seems like almost all posts on here are people asking questions

lets use this post to tell someone a trick or just throw out some general information that people can learn from

whether its something extremely complicated or simple as fuck im guessing someone here can learn from it

my contribution...

hrmmm.

effects. i have no idea whether this is normal, out dated, ever dated, whatever but..

when i want to add subtle effects to a track in sonar (or any of the standard multitracking softwares) what ill often do is double the track. then i add the effect or effects (lets say reverb & chorus) just to one track, and use the volume of the two tracks to control the wet/dry factor. i also obviously use the controls within the effect but i find using this two track method allows for a bit more control. i will also do something similar to create delay tails at the end of a phrase/beat/song. double the track.. cut it toward the end... throw delay on just the short track.. use cross fading so that only the short 2nd track's delay hit where i want it.

again.. no idea if this is standard.. not even sure if it is a good way to do things but...

it works for me

please add on

*********************
www.dumhi.com

One of my now-favorite treatments when working on drums is to send a delay to the snare. It's easy to tempo-synch, so I set it to a 1/16th-note delay factor (1/8th would be cool too), with only a single repeat. Dial it down to where you can hear it just slightly in the mix, then turn it down a little bit more. It'll create an extra touch of pulse that can make the track ride harder, and as long as you're doing it as an effect send, the main snare will remain intact.

Then, if you want to get creative with it, and if you have the capability, try sending one channel of the (stereo) delay through an additional effect like a phaser or even distortion while sending the other right back to the return. Mess with that some, and you can get a subtle but unmistakeably hot pulse.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

I'll post my contribution as soon as I've figured something useful out.. just got excited about that whole "not audible"-part. This is the way that I use reverb on my drums, add the effect and then tweak it til you can't here it's there!

http://www.myspace.com/holisticmusic
http://www.eneby.com

im still experimenting with singing vocals, but as far as rhymes, if you have a budgeted (cheap) setup, what I usually do is record a whole bunch of times the same verse over and over. Then I select 2 takes that are the best 2 (try to make sure to record this verse EXACTLY the same way every time). then i layer these 2 takes on separate channals underneath each other so that they line up like this: beat=ch1, verse take1=ch2, verse take2=ch3. then i pan ch2 all the way to the left and pan ch3 all the way to the right. for some reason vocals sound sooooooo much warmer and clearer when you do that.

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

up quite 100% of the time; done tastefully (or with the right two different takes), it can happen with no real loss of clarity.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

Can you (yall) talk about punching in? how often/when do you do it? I do it quite often, i hate the sound of my voice on record so im picky, but i do appreciate the energy you get out of a solid take, you can almost feel the person actually delivering.

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

do punch-ins. It didn't matter if it was the last four bars of a 3-minute stream of flow or anything, he wanted to lay the whole thing again.

By that same token, he rather rarely left open spaces in the flow, so it woulda been challenging to smooth it over near-perfectly. An emcee with fewer words per bar would be easier to punch in, esp. on a slower track, and have it still come off seamlessly after mixing.

Best believe, though, that the signed artist of your choice, they punch in nonstop.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

the natural flow of the verse. Then you can just delete the first 4 bars or so of the new recording cause you don't need them. Otherwise you will probably come in louder than you left off. But you might have already knew that.
Anyway don't be ashamed to punch in, the objective is to deliver the best sounding recorded material you can, imo. I know there are people who really appreciate when an emcee doesn't use punch ins at all, but honestly i don't think there are enough of them left to cater to. It does get a little silly though if an emcee has a tendency to write rhymes they can't deliver in one shot. Cause its gonna sound like shit onstage. But if that isn't the case then i wouldn't be ashamed to punch in when needed as long as the finished product sounds better than it did without the punch ins.

