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Yeah, thats what I ended up doing...still an annoyance seeing as my computer is on its last legs bouncing takes so long .

legend4ry wrote:

Depone wrote:

legend4ry wrote:Is there such thing is retrigging when it comes to delays?

Why not bounce each note on a c-c scale with the delay on, load each recorded note to the samplers note. Now when you play a note the delay is sorta re-triggering

I had the sound and the perfect delay for it - just wondered if it was possible to retrigger instead of having to automation the feedback when I want the delay to trickle out further.

Automating the feedback is just so much easier though.
That or bouncing different feedbacks and cutting them up.

ChadDub wrote:producing 4 1 year and still cant mke gd musc.

1 year is nothing in terms of production, then again maybe less time on here and more time producing might have made that year more productive

symmetricalsounds wrote:

ChadDub wrote:producing 4 1 year and still cant mke gd musc.

1 year is nothing in terms of production, then again maybe less time on here and more time producing might have made that year more productive

1 constructive year on DSF is better than 1 year of telling folks your a BEAST.

I watched Depones tutorial videos and they are very helpful! I notice though that you always put your compression after eq. Is this a case by case basis or something you do regularly?

Is there a way to monitor my instruments in ableton without it doubling the effect of my sends and sidechains? Its really annoying... im not sure if that makes any sense.

Manic Harmonic wrote:Is there a way to monitor my instruments in ableton without it doubling the effect of my sends and sidechains? Its really annoying... im not sure if that makes any sense.

think it might be time for screenshots and take this over to the ableton q+a thread, i think i know what you're getting at but not sure.

Electric_Head wrote:

symmetricalsounds wrote:

ChadDub wrote:producing 4 1 year and still cant mke gd musc.

1 year is nothing in terms of production, then again maybe less time on here and more time producing might have made that year more productive

1 constructive year on DSF is better than 1 year of telling folks your a BEAST.

valaB wrote:I watched Depones tutorial videos and they are very helpful! I notice though that you always put your compression after eq. Is this a case by case basis or something you do regularly?

Ok well let me put it this way, I EQ for tonal quality, then I compress for dynamic control (If i need any)

If I EQ after compression, im going to be boosting peak frequencies that I have just been compressing, and its a bit backwards. This being said, theres no rules, just what sounds good to you. try experiment with diferent combos of dynamics and eq / fx, you will be surprised at what can be done

true depone, but also compressing can bring out some frequencies you've eq'ed out so sometimes eq'ing again may be necessary.

as usual it's a case of hearing what needs to be done rather than trying to apply forumula.

symmetricalsounds wrote:

Manic Harmonic wrote:

symmetricalsounds wrote:no worries, there's a desktop background with loads of keyboard shortcuts on there. i had that for a while and learnt most of them from there.

here you go

http://www.pulsarmedia.eu/data/media/84 ... ildtek.png

Is there one for mac? I couldn't find one. Pretty much the same but it would be nice to have a mac one.

when you see ctrl just imagine apple key, job done

I know, it just bugs me that it says control. I'm tempted to replace every control on the background with command in photoshop

Depone wrote:

valaB wrote:I watched Depones tutorial videos and they are very helpful! I notice though that you always put your compression after eq. Is this a case by case basis or something you do regularly?

Ok well let me put it this way, I EQ for tonal quality, then I compress for dynamic control (If i need any)

If I EQ after compression, im going to be boosting peak frequencies that I have just been compressing, and its a bit backwards. This being said, theres no rules, just what sounds good to you. try experiment with diferent combos of dynamics and eq / fx, you will be surprised at what can be done

the wonder of plug-in land is that you can do both-- do cuts and boosts and feed your compressor exactly what you want to be compressed, and then do it JoeMeek style and (at least for me) do boosts after you've done your compression.

stacking stuff is absolutely amazing-- 1 compressor for tone, 1 for control, 1 for sidechaining. In the world of hardware, that's like $6000 worth of gear.

