Share any music production tips and tricks you discovered


#122

I am just going to assume you don’t know much about audio interfaces and AD/DA’s in general otherwise you’d probably realise that is a bit daft.given they all use different firmware and components so how could ASIO4ALL possibly know how to get the best spec for such a varying amount of interfaces and their drivers…rhetorical question(it can’t as you get a fixed
minimum and maximum amountt of latency for the given samplerate regardless of the card)

I know from experience that the only situation ASIO4ALL makes sense is when you are dealing with internal soundcards not spec’d for professional audio,because they bypass any dodgy processing that they sometimes have and also can achieve "passable"latency,but you’d find them extremely lacking with e.g an RME Babyface or Fireface and its drivers(which are the best of the best in terms of latency at least for Windows and would out perform ASIO4ALL by a large margin)


#123

Asio4all is just an enhancement of the company primary sound driver…they both work fine…together or Independently I’ve used both to produce.
But meh whatevers.


#124

#125

Fls squeeze plug…kicking myself for not realizing it can be used as fls native semi bitcrusher.


#126

It’s usually for instruments, because latency like that can be impossible to work with. In the daw itself it can be overlooked mostly though


#127

Its all about tempo . half time double time 4 time :DDDD 0.5 time


#128

For Ableton Live Users :
A Max4Live Midi device : HARMANA M4L Device
In a single device, you change the root note, the mode, the scale, octave & so on …
This amazing device was compiled by a French, Ableton Live certified trainer : Xavier Leloux.
This device works in Live 10 & the version for Live 11 will come soon …


#129

Speaking about tempo modulation …
Choose any drum synthesis plugin ( microtonic in the example for the ease of use but tremor can do the job as well ).
Modulate as many parameters as you can on the vst.
These parameter tools are great Modulators - KDevice

Then, put a multi fx chain on this drum track & modulate as many dry-wet knobs as you can.

Then, an audio track will capture the dry signal of the drum vst.

Then, this is where the magic happens …
Modulate the tempo in the arrangement view in Live.

You can get some weird results but sometimes the tempo mods takes you nowhere … experiment.

An audio example : Tempo ModulHack
In this example, the tempo modulation goes way too far, it’s not mathematic at all …

To finish, when you do some weird tempo modulations, don’t export the track as you normally would, but resample it.

TIP …
!!! … The resampled audio material contains the warp markers & so the groove markers … !!!


#130

Do something everyday, even if it’s just playing a preset and pressing some keys.


#131

I need to get another copy of Microtonic. Its so good. I wrote a lot of parts for my 2nd record using a crack of it back in the day… I probably need to give them the $$.


#132

I’ve always used microtonic, it’s not the best drum synthesis plugin, but it’s 1 of my favourite. Easy to use & the sound morph is why i use it all the time. This plugin needs a lot of further process to enhance the overall signal, it can sound weak at first, but with the multi out you can shape the sound to your needs.

& now, with the new update, you get access to a deeper sound shaping ( for each individual track ) :
( 1 page at a time … shame ) …

1 : The Euclidean Beat, for each pattern (12 pattern per preset):
Maximum 48 trigs per pattern.
Selectable start point per pattern.
Maximum 48 accent points per pattern.
… So … imagine : 1 : different euclidean values per pattern + 2 : different Transport Option per patch : different step rates ( 1/8 to 1/32 ) + different fill rate ( 2x to 8x ) = Sequence Madness :wink:

2 : FM Tools, for each track ( deeper fm settings ).
3 : Macro Tweak, for a group of tracks ( pitch , time & dynamics ).
4 : Mix Console, for the 8 tracks obviously ( solo !!! finally ;-), mute, phase, mono-stereo, eq, pan & level ).
5 : Note variation ( selectable on muted tracks ) : a range of variation, in %, for each parameter of the selected track. It works like the sound morph slider of the patch, but with different range for each track.
6 : Scale generator : must contain 8 values in semitones ( 1 value per track ) : pitch shift every track.
TIPS : you can turn your 8 drum tracks into a 8 notes Chord synth patch. ( mad ).

So for me, yes, it’s worth every penny.


#133

I was using it in multi out mode, using it primarily for heavily automated FM sort of glitchy sound design percussion.

The kick and snare are samples, but all of the “fly by” sounds in this track are Microtonic.


#134

this track is cool though … nice discrete use of microtonic. it’s nice to drop hints of microtonic here & there, not to let the vst blur the mix, because this microtonic can be very agressive sometimes …


#136

I dont know how to say it but i think magic sub frequency is about just below 100 Hz . Because i always try to make that sub by crazy distortion everything , im pushing 40Hz to 30-50 dB + but Magic sub frequency is not 40 Hz it is higher.


#137

That makes sense as I am fairly certain most people can’t hear 40hz and most listening systems people use don’t even get close to reproducing 40hz.


#138

Stereo expander on master bus is a superb plugin to put on master . :smiley:


#139

I’ve heard from some very good mix engineers that what you think is sub when you hear it, is that 80-100hz range. Similar thing happens at the high frequencies too, what you think is like 15k is more like 9k. The range of frequencies that people can hear may be 20hz-20khz, but really what most people can and will pay attention to is like 70hz-10khz.


#140

Yea. No one hears 40hz. You can feel it physically with a big enough system. Ive had my vision blurred by bass vibrations a few times at clubs and events.


#141

Compression on those low frequencies.

You sure it wasnt the acid reaction to the subwoofers.


#142

Lol. It wasnt acid.