UH HUH, UH HUH MUTHAFUKKAS, UH HUH YEAH, I SEE THAT, I SEE THAT!!
ALL Y'ALL FAKE MUFUKKAS UP IN THE JOINT HUH? STEALING MY LIGHT HUH?
WATCH ME DUKE, WATCH ME!!
http://www.youtube.com/watch?v=bumXSdsMYMI

www.myspace.com/mrwizworld

>the natural flow of the verse. Then you can just delete the
>first 4 bars or so of the new recording cause you don't need
>them. Otherwise you will probably come in louder than you
>left off. But you might have already knew that.
>Anyway don't be ashamed to punch in, the objective is to
>deliver the best sounding recorded material you can, imo. I
>know there are people who really appreciate when an emcee
>doesn't use punch ins at all, but honestly i don't think there
>are enough of them left to cater to. It does get a little
>silly though if an emcee has a tendency to write rhymes they
>can't deliver in one shot. Cause its gonna sound like shit
>onstage. But if that isn't the case then i wouldn't be
>ashamed to punch in when needed as long as the finished
>product sounds better than it did without the punch ins.
>
>UH HUH, UH HUH MUTHAFUKKAS, UH HUH YEAH, I SEE THAT, I SEE
>THAT!!
>ALL Y'ALL FAKE MUFUKKAS UP IN THE JOINT HUH? STEALING MY LIGHT
>HUH?
>WATCH ME DUKE, WATCH ME!!
>http://www.youtube.com/watch?v=bumXSdsMYMI
>
>www.myspace.com/mrwizworld


I dont mind when an emcee has to punch. i actualy appreciate it if they understand and trust the engineer to make sure its right. Cuz some flows (regardless of how much you know the lyrics) sound better and more polished punched. What I do is have a rapper spit his bars three good times and i cut together on consonants (if need be) so you cant hear the splices. Im not trying to hear a dude's verse 8 million times just so he feels good about one perfect take. Besides time is of the essence, and thats what punching is for.

www.myspace.com/blakksunrise

>Can you (yall) talk about punching in? how often/when do you
>do it? I do it quite often, i hate the sound of my voice on
>record so im picky, but i do appreciate the energy you get
>out of a solid take, you can almost feel the person actually
>delivering.

its good, but the mc needs to be able to do the verse live... without a hypeman, he gotta say e-v-e-r-y w-o-r-d

I will try to keep this thread going. Hopefully more people will post some tricks.

Anyways, when I stab up samples, I like to do it manually in Magix Studio (basically, a track layering software like Pro Tools or Logic). I know some people like to "chop" up the song and load all the chops into FL or Ableton, but I fell there is alot more controll when you pre-create a whole 4 bars or 8 bars of stabs layered together and then export these 8-bar stab sequances as whole wav files.

WHEN I stab these up, I ALWAYS fade in the starting point of the stab section and then fade out the ending point. I only fade like the smallest ammount possible, its nearly a 1000000000000th of a second, but it helps volumes because when these stabs are next to eacch other or on top of each other, there is no "clicking", its alot smoother on stab transitions.

I also like to process my stabs through some equalizers. Also, when making different builds in a song, i would put whole 8 bar sections through some equalizers to get a softer, quiter or muted effect, and use that as alternative sound in that song.....I hope this makes sence

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

------------------------------------------------------------
"This nigga would wet his pants and melt the 6 Snickers in his back pocket if Pimp C asked him to say what he typed to his face."--DeePhunk on
Bol the Blogger

Alot of people get extra intricate constructing drum sounds then drop the ball when it comes to bass. You can really apply the same concepts in both cases though. The trick is to find a few good sounds then layer and eq those shits. Hell, you can even get some good effects layering several sine and square waves together. The trick is give each sound it's own space.

Once you get a good layered sound you can freak it further by adding chorus, delay, or whatever effect to beef it up.


-------------------------------------
http://www.myspace.com/therealnopayne
http://www.last.fm/user/nopayne/

(^'ing the post)


That's true though, folks are NOT quick to layer the bass; but then, the use of bass isn't all that common period, which IMO is regrettable.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

if you use a computer for production, remember to check if your sample is truly stereo. Most 60;s and early 70's shit is split on the 2 channels. Normally its the rhythm section on one channel, then everything else on the other one.

