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m8son wrote:I don't think i have used anything other than high or low pass shelves when eqing for ages, i find that if i think i need to do much more i should change the starting sound.
That being said my mixdowns do probably suffer because of it haha
I'd say the opposite, you're aiming to get the maximum amount of quality before any processing.
Lets not forget that EQing is fixing a problem, if your source is perfect to start with then you shouldn't have any issues.
High passing low end off stuff isn't really a fix though, because we are making sub heavy music its kind of a necessity. Just like Jazz drummers would use brushes to not over power the mid-end instruments before the days of EQing/multi channel or play REALLY far away from the mic.
Soulstep wrote: My point is i just wanna hear more vibes
legend4ry wrote:I have heard it used in a broadcasting sense but never for production!
andius wrote:
What do you guys call the imaginary space or 'room' of your tunes (the XYZ locations of sound in your mix)? Am I the only one here that uses this term? haha
Stereo field!
Basically, its like anything for music. It all has 23982813812 terms.
We're all just talking about this :
Exactly!
I guess I've always thought of stereo field to be mostly side to side (XY) imaging.
(But I'm no expert on terminology by all means, learned everything I know about stereo imaging/sound stage from working hands on doing engineering and sound design for film/media; learning things on the spot; not in a classroom or text )
Regardless! I think my original point still holds true whether you call it sound stage/stereo field/banana
andius wrote:I can assure you, I did not come up with the concept or the term sound stage
Yeah, I got you. It is sound stage, have heard and used the term for years (there is also a sound stage in film and tv, different thing).
And yeah, I'm with you high freqs are up and bass is down. But for like sounds that are mostly high freq, or mostly low.
True. Bass sounds will be low and highs will be high, but take something like a hand drum, a good hand drum sample will be rich with harmonic content almost all the way from the low to the high. EQ'ing the bottom end out of a hand drum will drastically raise its position vertically in the mix.
Just as an example of manipulating a sound's location via EQ'ing.
Anyways, "noobs" fire away with some new discussion please, this dead horse has been flogged.
just sounds like a typical vengeance edm snare. i'm sure you could find it one similar to it in any edm sample pack. lots of people don't like that kinda snare but if you're trying to make it, people usually do significantly large EQ boosts at 200-250 hz. other than that, just find a sample you like and maybe do some filtering and cropping to get the sound the way you want it.
can you give me like specific samples (909s) and specific details about eqing and compressing? And also details about filtering in Ableton Live 9? If you have ideas it would be very much appreciated. Because I tried boosting a lot at 200hz in ableton with a 909, but it sounded like shit. Should I layer?
Here's a snare I made a while back but didn't sound anything like what it is now. I recompressed and recompressed then saturated it a few times to get that sound. But I forgot how I created the snare itself. So that's why I'm asking for help because I forgot the process of creating snare from scratch. And I don't like using sample packs btw. So yeah that snare from creep by deadmau5 (the one I showed you before) that's the one I'm trying to recreate. Soundcloud
You could probably snatch the exact snare from a vengeance pack but you want to know how to make it from scratch? well, there's really two ways you could go about it - make a field recording of a snare or something else (rock hitting tree for bonus true head points). Or, synth it. I've synthed snares before in sylenth or massive. Just take a noise oscillator and also a sine or saw or something and get the volume levels right (i can't remember if it was sine or saw when i did it, but the noise was MUCH louder than the harmonic wave). Use the harmonic oscillator to create something of a fundamental, and then use filtering to shape the sound. other effects as well probably.
Take a sample from whichever method you use and then go about with the processes you've been talking about. There aren't really any secret tricks; it sounds like you know most of the stuff you need to know.
fragments wrote:@Trax Check out the Zoom Q4. Can be had for 250USD used. Exactly what you and I are looking for. Seriously considering investing in one of these before a new synth.
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