Yeah, that is the thing - as you are learning, you need what you learn to actually make it into your fucking memory, to later be drawn upon. Big problem with weed.
So .... Write stoned, mix on Louie?

But seriously, if you got time to waste, you might as well waste it. Record everything and try to ...

Filter the highs so they don't interfere with the screechy bits and the lows so they don't interfere with the bass.

Hear the unfiltered sound at 1:22

SMOR3S wrote:I mean, it's not bad to use a limiter, on a bus right? like to give stuff headroom, or raise volume, without clipping?.... Cause the limiter will compress whats on that bus, aye?

Or just turn everything else down. Get yourself some real headroom.

Oops. 10 month old thread.

Sorry

How do you know what the root note is?

I've never understood for instance, why A minor is supposedly different to C major, when they're using the same notes? How would you be able to tell one from the other.
"Everything is on the one."

More than 9 times out of ten, the first note of the melody ...

Best tip I can give you is don't do it. Use something else. Vintage warmer can add some nice character to a channel, or even a bus. But at higher settings it will start sounding very harsh and distorted. For limiting a whole track, you really want something a bit more transparent. PSP Xenon has a ...

Had a similar problem with Massive and Cubase. I reinstalled massive and the problem did not go away. Could not open massive in standalone and the project I was working on would not run. In the end I opened a new project and opened up massive. Then shut it down and reopened the project. That worked ...

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is fm8 better than sytrus? Are they equal?

I would say that its a far too advanced level where you can say that one is better then the other. Most probably people never use 20% of the abilities that both of these synths have...
FM8 has been pissing me off lately, with its slow envelopes and hit ...

I sort of fell into using Battery coz it came with Komplete. It's got some good sounds in the library and all the fx and envelopes are a lot of fun. But even after using it for years I still don't find it very intuitive. And it is next to useless for working with breaks.

So now I use Geist from ...

Some tricks to make your subs hit.

Layer a sine with another sine one octave above. Then play around to find the lowest notes that sound good and fit your tune.

Get one or 2 sine waves and distort the crap out of them. Then lowpass that to taste and find the best notes as above.

Get an 808 sample ...

There are no wrong notes. Just better choices

I mean everything's been covered but yea, it kinda sounds like whatever book your using is a bit wack. Sounds like they're trying to tell you HOW to make use it.
Everybody gotta start somewhere. If you try to learn everything at once you get nowhere ...

You can either give up and keep doing what you are used to, or you can push on and find out the theory behind all that stuff that doesn't fit the basic rules you have learned so far. Theory is there for the music. Not the other way round. If it sounds good, then it is up to music theory to explain ...

So only edit them back half way. You can probably do it automatically. Its called Iterative Quantise in Cubase, but I'm sure all the other DAWs will have a similar feature.