Also, learn your eq sweet zones. that can make a huge difference in your tracks

for people to do some messing with.

IMO, every producer/beatmaker can benefit from learning a smidge of standard engineering techniques.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

ain't that the truth

"Keeps me inspired and wired, I acquire a high when I'm writing, sometimes I recite off the top of mind in a cipher" www.myspace.com/rashidamir

delay is your friend!

I usually put a lil bit of delay with a low feedback and cut-off, masked with a wet reverb to smoothen it out

<----holler at a player when you see him in the streets (c)Stuart Scott

www.brucegeetz1.bandcamp.com
http://brucegeetz.blogspot.com/

you let it ride on the whole sample?

I was chopping up some Pat Metheny one day, and as I was recording it off the cassette I had the monitoring doubled up, resulting in a delay added to the speaker output. It wasn't recorded into playback, but I had half a mind to put the delay back in, as ill as it was. In The Mixing Engineer's Handbook they talk heavily about good places to sneak in some delay, and there's a LOT of such places.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

i just set the cutoff kinda high so it doesnt sound harsh, if that makes sense

<----holler at a player when you see him in the streets (c)Stuart Scott

www.brucegeetz1.bandcamp.com
http://brucegeetz.blogspot.com/

i'll be back with some th0ughts tomorrow when i'm supposed to be working

_

shakin your block with a 6 million dollar bop

_

www.davidevanmcdowell.com

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

Lets say you have a sample that has a string and drums in it. Lets say you try to remove the drums by using an equilizer. BUT the sting and drums both cover so much space onn the sonic range that no matter if you cut lows, highs or mids, yo cant seem to separate. I always wondered if there was a tool that instead of reading low, mid or high frequencies actually paid attention to the type of the sound (punchy drums vs. smooth strings) and could actually isolate the specific sounds. mot just frequencies. This MIGHT be a dumb thing im asking, but i thought, HEY what the hell, ill ask just in case

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

between the parts, a good-quality click/pop remover *could*, in theory, cut out quite a bit of drum sound without damaging the rest of the music *TOO* badly. Any removal of data compromises the end product, but it's a matter of what you're willing to work with.

If you've got access to the Waves plugin set, they've got some various noise removal tools of that nature, the types that "learn" the kind of sounds you want to attenuate.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

would you happen to know which ones specifically? I havent tried messing with click/pop eliminator in this sence, but I will, thanx for that input

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

x-click
x-pop
x-cetera. lol

_

shakin your block with a 6 million dollar bop

_

www.davidevanmcdowell.com

Good lookin out!

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

I chop by the drum and arrange the chops so I have a rough drum outline within the original sample while at the same time constructing the string arrangement that I want, then put my drums overtop

its almost like your arranging two chops at the same time (string & drums)

hope that made sense

<----holler at a player when you see him in the streets (c)Stuart Scott

www.brucegeetz1.bandcamp.com
http://brucegeetz.blogspot.com/

...when you try to get rid of drums all together and you end up loosing definition in other sounds. Equilizer doesn't always work well enough, sometimes the drums cover alot more frequency space than id like to remove them from

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

no, there isnt, unfortunately.

but not always in hiphop because many of the sounds are effected before they put them to track/tape...but yea, that is the way I was taught to deal with effects...it makes a lot more sense to do it that way as well when you are working with a physical patchbay...but now most of the digital programs have a virtual patchbay so you can do the same thing.
I think it si good advice though...i hear a lot of young hiphop producers just processing the hell outta thier tracks over and over and going to the point of no return and their track ends up sounding all fucked up...putting your effects on their own tracks is the best way to do it without committing yourself right away.

because as most of you know, reverb, delay, compression, etc sound different on a solo track than they do in the mix so you should constantly be tweeking those until you have your final mix

yep.

