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I almost always have a limiter on the master because I'm not always at the studio while writting and don't have headphones, so laptop speakers FTW (it's the only way to get it loud in my laptop). Also, during sound design, I think it's a must. There are times where your crank the resonance/feedback too much and a limiter can save your ears and your speakers

I only take it out during mixdown, but I only do that after the track is finished.

it can be a good thing when fucking about with delay feedback...
i can't remember who to credit this with, but it's a good one : "the dirtiest sounds come from the cleanest waveforms"

Sonika wrote:If you're using logic, lay out your drums samples in the arrange view, as audio files. It changed my entire production process, giving me more flexibility and it's generally just BETTER.

This. I even find it easier aswell.

I find that spending too much time fidling with a sampler loading and queing samples takes away from any creative energy i have going into a session... so i second and third the comments above for just plugging in your samples via the arrange bar.. its easier and gives your sound more visibility..

raincoatdisaster wrote:I find that spending too much time fidling with a sampler loading and queing samples takes away from any creative energy i have going into a session... so i second and third the comments above for just plugging in your samples via the arrange bar.. its easier and gives your sound more visibility..

As well as, at least in logic, giving it the maximum flexibility as far as chopping up, editing, and processing the samples goes

e-motion wrote:I almost always have a limiter on the master because I'm not always at the studio while writting and don't have headphones, so laptop speakers FTW (it's the only way to get it loud in my laptop). Also, during sound design, I think it's a must. There are times where your crank the resonance/feedback too much and a limiter can save your ears and your speakers

I only take it out during mixdown, but I only do that after the track is finished.

or you could you know, turn the volume down down.
you're producing on laptop speakers?

epochalypso wrote:

e-motion wrote:I almost always have a limiter on the master because I'm not always at the studio while writting and don't have headphones, so laptop speakers FTW (it's the only way to get it loud in my laptop). Also, during sound design, I think it's a must. There are times where your crank the resonance/feedback too much and a limiter can save your ears and your speakers

I only take it out during mixdown, but I only do that after the track is finished.

or you could you know, turn the volume down down.
you're producing on laptop speakers?

I like to sound design with the volume high as hell

When I'm writting, arround 50% of the time, yes, laptop speakers. Sometimes I get inspiration by changing places. Mixing and Sound Design is 100% at the studio obviously. I could be using headphones but too much years raving and Dj'ing cracked my ears a bit, I must keep em safe, that's why I don't like headphones.

e-motion wrote:

epochalypso wrote:

e-motion wrote:I almost always have a limiter on the master because I'm not always at the studio while writting and don't have headphones, so laptop speakers FTW (it's the only way to get it loud in my laptop). Also, during sound design, I think it's a must. There are times where your crank the resonance/feedback too much and a limiter can save your ears and your speakers

I only take it out during mixdown, but I only do that after the track is finished.

or you could you know, turn the volume down down.
you're producing on laptop speakers?

I like to sound design with the volume high as hell

When I'm writting, arround 50% of the time, yes, laptop speakers. Sometimes I get inspiration by changing places. Mixing and Sound Design is 100% at the studio obviously. I could be using headphones but too much years raving and Dj'ing cracked my ears a bit, I must keep em safe, that's why I don't like headphones.

ummmmm

epochalypso wrote:

e-motion wrote:

epochalypso wrote:

e-motion wrote:I almost always have a limiter on the master because I'm not always at the studio while writting and don't have headphones, so laptop speakers FTW (it's the only way to get it loud in my laptop). Also, during sound design, I think it's a must. There are times where your crank the resonance/feedback too much and a limiter can save your ears and your speakers

I only take it out during mixdown, but I only do that after the track is finished.

or you could you know, turn the volume down down.
you're producing on laptop speakers?

I like to sound design with the volume high as hell

When I'm writting, arround 50% of the time, yes, laptop speakers. Sometimes I get inspiration by changing places. Mixing and Sound Design is 100% at the studio obviously. I could be using headphones but too much years raving and Dj'ing cracked my ears a bit, I must keep em safe, that's why I don't like headphones.

ummmmm

My Alesis M1 Active can't blow my ears, headphones can.

e-motion wrote:

epochalypso wrote:

e-motion wrote:

epochalypso wrote:

e-motion wrote:I almost always have a limiter on the master because I'm not always at the studio while writting and don't have headphones, so laptop speakers FTW (it's the only way to get it loud in my laptop). Also, during sound design, I think it's a must. There are times where your crank the resonance/feedback too much and a limiter can save your ears and your speakers

I only take it out during mixdown, but I only do that after the track is finished.

or you could you know, turn the volume down down.
you're producing on laptop speakers?

I like to sound design with the volume high as hell

When I'm writting, arround 50% of the time, yes, laptop speakers. Sometimes I get inspiration by changing places. Mixing and Sound Design is 100% at the studio obviously. I could be using headphones but too much years raving and Dj'ing cracked my ears a bit, I must keep em safe, that's why I don't like headphones.

ummmmm

My Alesis M1 Active can't blow my ears, headphones can.

Can't? I challenge you.

In addition to using the sequencer to lay out drum samples, try turning off "snap" or "quantization" before dropping in your drums. Easier to swing stuff and the little timing variations give the whole tune a much more natural feel.

hudson wrote:In addition to using the sequencer to lay out drum samples, try turning off "snap" or "quantization" before dropping in your drums. Easier to swing stuff and the little timing variations give the whole tune a much more natural feel.

