. My biggest suggestion for writing psy/goa stuff is to watch your envelopes and releases. There's so much going on that if you don't meticulously maintain your env's and trails, you'll have poo poo firing off on top of each other and it will turn into a big mess. Keep those drum samples tight, no releases on bass tones and minimal release on lead/fx tones - psy generally goes more with delay and arpeggiation for 'space-filling' versus big long releases.
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Apr 29, 2013 17:29
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