http://www.myspace.com/therealspreadbitch

THE PHILOSOPHY - "In the Trenches" LP
http://cdbaby.com/cd/philosophy
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=200892909
http://myspace.com/the1philosophy

especially if you're in a DAW?
with pratically unlimited virtual mixer channels?

hat on one channel, snare on another, kick here, sample there, keys here, etc etc etc. seems tedious @ face value, but the sculpting control you get over your composition just goes up exponentially.

i'm guilty of not using this to the full but what i DO do now beats the days of yore when i used to have everything sitting right in the master mix channel, eq'ing out important bassline information cause i needed to trim down a boomy kick or something.

if you're in hardware, maximise your channels as best you can. if you have 8, use 8.

_

shakin your block with a 6 million dollar bop

_

www.davidevanmcdowell.com

doesn't it?

I think it's very important for the people who love to add lots of effects and plug-in's, if only to see the difference it makes.


I find myself going back to older sessions and put more time into mixing it, when if I just done it to start with, save so much time and have a better product as a result.


Well, we all learning and building right? It's all part of the process.

I mean its vital

and if you find yourself thinking "this is long! why couldn't this be easier?" try doing it on a 4 track recorder and STHU
_____________________________
patiently waiting for the Pumpkins to come back...

http://breakbeatproductions.blogspot.com

who's really tryna mix a song comprised of vocals and a two-tracked beat?

for instance, if you want to add reverb to a snare and some hats
don't put a reverb on EACH CHANNEL, just send an output from that
channel to a bus that has ONE reverb (plugin, hardware, etc.)
It gives continuity to the sound, and if you are in digital
saves processor resources.

Peace.

_______________________
"Arm Leg Leg Arm Hate." c/o desus
_______________________
Divine Ruler
http://www.facebook.com/divineruler
__gigs__
__stuff__

i had never even thought to mess with the buses even though I knew how to use them. this will save so much memory. i've been getting lagged up a ton lately.

peace.

I always wanted to but was too lazy.......on my next beat, i swear...lol

<----holler at a player when you see him in the streets (c)Stuart Scott

www.brucegeetz1.bandcamp.com
http://brucegeetz.blogspot.com/

Explain buses to me man. I have no clue what they are/do.

And to keep in line with the post...The best reverb is when nobody can tell you used any.

*****************************


http://www.speaklifeenterprises.com

"The outer world of circumstances shaped itself around the inner world of thought."
James Allen

its like instead of applying the same effect to multiple channels, you can put that effect on a send/bus channel and then go into the mixer tracks that you wanted that effect on and you turn the send/bus knob up on that depending on the amount of that effect you needed


hope I made sense

<----holler at a player when you see him in the streets (c)Stuart Scott

www.brucegeetz1.bandcamp.com
http://brucegeetz.blogspot.com/

I dont alwas do it but sometimes it works well (this trick im about to describe I use when working with samples rathen than original kits-based orchestration):

1) take a sample/stabbed up loop/. Arrange it so that it lasts around 4 bars, however you make your beats. They idea is that you create a loop rather than just a bunch of samples. Even if you work with a bunch of samples, create a loop.

2) take that loop into a wav-edditing program (cooledit, audition, etc). I usually use Cooledit. With the equilizer (make sure to use the most drastic type of equilizer, some of them dont completely drop out the frequencies, just turn them down a little) turn off all the highs and the higher-end mids. also, turn off the lowest on the lows. This leaves you with the low-end of the loop/sample. This can be your bassline.

