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Ez Chaps,
I was wondering on techniques I could use to fill out a track. I have studied some waveforms of top producer's work and have noticed they all look pretty 'full' even in the parts of the track where not much is going on. I've heard there is ways to fill out the track so you don't get that nasty digital silence and to give it a thicker, fuller sound so it doesn't sound like its all just been chucked together in its separate sections, but i'm just unsure on how to go about it. I read a thread a while ago about people using vinyl hissing effects; not just to replicate the sound of vinyl but to fill out the track a bit, but i didn't really want to do this and I know there are other ways to go about it, but I am just unsure.
Any help is much appreciated!
Cheers

Ambience/atmosphere or whatever people call it, have a undertone of something whats full and rich what you only hear the clarity of, when theres less things playing.Also massive delay's on randomly processed samples does the trick.

trasient designer ,delay and stereo expander. same methods i always use. cant stress it enough.

trying to fill silence in a track with fx and all that other ruckus makes a track sound too busy.

vinyl crackle is good for filling in gaps. Stuff from the Open impulse response library is excellent:
http://www.irlibrary.org/

Any type of reverb drenched sound is good. Just dont make it too overpowering.

Also consider that having silence in some parts of the track isnt neccesarily a bad thing.

Moxxiedubstep wrote:trasient designer ,delay and stereo expander. same methods i always use. cant stress it enough.

trying to fill silence in a track with fx and all that other ruckus makes a track sound too busy.

Um, how is a transient designer gonna help fill a silent part of a track with atmosphere?

static_cast wrote:

Moxxiedubstep wrote:trasient designer ,delay and stereo expander. same methods i always use. cant stress it enough.

trying to fill silence in a track with fx and all that other ruckus makes a track sound too busy.

Um, how is a transient designer gonna help fill a silent part of a track with atmosphere?

Was just thinking that

JFK wrote: Also consider that having silence in some parts of the track isnt neccesarily a bad thing.

I'm a big beliver in silence in tracks

static_cast wrote:

Moxxiedubstep wrote:trasient designer ,delay and stereo expander. same methods i always use. cant stress it enough.

trying to fill silence in a track with fx and all that other ruckus makes a track sound too busy.

Um, how is a transient designer gonna help fill a silent part of a track with atmosphere?

Doesnt add atmosphere but it can carry the sound through the silence more so theres less you have to fill. Example, in terms of drums and pads.

legend4ry wrote:

JFK wrote: Also consider that having silence in some parts of the track isnt neccesarily a bad thing.

I'm a big beliver in silence in tracks

Yeah, you like the "silence before the drop" thing, just like me.

Not many people seem to bother with it now

JFK wrote:

legend4ry wrote:

JFK wrote: Also consider that having silence in some parts of the track isnt neccesarily a bad thing.

I'm a big beliver in silence in tracks

Yeah, you like the "silence before the drop" thing, just like me.

Not many people seem to bother with it now

I still like the silence before the drop gives it more impact.
I'm more on about in like bridges, intros etc.

Moxxiedubstep wrote:

static_cast wrote:

Moxxiedubstep wrote:trasient designer ,delay and stereo expander. same methods i always use. cant stress it enough.

trying to fill silence in a track with fx and all that other ruckus makes a track sound too busy.

Um, how is a transient designer gonna help fill a silent part of a track with atmosphere?

Doesnt add atmosphere but it can carry the sound through the silence more so theres less you have to fill. Example, in terms of drums and pads.

But a transient designer shapes transients. The attack part of a sound.

Thanks for the tips guys, will give em a try on my current tune in production

static_cast wrote:

Moxxiedubstep wrote:

static_cast wrote:

Moxxiedubstep wrote:trasient designer ,delay and stereo expander. same methods i always use. cant stress it enough.

trying to fill silence in a track with fx and all that other ruckus makes a track sound too busy.

Um, how is a transient designer gonna help fill a silent part of a track with atmosphere?

Doesnt add atmosphere but it can carry the sound through the silence more so theres less you have to fill. Example, in terms of drums and pads.

But a transient designer shapes transients. The attack part of a sound.

A trasient designers can also sustain that same sound, using the attack to specify the range of the sound you want to sustain.

any sort of vinyl crackle, or field recordings of a mellow rainy day, or something like fire crackle can really help glue things together and create a space.

otherwise its just messing around with filtering + layering + envelopes + delay + light amounts of modulation for subtle movement within the "silence"

timestretching is fun as hell and can give some good results. i use ableton's double/halve for nearly every audio clip i use in live, just to see what happens to the sound.

of course, filtered noise with modulation can work well, as can using zap zap lazer sounds ---> pew pewpew pew

paradigm x wrote:pppppaaaaaaauuuuuuuuulllllllsssssssstttttttrrrrrreeeeeeettttttttcccccccchhhhhhh

I see what you did there!

air from breaks and reverb tails

legend4ry wrote:

paradigm x wrote:pppppaaaaaaauuuuuuuuulllllllsssssssstttttttrrrrrreeeeeeettttttttcccccccchhhhhhh

I see what you did there!

Pauls extreme soundstretch is kewl......

JFK wrote:

legend4ry wrote:

paradigm x wrote:pppppaaaaaaauuuuuuuuulllllllsssssssstttttttrrrrrreeeeeeettttttttcccccccchhhhhhh

I see what you did there!

Pauls extreme soundstretch is kewl......

I have made whole tracks with this thing lol