Hell yeah. Probably the most important tip I've followed yet. I dunno why i thought i HAD to have snap on.

delete

Logic's distortion has a 'level compensation' switch in the bottom secret section. (this plugin just became at least x10 more useful)

Create chords on guitar / Piano / pluck synth.

Apply tape delay and mess around with the time delay. Don't forget to resample it. Then add a large a reverb to this, filter and EQ it to make it clean and smooth.

Now you have perfect ambiance sounds

e-motion wrote:

Trainrek wrote:

ChadDub wrote:My tip is to always use an EQ first and last in your signal chain because that's just how it goes.

having eq last in the signal chain is a fucking big no for me, considering i almost always put shaack transient shaper on EVERYTHING.
for example, say i have a nice punchy snare that sits at -10, when i add an eq on, even WITHOUT boosting/cutting anything, it shoots to like -7..

if anyone could explain how this happens it would be cool

If it jumps 3db with default settings, something is wrong with the EQ plugin you're using :S

Fruity Parametric EQ 2
And i dont mean it just jumps 3db every time i put it on a channel, its only when I use it AFTER transient shapers.

hudson wrote:

Sonika wrote: Annnnndddd my random tip of the day is that I've recently found that compression is overrated, and it cam generally be created with better results through EQ.
And EQ is everything.

Ha. Just wait until you do something with any live instruments or vocalists.
My tip is... um... compression is awesome, learn to use it properly. It can make drums hits (especially kicks) sound massive, it can help fit things into your box, it can hold your mix together when used on tracks with inconsistent volume, it can make two layered sounds sound like one, etc. etc.
Don't underestimate compression, especially when you're a newb. It's a little conceited to claim that one of the most used studio tools is overrated when you've only been producing for, like, six months and have never mixed or recorded a full band, don't you think?

Gotta say I'm with Hudson on this one. But when I do use compression, I use it wisely and with purpose. It seems like so many newer producers use compression because they heard it's what you do and makes things sound soooo great. It can do wonders on some things, but it can turn almost anything to shit if it's used the wrong way.

To use reverb to thicken the sound (rather than for a deliberate, creative, overt effect), turn the wet signal up until you can hear the reverb, then pull it back a little.
Use different reverb setting on different instruments. This has a psychological effect that sounds like everything is in a different room, which is impossible.

If you're going to EQ out subbass and/or bass, do it before compressing. The larger soundwaves will more greatly affect the compressor - Then EQ the sound after.


My stock processing on each instrument is
EQ out subbass/bass (optional)
compress (6:1 ratio)
EQ to taste
hint of reverb

I do this while listening in context, and not with the signal on solo.

cmgoodman1226 wrote:

hudson wrote:

Sonika wrote: Annnnndddd my random tip of the day is that I've recently found that compression is overrated, and it cam generally be created with better results through EQ.
And EQ is everything.

Ha. Just wait until you do something with any live instruments or vocalists.
My tip is... um... compression is awesome, learn to use it properly. It can make drums hits (especially kicks) sound massive, it can help fit things into your box, it can hold your mix together when used on tracks with inconsistent volume, it can make two layered sounds sound like one, etc. etc.
Don't underestimate compression, especially when you're a newb. It's a little conceited to claim that one of the most used studio tools is overrated when you've only been producing for, like, six months and have never mixed or recorded a full band, don't you think?

Gotta say I'm with Hudson on this one. But when I do use compression, I use it wisely and with purpose. It seems like so many newer producers use compression because they heard it's what you do and makes things sound soooo great. It can do wonders on some things, but it can turn almost anything to shit if it's used the wrong way.

the thing is, you could say the same thing about any plugin...
my rule of thumb is if it sounds good, who gives a fuck whether it is "right" to use it or not.

I compress (on the bus, not 1 by 1) and transient shape (1 by 1 and sometimes on the bus) the shit out of my drums, and most people go "arr no you should be choosing good source samples and only need to apply subtle eq"

NO. If compressing the shit out of anything makes it sound better, why would you NOT do it? its like finding a shortcut in a race, but not using it because its not the "right" part of the track.

just my 2 cents.

Trainrek wrote:

cmgoodman1226 wrote:

hudson wrote:

Sonika wrote: Annnnndddd my random tip of the day is that I've recently found that compression is overrated, and it cam generally be created with better results through EQ.
And EQ is everything.

Ha. Just wait until you do something with any live instruments or vocalists.
My tip is... um... compression is awesome, learn to use it properly. It can make drums hits (especially kicks) sound massive, it can help fit things into your box, it can hold your mix together when used on tracks with inconsistent volume, it can make two layered sounds sound like one, etc. etc.
Don't underestimate compression, especially when you're a newb. It's a little conceited to claim that one of the most used studio tools is overrated when you've only been producing for, like, six months and have never mixed or recorded a full band, don't you think?

Gotta say I'm with Hudson on this one. But when I do use compression, I use it wisely and with purpose. It seems like so many newer producers use compression because they heard it's what you do and makes things sound soooo great. It can do wonders on some things, but it can turn almost anything to shit if it's used the wrong way.

the thing is, you could say the same thing about any plugin...
my rule of thumb is if it sounds good, who gives a fuck whether it is "right" to use it or not.

I compress (on the bus, not 1 by 1) and transient shape (1 by 1 and sometimes on the bus) the shit out of my drums, and most people go "arr no you should be choosing good source samples and only need to apply subtle eq"

NO. If compressing the shit out of anything makes it sound better, why would you NOT do it? its like finding a shortcut in a race, but not using it because its not the "right" part of the track.

just my 2 cents.

I can't say that I've ever heard something that was super compressed and thought, "this sounds great". Usually, it sounds shit to me.