3) you can decide what you want to do from here. I usually re-imort this bassline and re-stab the original sample over it. possibilities are endless. Or you can do the same process only to isolate some specific frequencies of the loop (isolate a horn, for example). Also, sometimes I would mute some frequencies within a loop, and as i use it in the song, I would start off by playing 4 bars of the muted loop and then drop in the original loop for the next 4 bars. The result is if you are building up the sound, very effective

Stay strong

Lexx

iamlexx.com
newvintagegroup.com
aim: lexx3001

I'll have to try this.

customize your default rack with separate mixer for drums.

create a rack that contains the modules that u will use most. if u use the redrum for drum sounds wire each channel to a channel in a mixer just for drums. create the modules that u will use most (rex, nn19, etc) and route each of those to a channel in a mixer seperate from the drums. once uve created the rack u want save it. open up preferences and change your default to the file u just created.

also if u use more than one midi controller (keyboard and drum pads) u can isolate each controller. this will allow u to use the keyboard for...lets say...the sample and the drum pad for the obvious simultaneously but regardless of which rack u have selected in the sequencer window the drum pads will always be set to the drums (or whichever module u map it to).

and check this site out too:

www.reasonfreaks.com

~-~-~-~-~-~-~-~-~-~-~-~
weigh your words to waste no sound.

It saves tons of time when you're using the NNXT for drums. No more routing tons and tons of samples to different channels and effect chains. You can set it once and forget it.


-------------------------------------
http://www.myspace.com/therealnopayne
http://www.last.fm/user/nopayne/

question....whats the benefit of using one of those over the redrum? is it for more sound shaping control?

~-~-~-~-~-~-~-~-~-~-~-~
weigh your words to waste no sound.

sampler-based FX just some of the time.

In a Reason tips/tricks book I perused for 8.1sec, they mentioned loading drums forwards and backwards for access to a quick, easy turntable-sound effect. Stuff like that.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

I have like 11 FL Studio default pages for starting points of differing genres

saves so much time
_____________________________
patiently waiting for the Pumpkins to come back...

http://breakbeatproductions.blogspot.com

Compression and some finer tuned EQ'ing go a long way. Waves' R-Bass is fantastic, and I really recommend familiarizing yourself with the settings, and going outside the pre-sets a little.

But sometimes even with all that, I can't get it to sound how I think it *should*, so I fill in with synths filtered so they hit the missing frequencies. Sometimes, even completely higher pitched synth lines work fine, as long as they don't moosh your vox too much in the final mix.

A couple points to remember:

-Leave room for your kick drum in there, whether a boomy 808 or something with a hard attack.

-Compressing bass almost always leaves the lows (> about 80 Hz) real muddy, so I usually just EQ that stuff completely out and fill in with a kick, even if I have to layer something that hits in that frequency range onto a real high-pitched kick.

-I have some ear training, but its not perfect, and I find myself hunting sometimes. With basslines, you'll be surprised what you can find this way...kinda the "9th wonder" effect...things a little outside the rest of the composition can sound pretty good. When all else fails, hum.

www.soul2020.com
www.myspace.com/chopsteak
http://chopsteak.blogspot.com

grrr! Frosty bear fuckbang puny human!

I dont really have much (if anything) to contribute to this post but I would like to big up the cats that did. Especially those who dropped the jewels (no homo) on Basslines. I really been trying to figure out why I cant seem to get what I have in my mind realized in my music 50% of the time in regards to basslines (I dont own a keyboard). The advice given here I will definitely be taking and trying out when I get home today.


Cain the Conqueror: Master of many arts.

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http://www.myspace.com/23686466

Soundclick
http://www.soundclick.com/bands/pagemusic.cfm?bandID=279862

Go back to using cassettes or something.

fidelity effect. A fantastic one, even.

http://twitter.com/RSoon
http://soonsounds.com <--- Peace for the Fiery Heart
https://soundcloud.com/marianmereba/blue-for-mr-green-real-soon

for extra thick and "clappy" claps, use flam on the redrum....or if u dont use reason...sample the applause from an audience on a live recording and chop that up.

when layering claps/snaps with snares try offsetting the claps/snaps from the snares instead of layering them directly on top of one another on the same beat. this gives that lagging/human feel. start with offsetting them about 1/64 apart.

~-~-~-~-~-~-~-~-~-~-~-~
weigh your words to waste no sound.

the mids almost all the way up...

That way, you get the TRUE sound of what your sampling....and you can always brings the mids down and bass up on the EQ's. That's easy.