Been producing for x years still cant make bangers

erratech wrote:Been producing for x years still cant make bangers

fry them lightly in some olive oil.
the mash is another story

2 years in
I still can't do that echoing reverb effect or make echo sounds to hit in a way that its kind of quantized if that makes any sense. Basically the echo goes off in a structured way like every 1/4 note

1.5years and still trouble with a chest shaking sub, rediculous

Depone wrote:This thread is for those questions about music production/technonogy that is still unanswered/explored after all this time...

Ill start;
If i have a mono kickdrum on a stereo channel, does this matter at all? Wil there be odd issues with phase? Even with the balance centred?

I'm almost certain that theres no problem with this but its one of those questions i dont dare ask, but this thread is for exactly that!

Question away!

Just skimmed the whole thread and i dont think this has been conclusively answered so;

'as far as i understand it' ...

Years ago, we all had mono (hardware!) mixers. Made it a bit easier to understand.

A stereo channel is just two mono channels, linked together for simplicity, panned hard left and hard right. This is physically how it used to be done on a mono mixer; two channels with the pans either side, had to move both faders at once. A stereo channel will just simplify this.

A stereo signal is one where the left and right (think channels one and two) are different in some way; phase, frequency response, etc. To make it 'stereo' they must be panned hard left and right, otherwise phase issues may occur. But ultimately its two two signals. Remember, a stereo channel is just a convenience.

Hence if you have a mono kick sent to a stereo group, each side will be identical; they should cancel if phase of one side is reversed. So there shoudlnt be an issue with this. I do this all the time fwiw; send the mono outs of a drum machine to a stereo group. Pan the hats a bit off centre, whatever.

I dont know how logic works tbh but thats the general principle.

If youre ever concerned, dfx monomker plugin can 'monoise' a stereo channel. So you can hear whats going on. Loads of stereo stuff collapses to crap in mono, and this is one of the hardest parts of mixing IMO; making a mono compatible stereo mix.

'Yeah but who uses mono these days'? i hear you cry most PA systems are mono, for one thing.

HTH.

paradigm x wrote:

Depone wrote:This thread is for those questions about music production/technonogy that is still unanswered/explored after all this time...

Ill start;
If i have a mono kickdrum on a stereo channel, does this matter at all? Wil there be odd issues with phase? Even with the balance centred?

I'm almost certain that theres no problem with this but its one of those questions i dont dare ask, but this thread is for exactly that!

Question away!

Just skimmed the whole thread and i dont think this has been conclusively answered so;

'as far as i understand it' ...

Years ago, we all had mono (hardware!) mixers. Made it a bit easier to understand.

A stereo channel is just two mono channels, linked together for simplicity, panned hard left and hard right. This is physically how it used to be done on a mono mixer; two channels with the pans either side, had to move both faders at once. A stereo channel will just simplify this.

A stereo signal is one where the left and right (think channels one and two) are different in some way; phase, frequency response, etc. To make it 'stereo' they must be panned hard left and right, otherwise phase issues may occur. But ultimately its two two signals. Remember, a stereo channel is just a convenience.

Hence if you have a mono kick sent to a stereo group, each side will be identical; they should cancel if phase of one side is reversed. So there shoudlnt be an issue with this. I do this all the time fwiw; send the mono outs of a drum machine to a stereo group. Pan the hats a bit off centre, whatever.

I dont know how logic works tbh but thats the general principle.

If youre ever concerned, dfx monomker plugin can 'monoise' a stereo channel. So you can hear whats going on. Loads of stereo stuff collapses to crap in mono, and this is one of the hardest parts of mixing IMO; making a mono compatible stereo mix.

'Yeah but who uses mono these days'? i hear you cry most PA systems are mono, for one thing.

HTH.

Yeah Im quite well versed in analogue routing world, music tech training and band recording etc.. I was more concerned in the digital world with diferent pan laws etc...
It was more of an example question, I sorta already knew the answer, but wanted to get the ball rolling...

oh, well waste of time typing all that out.

Pan laws are how much each channel is attenuated in teh centre.

Thanks for you respone Depone! I'll keep experimenting. Paradigm not a waste, I got something outa it