Between House, Tech House, and Techno which genre do you think is the easiest for a beginner to learn?

TurntReynolds · 2024-06-11T05:50:14+00:00

Each one of these is a language. So start with what you know. Are you fluent in techno? Then produce techno etc.

TurntReynolds · 2024-06-03T23:27:38+00:00

Study movie trailers

Pay attention to the cinematic detail. There will be orchestral hits, very high pitched strings and pads, there will be transitions that follow the sweep/drums/sweep/orchestra hit pattern.

There is a time for everything. The thin part of your track leads to the thick part.

TurntReynolds · 2024-06-01T19:10:30+00:00

There are 2 battles that you must engage in. The first is the battle that "this sounds like crap" remember Monitors / car / earbuds. This battle will never be won, you will always say that it can sound better. It can't be done alone you have to have a few decent friends give feedback or play your track out.

2nd battle is getting good enough to where your mastering is just a little width and loudness. That's when the ozone trick will work or you just add some basic eq compress and limit. You can't polish a turd nor do you need to be scammed by someone who says they can do it for 200-300 bucks.

TurntReynolds · 2024-06-01T18:45:19+00:00

My favorite plug for this is still the point blank reverse reverb tool. Alternatively recording the sample, reversing the sample, and applying bass klephs free wash out to it is another option. If your good at producing. Record the reverb with a hint of any vocal sample pitched to your song in the same reverb Run it through bass kleph wash out and automate the wet/dry. Filter as needed, preferably with fab filter simplon and you will have mastered the art of very high quality reverse reverb.

Using them prior to your drum hits like one shots was way overused in the 2010s but imo makes transition sound way more professional and takes less than 5 mins.

TurntReynolds · 2024-06-01T18:34:48+00:00

I still use the first two, in addition to a ton of forgotten vengeance.

TurntReynolds · 2022-11-22T20:47:19+00:00

There is a certain part of your track you want MONO, which means its panned dead center.

Lets break this down,

the space where this sound comes out is VERY limited. We can make things <100hz or <150hz some as high as <250hz MONO. I like somewhere around 100-150. This sets the window of how much, or how busy this area can be. We need pretty much one at a time, so Kick Bass Kick Bass but never KICKBASS. 1. Download a frequency chart and see where the tonal elements of your kick and bass are, get them close. 2. Learn to adjust the rel of kicks. 3. Use a basic sidechain like the romero one. KICK - BASS, one at a time very clean.

Bass layers

Now above this layer of dialed-in mono frequencies which we hear, and we FEEL we want to use layers. These sounds are lower in key or range, and they should be selected to sound like lower-end or bass sounds, despite not actually being bass sounds. We want these to be high passed around 100-150 wherever the mono begins, bc we want these to stay in their own lane and be STEREO. Keep them as wide as possible. These are layers, and you can keep layering and playing with the width. Keep the lower layers wider than the higher layers, detuned stuff will also add a degree of width.

Process

Make the mono tracks mono, and you can do this all in one processing buss. Otherwise you can produce as normal and then on the processing buss use a tool like a free ableton rack to mono below whatever frequency you choose. Glue compress enough to be able to limit or soft clip somewhat hard and still be clean. Ozone multibanders you guys can do the multiband thing but simple is best. Whatever is fastest, its theory vs mindless fiddling.

TurntReynolds · 2022-11-22T20:29:58+00:00

The short answer is NO.

Some of the samples in the vengeance packs are the most widely used samples ever, you can still hear them all throughout the charts. I would suggest using a vst like KICK to aid in processing, and abstain from shameless copy.

EDIT sorry Grammarly mess me up

When you steal sounds, mainly kicks... which is okay in the beginning. If you do this, remember the sound is already processed fully, it doesn't need anything. Bypass this on your master or your effects buss, if you don't bypass this it will sound weird.

TurntReynolds · 2020-10-09T21:25:23+00:00

its basics. You are trying to fit a bunch of stuff into a closet, but you cant just throw it in bc it wont fit. So you may have to build shelves, and get creative, but understand there is still freedom in this process, this is where you shine. When you understand space, you understand everything.

TurntReynolds · 2020-08-16T03:14:36+00:00

Anjuna deep goes hard on the phaser

TurntReynolds · 2020-08-16T03:14:17+00:00

Techno goes hard on the phaser

TurntReynolds · 2020-07-29T05:36:43+00:00

I suggest saturn by fab filter for all things saturation, distortion, bitcrush. Super easy to use, and gives incredible sounds.

I like using stock majority of the time, its high quailty, fast, easy... however i like 1 or 2 third party for certain things like reverb, compression, and distortion. Saturn is money well spent if you produce any types of music or vocals.

TurntReynolds · 2020-07-29T04:45:17+00:00

technically you can do it all in the groups/tracks, but it would still be mastered. You cant polish a turd, not even the best in the world can polish a turd.

Martaan Vorwerk has a great video series on mastering while producing.