If you sample with the mids down, or in the middle...you can't add crispness into it with an EQ...the muddled sound is what your working with.

Same thing with the bass. If it fwumps in the original, sampled signal....even taking the bass all the way down when your EQ'ing...it won't take out the fwump.

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i was in sam ash today and one of the employees put me on to this:

say your mixdowns sound audibly difft on each system u play them on. well if u have a few $$$'s to spend (maybe at least $200-$500) on acoustic foam treatments for your studio then check out www.auralex.com. this analysis will help u determine proper placement and type of foam treatments needed to help make your studio sonically sound.....and if u are considering using that mattress bedfoam or carboard egg cartons....forget it! they arent dense enuf to absorb any reflections.

from that page go to support services/product app support/personalized room analysis.

for the most accurate analysis make sure u include as much detail regarding your studio (measurements, wall hangings with glass, if/where windows are located, etc). fax the form over and u should get an answer back with 2-3 biz days.

im faxing mine tomorrow.

~-~-~-~-~-~-~-~-~-~-~-~
weigh your words to waste no sound.

like if you playin cmaj chord, hit the first and 5th on one synth, and the 3rd on another synth that has a slightly different sound. Makes your shit a lil more haunting.

To vary up your boom-bap, try starting your drums on an odd count.

Percussion makes a WORLD of difference on tracks. Yeah, your drums should bang, but shakers, chimes, triangles, etc, really make a track breathe

If you're on reason, the tab button is the shit. Flip the rack and learn how to wire that shit up. You can do some craziness like that.

http://i16.tinypic.com/2v13cwh.jpg


That's before working in a sidechain for the bass/kick area and a few other tweaks. There's cats on here who would absolutely son that setup, too..lol

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

filtering is the shit!!!

over and out
du

"It's the return of the gangsta, thanks ta..."

-du

-------------
IG: mike_gx
-------------

...by '20 cents' (or up/down one notch)

you should increase/lower the tempo by 1 bpm to maintain
the original integrity(word choice?)of your beat

so if you increase the bpm by 10 you should increase the
pitch by 200 cents

otherwise, the looped sample can be thrown off beat and
end too soon, or not soon enough

_____

shann.email/inbox.pls.

These numbers will differ quite a bit if you're working, for example, in drum n bass or something.


IMO, every producer should get a good old standard click metronome, the type that only has a finite number of settings that you dial.

The ratios are imprecise but work well; you notice that real slow tempos go like 56, 58, 60, 63, 66, 69 bpm. But fast tempos are in the order of 132, 138, 144, 152, 160, 168, on up. The faster the bpm, the greater the distance between numerical representations needed to maintain ratio.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

http://www.pulseonline.com/boss/bigDB88.jpg

They had em when I was a laddie, and the OG ones were fire...but they were fire in the pocket, too.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

than you do listening to everyone else's.
Stop playing Donuts long enough and you can probably learn to do things in a different manner.
Evolution doesn't come from being in awe of someone else utilizing thier gift. Let thier influence take it's place in what you're doing and leave it at that.

The once and future Master

...i think its easy to get caught up in your own work or being online doing soemthing music related, but its important to get out and interact with other musicians...especially folks that don't make the kind of music you do...
if you're a hip hop producer....go check out jazz night at your local bar or something.....approach one of the artits there and strike up a conversation.....
you'd be amazed how much inspiration and advice you can get from some seemingly unlikely sources....

My mind was lightweight blown by some of the mixes the cat got running, some sounds I'd have never thought to combine...and definitely ideas I can bring back to the workbench.

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

.......

_______________________
"Arm Leg Leg Arm Hate." c/o desus
_______________________
Divine Ruler
http://www.facebook.com/divineruler
__gigs__
__stuff__

750 dollars gets you three hours a week for 12 weeks. You will really improve after this class.

