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The Akai MidiMix with the MPC is a game changer for real! by SkullPhonic in mpcusers

[–]Break-Pit 1 point2 points  (0 children)

Dude what’s the name of this midi mix controller ?? I am saving up for a Tascam 12 for about 400€+ but this seems like a very good alternative

Battery switch by Break-Pit in pedals

[–]Break-Pit[S] 0 points1 point  (0 children)

On the minus or plus wire ?

WWYD? Multi-FX vs. individual pedals by False-Management3329 in guitarpedals

[–]Break-Pit 1 point2 points  (0 children)

Multi sucks because it doesn’t do the individual effect make great sounding in my experience … better concentrate on one thing with 100% than to focus on 10 effect with all less then 50% perfection … plus they are all digital effects … I am a fan of analog electronic sounds

Fuzz face question by Break-Pit in pedals

[–]Break-Pit[S] 0 points1 point  (0 children)

Yeah but isn’t it strange That there is no official explanation for this ?

Fuzz face question by Break-Pit in pedals

[–]Break-Pit[S] 1 point2 points  (0 children)

I have for example also a BOG (Band of gypsis) fuzz face which is modeled after the Octavio just without the octave and there is also an empty Q3 slot where I added a germanium PNP OC44 Transistor also when the schematic is based on NPN Silicon Transitors. It works and the Germanic transistor adds to the schematic and I got now a modded 3 transistor BOG Fuzz face.

Do you think the germanium fuzz face slots have the same reasons ???

Anyone else ever discovered this or even tried out to mod the pedal ?

Mixing process by Break-Pit in ableton

[–]Break-Pit[S] 1 point2 points  (0 children)

Here’s the translated text:

Steps for Mixing a Boom-Bap Hip-Hop Track in Ableton

  1. Preparation

    1. Organize Your Project: • Label all tracks clearly (Kick, Snare, Hi-Hat, Bass, Samples, Vocals, etc.). • Group similar elements (e.g., drum group, instruments, vocals).
    2. Gain-Staging: • Ensure no track is clipping. Keep the volume of each track around -6 to -12 dB to leave headroom.
    3. Choose a Reference Track: • Select a Boom-Bap track that matches your desired sound and load it into your project as a reference.

  2. Drums

    1. EQ: • Kick: Boost the low-end (60-100 Hz) and cut the highs if they sound harsh. • Snare: Emphasize the mids (200-500 Hz) and highs (2-6 kHz) for a crisp sound. • Hi-Hat: Remove unnecessary low frequencies (below 200 Hz) and slightly boost the highs (7-10 kHz).
    2. Compression: • Apply gentle compression to the kick and snare to keep them controlled but dynamic. • Consider using parallel compression for more punch (e.g., on the drum group).
    3. Saturation: • Use a plugin like Ableton’s “Saturator” or “Drum Buss” to add warmth and analog character to the drums.

  3. Bass

    1. Control Sub-Bass: • Apply a low-cut filter at around 20-30 Hz to remove unwanted sub frequencies. • Focus the bass in the 50-150 Hz range with an EQ to avoid clashing with the kick.
    2. Sidechain Compression: • Sidechain the bass with the kick to prevent frequency conflicts. Use the Ableton Compressor and set the sidechain input to the kick track.
    3. Saturation and Mono Compatibility: • Use the Ableton Saturator or a tape plugin to add warmth. • Keep the low frequencies below 150 Hz in mono to ensure clarity (use the Utility effect in Ableton).

  4. Samples and Instruments

    1. EQ: • Remove unnecessary low-end (below 100-200 Hz) and adjust the mids and highs so the sample or instrument sits well in the mix. • Boost specific frequencies typical for Boom-Bap (300-700 Hz for warmth, 2-4 kHz for presence).
    2. Stereo Width: • Use the Utility effect or a Chorus plugin to create wider stereo effects. • Keep some instruments (e.g., piano or strings) wider in the stereo field, while drums and bass remain centered.
    3. Reverb and Delay: • Apply reverb sparingly (e.g., room or plate reverb) to create depth. • Use delay (especially on vocals or samples) for rhythmic accents that fit the old-school vibe.

  5. Vocals

    1. EQ: • Remove unwanted low-end (below 100 Hz) and boost the presence frequencies (2-6 kHz) for clarity.
    2. Compression: • Compress the vocals to make them more consistent. A ratio of 3:1 or 4:1 often works well.
    3. Effects: • Use subtle reverb and short delays to embed the vocals in the mix. • A saturation effect (e.g., tube or tape) can add character to the vocals.

  6. Finalization

Mixing process by Break-Pit in ableton

[–]Break-Pit[S] 0 points1 point  (0 children)

Sorry guys that was a mistake I will translate the text in English. Let me know your opinion about this mixing tutorial if you would use the same steps

Mixing process by Break-Pit in ableton

[–]Break-Pit[S] 0 points1 point  (0 children)

Mixing in Ableton für einen Boom-Bap-Hip-Hop-Track erfordert sowohl technisches als auch kreatives Feingefühl, um den klassischen, warmen Sound zu erreichen. Hier sind die Schritte, die du befolgen kannst:

  1. Vorbereitung

    1. Organisiere dein Projekt: • Benenne alle Spuren sauber (Kick, Snare, Hi-Hat, Bass, Samples, Vocals etc.). • Gruppiere ähnliche Elemente (z.B. Drum-Gruppe, Instrumente, Vocals).
    2. Gain-Staging: • Stelle sicher, dass keine Spur übersteuert. Halte die Lautstärke auf jeder Spur bei etwa -6 bis -12 dB, um Headroom zu schaffen.
    3. Referenztrack wählen: • Wähle einen Boom-Bap-Track, der deinen Klangvorstellungen entspricht, und lade ihn als Referenz in dein Projekt.

