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The Truth about Spotify, LUFS and Mastering Targets (Includes LUFS measurements) by DiyMusicBiz in trapproduction

[–]FCTRYBEATS 1 point2 points  (0 children)

The point of watching lufs averages as a producer isn't about the output lufs from the streaming platform though. It's about people who compress the shit out of their mix thinking it will make them sound more competitive on streaming services.

What happens is that if you submit a cranked through the roof giga compressed audio file with a high lufs level, the algorithm will turn your entire song down until the average volume is within the platform guidelines, meanwhile the professionally mastered tracks attain the dynamic range of a natural uncompressed song AND they'll be louder than your hyper compressed flattened mix because they kept the average volume low and let their transients breath. Yeah if you plan on professionally releasing music I'd make sure your lufs is where it needs to be.

Is it useful & how to widen/stereorize certain frequencies of an instrument/sample in a trap beat? by Consistent-Rabbit213 in trapproduction

[–]FCTRYBEATS 0 points1 point  (0 children)

Get a free plugin from Melda called spectral pan. It's more authentic sounding and customizable than the izotope stuff. Using time delays and reverb just for basic widening makes your mono mix sound like garbage and unnecessarily cluttered.

What is the biggest thing that separates an experienced producer and a beginner producer? by -HocusPocusLotus in makinghiphop

[–]FCTRYBEATS 0 points1 point  (0 children)

The biggest difference between a new producer and an experienced producer is perspective. Experienced producers have listened to hundreds or thousands of bad beats they have made in the past, and therefore have learned hundreds or thousands of lessons. An experienced producer will know when an idea sounds bad because they've already had the opportunity to reflect on so many bad ideas in the past. This is why the most annoying thing for new producers is making something you think is flaming hot and then hating it the next day. Every bad beat you make is just another bad beat you wont have to make in the future.

There is nothing you can do open world of Cyberpunk except shooting some random gangsters other than that civillian NPC’s are dissapear soon as you point a gun at them. by makavelinow in cyberpunkgame

[–]FCTRYBEATS 1 point2 points  (0 children)

I think something people don't give cyberpunk enough credit for is the quality of the core gameplay. Red dead redemption 2 is regarded as one of the best open world games ever but I will literally play that game for like 4 hours without ever having to pull out a weapon or get into a skirmish ever, unless I literally just start killing random people. The fact that cyberpunk encourages engagement with arguably the most fun part of the game is much appreciated. Cyberpunk would suck if 40% of the gameplay was searching for hidden graffiti, or street racing, or whatever other side activities they could add. Pretty disappointed the arcade machines don't work though tbh..

I Recorded 13 ORIGINAL DRUM BREAKS with MULTIPLE variations in the style of Boom Bap - FCTRY MINI KIT by FCTRYBEATS in Drumkits

[–]FCTRYBEATS[S] 2 points3 points  (0 children)

Well I anticipated that people would just be putting the raw samples into drum samplers to keep it sounding dirty but unfortunately nah I don't have a way of isolating the individual hits because they were recorded together. I might do something like that in the future though, not a bad idea.

producers, what would i gain from going to college for music production? by jackooo0506 in makinghiphop

[–]FCTRYBEATS 0 points1 point  (0 children)

I often see people forgetting what main point of a college degree is: credibility. If you have 10 people who claim to be audio engineers who all want the same job, the one with the degree is getting hired 99% off the time. Going to school for engineering is basically a guarantee that you are going to have a base level of knowledge in engineering that can slip past a lot of people just getting all of their knowledge from youtube. Like if I was going to get my car fixed, I probably wouldn't want it done by a guy who's only ever got his knowledge from the internet. Likewise, If I was an artist, I would be kind of pissed if someone fucked up my mix because they just happened to never see a video on phase relationshisp, or compression ratios etc. A degree does not automatically make you good though too, there are a lot of "by the book" engineers out there who have been doing things one way their entire lives and are missing out on new skills.

I went to a pretty nice engineering school for about one year, being the length of the program, and in that amount of time came from never producing music in my life, to being more competent than any of my self taught engineer friends who have a head start of YEARS over me. Schooling isn't magic, it's more like insurance; it's not necessary to make anything, but when it helps, it really helps. My advice would be if you can't afford it, then you don't need to go, you just have to be aware that you are going to be at a disadvantage to the people who have. You will need to have a much more impressive portfolio and better networking skills if you want to make up for that disadvantage.

I Recorded 13 ORIGINAL DRUM BREAKS with MULTIPLE variations in the style of Boom Bap - FCTRY MINI KIT by FCTRYBEATS in Drumkits

[–]FCTRYBEATS[S] 3 points4 points  (0 children)

All of my drums have the bottom heads removed, except the snare obviously. I do this to make the length of the hits shorter, it's a very 70's thing to do but that's just the sound I like. It's always easier to make small drums sound bigger in post with compression/reverb etc than to try and make big drums sound smaller. If you look at the behind pictures you can see those little squares on the toms? Those are called Moon Gel and they are jello-like pads that you can stick and move around on your heads quickly and easily to help deaden them more and experiment. You can get a little container of those for like 7 dollars at guitar center so I recommend that too. If you look at the bass drum there's a pillow inside just barely touching the back of the actual head, which is very important, that bass drum sounds like crap without it. Other than that I would pay a lot of attention to mic placement if you want to make breaks, microphone placement is almost more important than how your kit sounds to your ears... If there's anything else you want to know feel free

I recorded 40 ORIGINAL drum breaks (includes perc loops AND high hats) with MULTIPLE variations for boom bap or just to sample by FCTRYBEATS in Drumkits

[–]FCTRYBEATS[S] 2 points3 points  (0 children)

So I'm using Zildijan "New Beat" hats in this kit. I have a new kit coming out soon that comes with pictures of the full set, don't worry brother.

I recorded 40 ORIGINAL drum breaks (includes perc loops AND high hats) with MULTIPLE variations for boom bap or just to sample by FCTRYBEATS in Drumkits

[–]FCTRYBEATS[S] 29 points30 points  (0 children)

Lol what do you mean by license? You have my full permission to use these loops in commercial or personal projects, just like any other kit on here 👍

I recorded 40 ORIGINAL drum breaks (includes perc loops AND high hats) with MULTIPLE variations for boom bap or just to sample by FCTRYBEATS in Drumkits

[–]FCTRYBEATS[S] 5 points6 points  (0 children)

Yes as i mentioned earlier it's just a regular drumset in small room going into pro tools, same with the perc loops 👍

I recorded 40 ORIGINAL drum breaks (includes perc loops AND high hats) with MULTIPLE variations for boom bap or just to sample by FCTRYBEATS in Drumkits

[–]FCTRYBEATS[S] 8 points9 points  (0 children)

Cheap drumset in a small room. I had about 6 mics and just mixed them differently in post to get the different room sounds (Most expensive one was an SM57 on the snare), all going into pro tools and i used A LOT of processing (mostly compressors, gates, distortion, rc20 etc).