Hell yeah, reminds me of chaining up a bunch of boolean logic to make your own probability generators
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I think i was wrong. Its all about crazy manipulation with stereo mix and secret crazy manipulations with audio aka mastering.
Nope. Secret in stereo.
You can erase ‘in your face sound’ simply putting phaser/chorus/flanger on it and then make it mono.
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If you really want to ruin a mix even faster, just put a super soft limiter on the master
Or just overcompress the shit out of everything, that seems to be everyone’s favorite method these days
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Take your kick sample, copy it, pitch it down by an octave, and layer it back in with your original kick. Want to eat up headroom as fast as you can? You’re done.
I’ve actually been doing that for a year, you have to be super careful with it, but it does give your kick an extra octave of range down at the bottom.
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This sounds like a potentially great idea, just so long as some of those subs are courtesy-brickwalled off
Since I master my own stuff I handle it then. I want the kick to be the deepest thing anyways, but yes this kind of routing will make you see the wisdom of highpass filters for sure. And possibly gates, since that lower sample is playing at half speed, if your kick had a long tail to begin with that can present its own issues.
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Also did that by routing a sound to two sends one panned left and the other right with a compressors and distortion and reverb and eq and stereoizer fx chain to get that shoegazey wall of sound type distortion
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that’s the thing you know, I have been using a lot more intuition, weed, and a couple of beers instead of tricks and tips…
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Yo you can by a gaming mouse for yourself it will increase the production output in case you are using default pc mouse
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The gaming mouse is very comfortable and you want to work with it. But there are also a lot of additional buttons and you can set some actions in your DAW or macros . Save time and convenient to work!
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People actually do the same with drawing tablets, believe it or not. I’ve considered using my XP Pen and macros for the same reason plus better ergonimics
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i was honestly just doing an uneducated bit, assuming that what im saying results in a mono signal but then again i never tried it
Mid and Side signals doesn’t linked together to death. You can add reverb to sides just to say. It’s blowing my mind. And you still keep the stereo image.
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This will sound pretty naff on big systems if the transposed down layer occurs exactly when the original tail of the kick frequencies does. I know cause i’ve heard it time and time again on all kinds of PA systems
If you wanna do this it would be best to delay the pitched down tail and crossfade it with the other tail so they occur sequentially and not directly on top of one another. When they occur on top of one another with a system that has the SPL and volume and dynamic range of a cabinet that can put out almost infrasound at considerable amplitude it tends to just sound like a test tone lol. You get the same effect on subs as well at home and shit and it can make it sound like you have an overwhelming amount of mud in ya low end when its more of a timing issue
Sequentially almost always trumps any kind of vertical layering because you avoid any interference of the frequencies and you don’t really need to worry too much about phase other than polarity
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That sounds cool, I’ll give it a try. Sounds like it would save a lot on headroom too.
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You can develop your ears and taste with time then you can understand harmony or how it is called. You can then link different sounds in one key and rhythm.
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Love that Idea! @TIMT and @White_Noise
I use this Octave trick occasionally on Bass or Electric guitar… usually down an Octave but sometimes up an octave as well.
I’ve even used it (up 8v) on recordings of my 1926 Wurlitzer Upright piano. It (almost… kinda) fixes the deadness of those nearly 100 year old bass strings.
It never occurred to me that a slight nudge in time would actually clean this effect up a bit!
Although… come to think of it … this is similar to the Acoustic Guitar trick where you make three tracks of the same recording… leave one in original pitch and dead center; pan the other two slightly Left and Right and pitch shift one 2% up and one 2% down. It’s a big fat jangly wall of acoustic guitar. 
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Lately ive been using sytrus to do 1 patch that has 3 different synth lines or 1 patch with 2 different basses, stuff like that… i use the xy mapping to switch between the patches within the patch…
I realize that i could of done this with fm8 or a modular environment…and the routing could get crazy…but i find less is more because cpu usage…
So yeah multiple patches in one synth patch is a way to cut down on cpu usage…
: D
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That’s funny that you mention that, because I mostly use modular simply because it allows me to use just a few synth components at a time (with good routing mechanics) instead of all of them constantly being on and using up CPU
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