Producers tips and tricks !

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Supah No0b
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Postby BLEH » Tue Nov 27, 2012 6:51 am

Any chance stazma is still around?
He's active on FB sometimes, was wondering about his technique he mentioned in the thread. Need to get my drum programing better then now... :shock:

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Postby verdroid » Mon Dec 10, 2012 11:17 pm

HaHa ha Hahhahaa

found this one here on the helldrop event. ( from santinisma virgin maria [the guy with the car and blastin' coffin] )

WARNING! ! haha most pc 's will crash ( i mean it, low performance pc's will need a reboot or something )

whatever, good tutorial:

http://zxzxzxzxzxzxzxzxzxzxzxzxzxzxzxzx ... ummies.htm

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Postby SNM » Mon Dec 10, 2012 11:54 pm

omahgawd.. this entire trip to the forum was worth it , Im a few beers in and nearly fell out of my chair laughing so hard
<a href="http://s57.photobucket.com/albums/g225/xz4iis/?action=view&current=SNM_banniere_MR.jpg"></a>

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Postby weyheyhey !! » Tue Dec 11, 2012 12:59 am

My tips for breakcore/jungle/etc style music;

If you don't already, learn how to process breaks yourself from scratch (i.e. breaks untouched from the original sample source). By "process" I mean, in order;

- [Edit] Make it mono first!
- Pitch it up (by semitones, not arbitrary)
- EQ it (aim towards a flat eq profile, you can do this easily with Ozone's "Matching" EQ feature)
- Multiband Expansion (reduce rumble from the kickdrum present in hi-hats, snares etc)
- Multiband Compression (beef up the kickdrum)
- Quantize
- Compress

If you do this with all the breaks you use in your track, not only will they sit together nicely, but your track will sound a lot cleaner and generally more "professional".

Use LP/HP/BP filters on most of your channels to remove non-critical frequencies. For example, if you have a channel with a hoover and another channel with a sub-bass then - on the hoover channel - you should cut off everything below, say, 120 Hz. Using these smartly will greatly clean up your sound.

Use your eyes as well as your ears! Look at the freq spectrum analyzer, it can tell you a lot about a sound that your ears can't, once you get used to it. A phase scope can give you immediate information about the "width" of a sound. Look at waveforms, with experience you'll start to notice things that maybe shouldn't be there. For example, this is a common one, when using a sample from a vinyl sometimes the deck used has a fault (like maybe electrical) and can introduce a massive low-frequency ( < 30Hz) oscillation into the recorded signal. It's so obvious when you see it in the waveform and you can just remove it by cutting everything < 30Hz. Also, when mastering, look at the overall amplitude balance of the finished track. For our type of music, it's not generally very dynamic so your waveform should look pretty close to uniform from start to finish (even without any limiting/compression on the master). If it's quite up and down all over the place when you don't feel it should be, then re-examine your mix.

Also, with mastering; less is more. You've probably heard this a million times before, but a shitty sounding mix is not gonna be fixed in the mastering stage. When the final track comes out your sequencer, it should already sound GREAT (without master EQ/compressors etc). If it doesn't, go back to your mix, play with the EQing/filtering.

What I do for mastering is render the track out in renoise (with nothing on the master channel). Load it into Audition, fire up Ozone 5, apply some multiband stereo widening to everything > ~4kHz, apply a SMALL (< 2 dB) amount of global EQ if I think it needs it (generally not), and then pump up the loudness maximiser :)
Last edited by weyheyhey !! on Fri Dec 14, 2012 4:13 am, edited 1 time in total.

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Postby avisupchurch » Tue Dec 11, 2012 4:02 am

Nice post Wey, very straight-forward and simple but good info and some things I haven't heard or thought of before... thanks!

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Postby avisupchurch » Wed Dec 12, 2012 8:30 pm

weyheyhey !! wrote:- Pitch it up (by semitones, not arbitrary)
-


Any particular method you use to decide how much to pitch it up, or just to taste?

I just tried processing some breaks myself, and for tempos 180+ that generally means a break around 120 needs to be sped up about 50%, so 5 or 7 semi-tones seems to work for the more commonly used breaks...

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Postby weyheyhey !! » Fri Dec 14, 2012 4:09 am

avisupchurch wrote:
Any particular method you use to decide how much to pitch it up, or just to taste?

I just tried processing some breaks myself, and for tempos 180+ that generally means a break around 120 needs to be sped up about 50%, so 5 or 7 semi-tones seems to work for the more commonly used breaks...


To taste, just till it sounds right. Usually 2-3 semitones, though sometimes 6 sounds right with certain breaks ("Think", "funky drummer").

Anyway, don't have to pitch it up at all really. It's just usually the "done thing" with this style.

As for the tempo, I just load it into Ableton to quantize and time-stretch it to a faster tempo. Though time-stretching isn't always necessary; with renoise you just set markers on each hit in the break.

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Postby avisupchurch » Wed Dec 19, 2012 8:52 pm

I tried doing a few breaks, mostly following Wey's directions, but I also layered them with some kicks and snares that I made using synths. Here are 2 of the ones that seemed to work best. Nevermind the fast tempos and odd time signatures. Also, when is it ok to make your sounds clip? I kept my levels below 0db just to be on the safe side.

http://www.mediafire.com/?hma17ngmve2cnhb

http://www.mediafire.com/?m4ha4ppiq6wr468

Edit: I skipped the multi-band compression and expansion, but I think it might be ok without it??
Last edited by avisupchurch on Sun Dec 23, 2012 5:07 pm, edited 1 time in total.

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Postby avisupchurch » Thu Dec 20, 2012 4:43 pm

So I just took the time to make some multi-band effects patches: a 4 band expander and a 4 band compressor... holy shit what a difference! Here is the funky drummer but with the multi-band effects applied, also took it down to 180 b/c it leaves me with longer samples to work with from the slices. I might have gotten carried away with the punch on the kick, though... I'm doing this using headphones :-/


http://www.mediafire.com/?tp3itjcbecq76nt

Supah No0b
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Postby kumodexxx » Sat Dec 22, 2012 2:33 am

itchy!!!

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Postby dummygone » Tue Mar 19, 2013 1:49 am

Thanks man, good read.

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Re: Producers tips and tricks !

Postby rk9 » Wed Mar 30, 2016 8:01 pm

How to glitch write, yes midi

In cubase

Open an Instrument track
Load groove agent one wit you're favourite drum kit

Open the drum editor notice the quantize set on probably someting like 1/16 or even 1/4 or 1/2.
Change it too 1/32 and rehit several notes behind each other, your sample on the machine will glitch it's accurate a little too accurate if you have a vague concept but if you know how to use it you have more control over how you're drum line glitches.

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