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GET ON MY LEVEL!

fuck an MPC, I know what I want for my B-Day.

great idea

---
the pursuit of fame and fortune
leads to shame and misfortune
-tao

already but was warned that it problably get lost in the shuffle (damn it!)

so here are the linx:



For hundreds of comprehensive articles on subjects ranging from EQing, recording (analogue, digital, etc.), mastering, compression, leveling, micing, etc. check out:
http://www.theprojectstudiohandbook.com/directory.htm


An intro crash course to mixing:
http://www.bluebearsound.com/articles/mixing101.htm


Website dedicated to lessons, tabs, online "track" and "line builder", articles, etc. for bass guitar then check out:
http://www.activebass.com/
guitar version:
http://www.wholenote.com/


Resources(!) for your synth (hard, soft, etc.) keyboards, drum machines, groove boxes, MIDI sequencing, etc. needs:
http://www.synthzone.com/


Tabs for bass, guitar and keys:
http://www.911tabs.com/


Helpful FAQs and tips for the Akai MPC2000XL series:
http://www.mpc2000xl.com/


Forums dedicated to recording, hardware, software, music theory, sampling, mixing, acoustics, etc.:
http://www.futureproducers.com/forums/


Info on the sources of your favorite samples:
http://www.the-breaks.com/


Well, the link pretty says it all to those familiar with the publication... problably already got it listed their favorites but me, I no care, I list anyways, for you:
http://www.soundonsound.com/


Online chords and scales resource:
http://www.looknohands.com/chordhouse/piano/
also listings for guitar:
http://www.looknohands.com/chordhouse/


Really handy and easy to use introduction to music theory... with lessons, trainers and utilities:
http://www.musictheory.net/




And this link just because I like soul music:
http://www.soultracks.com/artist_bios.htm

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QVI DESIDERAT PACEM PRAEPARAT BELLVM

All you need to learn is how to play three chords.

couple of tricks, probably old hat but for what they're worth:

1) when you're sampling a track that's in 3/4, cut each bar up in half, so each cut has 3 beats in it. (i.e. your first cut is the bass drum and two beats, the second cut is snare and two beats). then play the sample in 4/4. this sounds confusing, but to put it simple, if your original sample is BD-HH-HH-SN-HH-HH, then cut it like 1) BD-HH-HH, 2) SN-HH-HH. then play it like 1) BD-HH 2) SN-HH, so you get a 4/4 pattern like BD-HH-SN-HH. you can get some nice swing effects doing it this way: try recording the pattern exactly in time, then fuck with the tempo to make it drag or speed up slightly.

2) when you have a sampled break, try upping the attack on the kick to 7 or 8, then slip a 808/909 kick underneath. upping the attack means you get the attack of your 808/909 kick and the feel of the sampled break.

-----
http://myspace.com/palsyones

I fire up wavelab off and on to do some analysis on some masters
and mixdowns, but other wise, I'm pretty much all Ableton Live.

_______________________
"Arm Leg Leg Arm Hate." c/o desus
_______________________
Divine Ruler
http://www.facebook.com/divineruler
__gigs__
__stuff__

this creates an ill sound and is best when used with chopped samples (not drums)

let's say you got a string chop on pad A9, take that same string chop put it on another pad, A10, for example

now you got the same sample on A9 and A10, right?

program A9 so that it also plays A10 when it is hit (Simultaneous)

go to your mixer, pan A9 a little to the left, say 10 o'clock, and pan A10 a little to the right, say 2 o'clock

play the new sound, it comes off with some weird warm 3 dimensional reverb sound that often changes the pitch a little bit too

THEN, if you wanna take it a step further you can adjust the volumes to different levels, so ,, for example, cue A10 a little louder on the right,....when you got this going on for say 6 different chops you're putting together for a loop, and the volumes hitting a little different on each side for the different chops, you can get some crazy shit going on with the balance of the track, the sound really moves around, AND it still has that new sound quality that sparked when you linked the same sounds to play simultaneously

for certain sounds the shit is bananas, other sounds it doesn't change much, you really gotta experiment