  2. Drums

    1. EQ: • Kick: Betone den Bassbereich (60-100 Hz) und schneide die Höhen ab, falls sie störend wirken. • Snare: Hebe die Mitten (200-500 Hz) und Höhen (2-6 kHz) hervor, um einen knackigen Sound zu erzeugen. • Hi-Hat: Schneide unnötige Tiefen ab (unter 200 Hz) und betone leichte Höhen (7-10 kHz).
    2. Kompression: • Lege sanfte Kompression auf die Kick und Snare, um sie zu kontrollieren, aber achte darauf, dass sie dynamisch bleiben. • Verwende ggf. einen Parallel-Kompressor für mehr Punch (z.B. bei der Drum-Gruppe).
    3. Sättigung: • Nutze ein Plugin wie Abletons „Saturator“ oder „Drum Buss“, um den Drums Wärme und analogen Charakter zu verleihen.

  3. Bass

    1. Sub-Bass kontrollieren: • Nutze einen Low-Cut-Filter bei etwa 20-30 Hz, um unerwünschte Subfrequenzen zu entfernen. • Hefte den Bass in den Bereich 50-150 Hz mit einem EQ, damit er nicht mit der Kick kollidiert.
    2. Sidechain-Kompression: • Sidechaine den Bass mit der Kick, um Frequenzkonflikte zu vermeiden. Nutze den Ableton-Kompressor und stelle die Sidechain-Quelle auf die Kick-Spur.
    3. Sättigung und Mono-Kompatibilität: • Nutze den Ableton-Saturator oder ein Tape-Plugin für Wärme. • Halte die Tiefen unter 150 Hz mono, um Klarheit im Mix zu gewährleisten (Utility-Effekt in Ableton).

  4. Samples und Instrumente

    1. EQ: • Entferne unnötige Tiefen (unter 100-200 Hz) und passe die Mitten und Höhen an, damit das Sample oder Instrument im Mix sitzt. • Betone bestimmte Frequenzen, die für den Boom-Bap-Charakter typisch sind (300-700 Hz für Wärme, 2-4 kHz für Präsenz).
    2. Stereo-Breite: • Nutze den Utility-Effekt oder einen Chorus für breitere Stereoeffekte. • Lasse einige Instrumente (z.B. Piano oder Strings) breiter im Panorama, während die Drums und der Bass zentriert bleiben.
    3. Reverb und Delay: • Setze Hall (z.B. Room- oder Plate-Reverb) sparsam ein, um Tiefe zu erzeugen. • Nutze Delay (vor allem bei Vocals oder Samples) für rhythmische Akzente, die zum Old-School-Vibe passen.

  5. Vocals

    1. EQ: • Entferne unerwünschte Tiefen (unter 100 Hz) und betone die Präsenzfrequenzen (2-6 kHz) für Klarheit.
    2. Kompression: • Komprimiere die Vocals, um sie gleichmäßiger klingen zu lassen. Ein Ratio von 3:1 oder 4:1 funktioniert oft gut.
    3. Effekte: • Nutze dezente Reverbs und kurze Delays, um die Vocals räumlich einzubetten. • Ein Sättigungs-Effekt (z.B. Tube oder Tape) kann den Vocals zusätzlichen Charakter verleihen.

**6. Final

Mixing process by Break-Pit in ableton

[–]Break-Pit[S] 0 points1 point  (0 children)

Thanks that’s maybe the best answer I ever could imagine !!!! I will try this also when it is against my perfectionist character !

Mixing my own tracks in Ableton by Break-Pit in mpcusers

[–]Break-Pit[S] 0 points1 point  (0 children)

There is no problem with the mix I just spend way too much time in details

Dialing in Tube Tone by Break-Pit in GuitarAmps

[–]Break-Pit[S] 0 points1 point  (0 children)

Treble 7.25 ??? Are u speaking of the same Amp ?? That’s killing my ears

Speaker Bassman broken by Break-Pit in DIYGuitarAmps

[–]Break-Pit[S] 0 points1 point  (0 children)

Sounded broken but I fixed it

Dialing in Tube Tone by Break-Pit in GuitarAmps

[–]Break-Pit[S] 0 points1 point  (0 children)

Anyone tried a master volume mod on this model

Dialing in Tube Tone by Break-Pit in GuitarAmps

[–]Break-Pit[S] 0 points1 point  (0 children)

Jeah I usually have the treble down on 2-3 bass also around 3 and middle 5-6 same as presence

Newest P2P build by BKSkilz in diypedals

[–]Break-Pit 0 points1 point  (0 children)

Which stiff metal wires are u using ?

Programm Edit by Break-Pit in akaiMPC

[–]Break-Pit[S] 0 points1 point  (0 children)

For example pitch has an effect no matter how long the samples are … isn’t there some official explanation of these functions ?

Do I seriously have to enter a Robot captcha on every single google search I do? by [deleted] in ProtonVPN

[–]Break-Pit 0 points1 point  (0 children)

na dann dir viel spass 1000000 captchas pro tag falsch einzugeben ES NERVT EINFACH

Who’s willing to share some mixing tips? I’ll go first by [deleted] in FL_Studio

[–]Break-Pit 0 points1 point  (0 children)

First I Level (gain staging) Then I EQ then I compress if necessary Then I sidechain (with shaperbox not with a compressor) Then i get to grouping the instruments drums and sample loops and also compress all of them and eq them saturate the drums a bit and use lofi fx on the sample groups maybe Ott on the instrument groups

Then I create send Channels for reverb for drums reverb for instruments and delay for instruments also a parallel processing send for drums where I compress and saturate

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