atmosfear
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atmosfearParticipantFantastic reviews, keep’em coming !
,atmosfearParticipantHi mate, thanks for your input ! The problem with using just saw oscillators is that it sounds a little too “simple”, even with different sorts of distortion, I can’t quite recreate the complexity of this stab which has a lot of rich harmonics.
Maybe FM synthesis is capable of making such sounds ? I would have to look into it.
,atmosfearParticipantSounds good mate !
I think you nailed the overall structure.
From what I can pick up, your drums still sound a bit dry, maybe try to push them into a send room reverb ? Especially the snare which I find lacks a bit of a tail. your main drum break could benefit from some more percussions to make it even more interesting.Also it seems like your intro pad sounds have some lower frequencies clashing with your drums, try to high pass them around 200Hz to make some room. Sidechaining them to the Kick is a popular trick that usually works well.
Keep on !
,atmosfearParticipantTouching on the subject of collaborating and bouncing stems:
How to you resample/bounce your stems in FL ?
When you collaborate, do you agree on using only one DAW and use a project file, or do you export/import your stems and resample them everytime ? if so, how do you workout stems levels/automations etc… to make sure your collaborator gets the sounds in the exact same state that you left them ?do you group elements and use as little stems as possible or do you export every single sound ?
Cheers !
,atmosfearParticipantQ&A would be great !
I personally found the free tutorial much more insightful than the second one regarding arrangement.,atmosfearParticipantNever thought of distorting after filtering, I always used it to create harmonics then filter them down. definitely something I am going to try. Thanks !
,atmosfearParticipantI’m also keen on knowing how to get those DBR UK style bass sounds. For me the processing to obtain that analogue warmth is still a mystery. Trying to obtain similar results with soft synths only, I always end up with something that sounds plastic and harsh to me, like a lot of releases I hear nowadays.
,atmosfearParticipantSilent Witness’ video on Basses with Operator might interest you if you haven’t seen it. It is one of my favorite tutorials on here about sound design. Gets straight to the point, and he only uses Ableton plugins.
,atmosfearParticipantCould you elaborate on what you can achieve with this technique ? And what would you use it on ?
,atmosfearParticipantcouple of tips I picked up recently, this one from Lockjaw:
– using a very gentle bitcrusher (low mix settings) on the drum bus will give you more rounded frequencies and diminish the harshness you might have on the tops.
this one from Disprove:
– Send the whole drum bus channel to one return track using a transient modulator with an extreme sustain setting and crush the output into a saturator/exciter. Send the kick and snare to another return track using a transient modulator with a strong attack setting. Slowly turn up the levels and add them to your mixdown.
,atmosfearParticipantGood idea !
The erosion is nice to add that fuzzy top end movement to bass.I recently started building my own distortion chains. I use 3 or 4 distortion types which combine to give a certain flavour to the sound. I listen to each one individually to make sure they have their own tone/texture and complement each other. So something like, one for the mids grunginess, one for the mids ambiance/background and one for the tops works well for me. I use it on basses mostly, but it works on pretty much anything, leads, pads, ambiances etc…
Then I made a macro control to automate all the dry/wet controls of my distortion plugins at the same time. Assigned to my controller’s mod wheel, it’s a lot of fun to play with. Automating a high pass filter after that can give it some nice movement too.
For distortion, I personally like Trash 2/Camelphat/OTT I find they have a nice warmth and they don’t sound too digital. Apparently Saturn is good too, but I haven’t tried it yet. The Amp from ableton is often overlooked too, it has some really nice tones.
Nothing revolutionary here, but hopefully it gives you a combination of techniques that you can start from to build your own chains.
,atmosfearParticipantThanks for the detailed answers. It’s incredible how you can make something out of unusual sound sources, I guess it has to do with the fact that “real life” sounds have a lot more texture and complex harmonics that are fun to manipulate.
Keep us in the loop for those blog posts !
Cheers
,atmosfearParticipantSounds really tight ! And the mix sounds clear and controlled. I’m afraid I don’t have much criticising to do.
I do have a few questions however: how did you make those basslines for the first and last tunes ? What device did you use to record your sounds ? I’m looking for a good field recorder myself. It seems TASCAM makes some fairly good ones.
And lastly, what is the white noise sound that can be heard around 2:27 ? sounds like a rain stick or some sand falling down.
Thanks in advance for your answers 🙂
AT
2016-04-19 at 13:08:12 in reply to: New Tune ‘Grime Line’ (Free Download), comments & feedback wanted #12752,atmosfearParticipantthe overall mix sounds good and balanced, I think it’s a pretty cool tune, as always it’s a challenge to keep it interesting throughout, for that I would recommend you pick a similar tune from an artist you rate, copy it next to your arrangement and see what kind of edits/variation he does, that will give you an idea of how to make your own tweaks. You will realize there are some implicit tried and tested formulas, it’s good practice trying to recreate them, then progress onto making your own.
,atmosfearParticipantthat’s really quality stuff !
will there be a Q&A session planned with Cern as well ? -
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