Share any music production tips and tricks you discovered


#163

Remember when before computer music…rockers held their guitar towards the Amp to get a feedback signal and then make noise with it…

I think it can be done with hardware synths with an Amp and a distortion pedal.


#164

Currently holding my keyboard up to an amp cranked all the way up and it’s not feeding back. What do?


#165

You can get feedback with delay… set the range to a positive number (above 0 db) and it gets louder with each echo. It will overload pretty fast but you can automate that parameter and harness the effect… have a panic button ready… scary af when it gets away from you :zap::sunglasses:


#166

Tape a microphone to your keyboard … unplug the the keyboard… plug in the microphone… hold the keyboard and microphone up to the amp… block your ears and run away.


#167

Always ensure you have a Pultec and Maag EQ in your arsenal


#168

Give up


#169

endlessly processing digital sounds through analogue gear is one of my favorite things to play with


#170

Fls Peak controller being used to trigger reverb and other effects like gross beat…etc…

But Peak controller being used to modulate buffer override = computer crash.

So drums with peak controller which is routed to trigger gross beat that is modding a granular synth that is being automated…result…switching glitch patterns in a rhythmic sequence…which sounds like complextro.


#171

Last step is glueing all together.


#172

i’ve been playing around with sidechaining ambient pads to a usually muted field recording with exagerrated compressor settings for some unstable garbled tim hecker vibes


#173

Finally got the basics of the glitch vaetxh woulg sound…

It’s a combination of beat slicing, harmor scrubbing, granular synthesis, and slicing splicing audio clips…

With crap loads of automation of various fx and parameters…like filters reverb etc…

Also love philter for custom gates and automate switching gross beat patterns for extra glitchiness

And mix and match all the different generations of all different sounds together.:grin:


#174

Then completely smashing all the dynamics out of everything :grinning: seriously though, Clouth like’em some of that multiband compression. I think some of his more melodic stuff loses an emotional quality though because of his fondness of it, but for his glitchfests, it just tends to make you not allowed to be unaware of every little micro edit. Its like getting to experience ADHD without none of the life ruining, debilitating side affects of its neural inflammation :hushed:


#176

New York compression for life. N-Y Style Compression Forever!

But instead of compression i used one channel mega reverbered and one dry and mixed them. Boy, i can’t describe how cool it was! NY compression Forever !


#177

Also that professional sound comes from every track processing very good. And in the end when you process each track you will have that master sound. Not applying crazy fx on master 10 times. But you can enchant your track that is mastering. Thats what Tomy Declerque said.

TLDR You don’t get pro sound from mastering. You get it from each track and in the end you get pro sounding master when all tracks are playing.


i.e. process each track 10 times not master

#178

how many sausage fatteners per track are we talkin


#179

I’m more of a camelphat man myself. 3-4 instances per channel often does the trick.


#180

I just use sound goodizer to make my sounds sound good.


#181

OTT on everything


#182

duplicate your whole master and hard pan it left and right for that big wide wall of sound


#183

I do that with custom gates with love phliter, glitching the sequence with gross beat and buffer override and an lfo on the panning to get a wierd glitch cross rhythm going.