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I'm never too obsessed about technicalities anyway, just wanna get on with my ideas.

Definitely and that's the right attitude. Limiting is a very drastic effect that has become way too common place, but it's not a bad idea to have it on the mastertrack before you start like Imami is saying, because then you will notice the limiters behaviour throughout the production taking its form, instead of it being the last ingredient that drastically changes the whole sound like it was steroids or something. In theory you could have a bunch of compressors in a row with different setting and still not compress as much as a single limiter, even if the comp is compressing another compressors compressing. , then again I can't even count so don't trust my math .

imami wrote:i do everything with the mastering stuff already on the bus lol

you master before making a track?

Whatever works i guess.

yeah lol

anyway im releasing on LuckyMe so i guess i must be doing something right

imami wrote:anyway im releasing on LuckyMe

Lyeform wrote:Whatever works i guess

big ups on releasing on LuckyMe

thanks matey

seriously though i have been doing this for a long time and i have done things a lot of different ways. I used to be all 'sound engineer' about it but it's not really for me in the end (i do know the 'proper' way to do it for what it's worth). I realise i have a weird way of doing some things that could be considered heresy by sounds professionals but it's just what works for me for whatever reason

Soundcloud
any thoughts on this one?

imami wrote:thanks matey

seriously though i have been doing this for a long time and i have done things a lot of different ways. I used to be all 'sound engineer' about it but it's not really for me in the end (i do know the 'proper' way to do it for what it's worth). I realise i have a weird way of doing some things that could be considered heresy by sounds professionals but it's just what works for me for whatever reason

TBH i sometimes write with a limiter on, and a few times with a tight reverb on.

Also accidentally wrote the track "Past Lies" with Ozone on the master which i did on a home master for another track (and forgot to delete)

I do think you get a better finished product most of the time if you take it all off after its finished, mix it, then bounce and then home master.

I assume LuckyMe are mastering your release?

Mason wrote:Soundcloud
any thoughts on this one?

great melody and arrangement with the drums/percs. track is on point. feelin that
nice pad work too

as for writing with mastering fx on the bus, i think it's fine if that's your cup of tea but i'd bypass or leave out any master EQ til i were finished mixing. I know a few people who mix into their bus compressor >limiter because "that's how it's going to end up sounding anyway" but i would insert an EQ between them only after my mix was done

No good trying to EQ elements while there's an EQ curve applied to the master bus

Mason wrote:Soundcloud
any thoughts on this one?

Sounds like a great tune that's missing some defining character like snippets from a vocal sample (maybe a film sample?)

and maybe mix up those little melody's in the second half - maybe bring in a new element?

Lye Form wrote:

imami wrote:thanks matey

seriously though i have been doing this for a long time and i have done things a lot of different ways. I used to be all 'sound engineer' about it but it's not really for me in the end (i do know the 'proper' way to do it for what it's worth). I realise i have a weird way of doing some things that could be considered heresy by sounds professionals but it's just what works for me for whatever reason

TBH i sometimes write with a limiter on, and a few times with a tight reverb on.

Also accidentally wrote the track "Past Lies" with Ozone on the master which i did on a home master for another track (and forgot to delete)

I do think you get a better finished product most of the time if you take it all off after its finished, mix it, then bounce and then home master.

I assume LuckyMe are mastering your release?

Oh yeah for sure they will be having a real mastering engineer do it for the release

maybe i am just a lazy tnuc lol

Today wrote:No good trying to EQ elements while there's an EQ curve applied to the master bus

yeah you do have a point there

Imami
It's simple you have to have a certain loudness and you have worked to the point where you trust your ears.
Congrats on the luckyme release btw, sweet track.

thanks man!

yeah i guess that it

Just out of curiosity mate, have you sent out a lot of demos or did they notice your work somehow?

I'm having trouble understanding how stuff like that works.

i've been sending stuff out for a while, i kinda hate doing it but you have to really.. Marry anne hobbs was playing my stuff on xfm like a year and a half ago but that didn't really go anywhere for some reason.

was supposed to release some stuff last year but got dicked around like mad by some labels (a lot of them are fickle stnuc).. now i am glad that i didn't release anything with them though

i linked up with luckyme after Eclair Fifi favorited something on my soundcloud so i sent it to her and it just kinda went from there

they were playing my tunes on rinsefm like every time they were on but it still took a few months for them to approach me about a release

I sent Ben UFO some stuff like a year ago and we chatted by email a bit. He gave me the best advice i've ever gotten. He said that he liked the stuff i had sent him at the time but that it was too much like what other people were doing. He gave me the best advice i've gotten from anyone, which is: make something unique

there are many young producers who would do well to heed that advice... problem is making something unique AND good

i don't think my music is groundbreaking or anything but it's different enough to where people notice

It depends who you are sending to.

Ben UFO loves unique stuff, you can tell from listening to his sets.

If you are sending to Youngsta/ Distance you need to fit their aesthetic very closely.

yeah i guess you have a point

but you have to have something that sets you apart surely? otherwise what reason do people have to seek you out?

imami wrote:yeah i guess you have a point

but you have to have something that sets you apart surely? otherwise what reason do people have to seek you out?

Sometimes pure production value is what people want. basic ideas very well executed.

Personally i like fantastic ideas in music and the production comes wayyyyyyyy second.

Today wrote: great melody and arrangement with the drums/percs. track is on point. feelin that
nice pad work too

Lye Form wrote:
Sounds like a great tune that's missing some defining character like snippets from a vocal sample (maybe a film sample?)

and maybe mix up those little melody's in the second half - maybe bring in a new element?

safe guys, i'll get on the look out for film samples haha