FINALLY, if you like how this is working out for you and are feeling patient, basically do the same thing, but instead of programming the same chop to hit simultaneously, STEP EDIT one chop to hit a small fraction of a beat later than the next....it's like a delay for mpc users whose mpc's don't have delay function, plus it stills got that sound to it, and mixed with different volume levels it's wild

STILL NOT SATISFIED? Try this....Same technique as the first, with cueing the same chop to hit simultaneously, but program the tuning so each one is a little different, for example on A10 it's tuned to -1 and on A9 it's tuned to +2. This creates a sound that can't be found in the regular scale, and depending on what you're blending, it can be dope

try it out, lemme know how you like it

peace

_______________________________________

you have sexually transmitted crazy mouth...DEALBREAKER!

http://www.youtube.com/watch?v=EdIMxP70sAM&feature=related

This sint really a technical thing so condemn me if it doesnt belong but..

i've been sampling A TON of snares from older commadores records. All their stuff is just crawling with dope snares waiting to be chopped out.

-Magneto-

"go beat off to your justin timberlake poster, homo"

What qualities are there in these Commodores snares that make them appealing?

<---Okay Jima (© Bridgetown)

http://www.myspace.com/musicphilosophy
http://www.myspace.com/icapinstrumental <---updated 5/31/07
http://www.soundclick.com/realsoonthemental <---NEW

wrong post.

-Magneto-

"go beat off to your justin timberlake poster, homo"

wrong post.

-Magneto-

"go beat off to your justin timberlake poster, homo"

I was having some problems setting up the drum pads. I got this tip from Ableton & it works wonders!!


< Press the pad you want to program
< Press the Advanced button.
< Press the Ctrl Assign key.
< The LCD display will flash the currently assigned controller for the pad.
< Enter 147 for Note on/off (press/release)
< Press the Enter key to confirm.
< Press the Advanced button again.
< Press the Data 1 key.
< The LCD display will flash the currently assigned note for the pad.
< Enter the note number you want the pad to transmit using the numeric keypad.
Note numbers for the Impulse are: 60, 62, 64, 65, 67, 69, 71, 72
< Press the Enter key to confirm.

And Ableton Live is a WICKED program! Highly recommended for serious fun!!

Typically you cut the vocal just before a transient, but this can be limiting when you're working in the middle of a rap verse with few clear breaks between key transients.

Instead, try cutting the region mid-syllable. Of course you'll need two reasonably similar vocal tracks with overlapping lines to begin with, but if you're really looking to achieve a flawless, completely undetectable vocal (acapella even), try this. Find one syllable where the intonation is identical, splice midway, do like a 1 millisecond crossfade and see how it works.

Years ago I spent 30 hours just recording the vocals for one song for a particularly meticulous emcee (paid by the hour so it was cool, lol). I think I learned all my splicing tricks from that song alone.

~
<--Pearl, Pig & ear2ear are Everything That's Fly
www.myspace.com/ear2ear
www.myspace.com/everythingthatsfly
iTunes: http://tinyurl.com/yaewat
http://www.youtube.com/watch?v=Le_9yVtDZ0A
T-Dot.

if you dont have good ram and cpu specs, it aint shit
i'm sittin on 512 mb ram right now and it's so-so but very limiting

i have kontakt and a huge, quality sound library, plus waves
it's frustrating as all hell having this low ram count right now, since all the better software i have aquired is so cpu intensive

so i'm investing in a new mobo (going dual core baby!) and 2 gigs ram with my tax refund..... and then the floodgates shall open!

cause for real, kontakt+massive+battery+guitar rig+waves... that setup is a great one for creating a unique sound and adding a lot of depth to even the most basic presets.... but the lack of ram is severely limiting, one patch in massive can max out my cpu right now....

the moral of the story is, ram is your friend if you use cpu intensive daw apps. this isnt rocket science, just a friendly reminder.

-Sig-

“Why didn’t you do this in your own god damn country?"

-All Stah's view on undocumented immigrants wanting to be treated like human beings.

ha

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GET ON MY LEVEL!