Reply To: BILLAIN Q&A PART II

#10971
,Adis
Participant

@[email protected]

1. you have two versions of fade in and fadeout
the first is locaded on every sample property box here
http://audiosabre.com/images/FL%20Crossfade.png
The second option is to create volume automation.
If you ask me, depending on the task i prefer both, loads of times in the same project, just by following what i choose to hear.

2. If you stretch and mangle samples to the point of scratch, you are starting from scratch.
Sinewave, square etcetc those are short samples too if you think about it. and everything around them is a nice pack of effects. So if you undestand that synthesis is actually everything you do, you will come up with snares from kicks, i prefer field recordings, smashing stuff, because my field is that branch of sound design. I tried making some kicks and snares in fm8 before but while i make 10 in fm8 i make 300 with my method that in my case im more satisfied with. fm8, serum and ableton live have great algorythms for creating snares.

3.I do some drum tuning, but not too much, just to the point that they dont intervene with each other and to make sure the drum is not on a different note. If it is on the different note i try to kill the note and make it noteless so just punch is there in that case i can push bass even more upfront without any conflicts with sub and mids.

4.Reverbs are a good tonal compliment in filling the emptyness of things when i want something pretty huge sounding, or sometimes it just add that little tunnel harmonics to it. It really depends on the idea as well. You know some very dry basslines are amazing because they are raw as hell and very strong in motion. And then you have a type of bassline you want to describe as a giant waking up 500 meters across the hill, and theres a lot of rever across the hill if you picture that. so thats the thing like “what you imagine” is it a far away giant tripod horn like from war of the worlds movie who is like full of reverbs or an alien psychoacoustic close “allmost in your head” 3osc distorted and flanged stab. I described this thing like this because its more of an idea then a production technical thing.

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