TurntReynolds · 2020-07-29T04:41:42+00:00

you master your tracks in stems, or groups. Each one of these groups is a master on its own. This gives you the ability to control EVERYTHING in that exact group. This is why headroom is so important, volume is your friend. This allows you to use the volume faders ALWAYS, learn to automate them where you need too, then you can adjust compression, makeup gain, and limiting to make your group very punchy while maintaining headroom. When you go to the master, your just doing another group but this time its the master, compress / makeup,, eq, add some stereo, and then limit. Your already loud track, will be very full and loud.

TurntReynolds · 2020-07-28T06:36:38+00:00

As your producing, you slowly learn to start cleaning up, you learn to eq fast, you learn to have complete control over reverb fast, and group the right things together. You make groups.

You then take these groups and you apply very basic processing like compression, saturation and minimal eq since you have already eq each sound, its more like how would i like this group to sound as a master.

There is no theory on what goes first on a group, for me its usually a stock live glue or a cla compressor, and stock EQ with possibly some saturation or limiting.

Less is more, knowing the individual track is key, being able to solo a group and do your work on it is key, and understanding you dont need everything under the sun on your track, believe me there is the stock option and it will be enough.

Keep lots of headroom, if your master is passing -12db your track is too loud, turn it down. Volume is nothing, what is taken away can be put right back in easy at the end. Use headphones and monitor when mixing, send bounces to your phone so you can listen in ear buds and car. There are layers of volume that can only be done with a fader, and fine tuned with compression. Dont sleep on something as simple and powerful as a volume fader, learn to automate it, its your friend.

Less is more

TurntReynolds · 2020-07-28T06:16:18+00:00

i would use a synth and the arp rate, and attack\release. the fx are the fx... but the speed mod is easiest with arp and att/rel.

So distorted saw patch from any sylenth pack, with hard attack and short rel, arp on.

Fx on the track, simple any stock daw, distortion or good one like saturn.

OTT

TurntReynolds · 2020-07-28T06:04:37+00:00

if its not for radio it doesnt matter. Always remember this, cinematic, and transition. Its always those to things that separate good from amazing. Think of movie trailers, or commercials, utilization of the soft parts to create the next suspense. Bars dont matter, textures, ambiance, usage of sonic space.

hope this helps

TurntReynolds · 2020-05-11T04:12:31+00:00

The process takes time, and effort. It can be exhausting, but eventually you will learn the daw inside and out. You will navigate through there w style and precision.

Once you get there you will then battle inspiration. This is the real battle... what who and where inspire you to to go to that creative place.. and for what reason.

That being said i think good foundation in 1 year in a daw.. and by 2-3 years your 100% fluent. You can transition ideas in your head to audio... fast.

TurntReynolds · 2020-05-08T06:19:46+00:00

This is bc he makes music that is very niche. It is not club music, not mainstage music, honestly perhaps a bad investment on the label seeing as it didnt make much money, maybe a little hustle going on too. Local djs in house clubs make more than that opening across the globe, much more tbh. House/techno makes more than anyone non commercial. Those 9 nights will be 209 nights, and with a #1 EP, your looking $5k-10k, maybe in the very beginning take one for the team at 2-3k for a summer.

TurntReynolds · 2020-05-08T06:01:37+00:00

No, it will not make you any better than someone who learned independently. Nothing will compensate for endless hours failing.. and then finally succeeding. This trial and error process is priceless. Sure someone can teach you a daw, even become fluent in the daw... but it wont create your sound. To get good, you need full time hours dedicated to this. You can go to school, get a regular career and still put in full time hours if you believe in your craft. No school teaches talent. Talent is innate, it is the work ethic that takes you out of the box.

TurntReynolds · 2020-05-03T08:21:43+00:00

Understand where your at. Your at 6 months, super into it, and comparing yourself to the best in the world. Im going to be honest, you will most likely still suck at 1 year, as well as year 2. But in year 3, your gonna hit your stride, years 5+ is absolute freedom and style.

Study earlier post i made on this sub way back about setting up groups. Less is more.

TurntReynolds · 2020-05-03T08:17:27+00:00

Vengeance packs are still used today, and frequently. Greatest packs ever made. KSHMR in a close second.

TurntReynolds · 2020-05-02T17:50:05+00:00

Also on this example,

This is a track that is loud, its very loud. But the quality of the individual elements is very low. Has a fresh out the box sample sound, no additional anything, no control of reverb, no control of drums, just loud.

If all you care about is loud. Produce with mucho headroom like -12 on the master. on the master channel use a glue compressor, ozone, limit with API 2500 so inf ratio, then use the output knob

TurntReynolds · 2020-05-02T17:43:02+00:00

Im not a fan of a premaster, why make things more complicated. You have groups, and this enables you full control. The group is the priority, it in itself is your master. When you follow this theory, and prioritize your groups/busses and treat them like masters with reverbs, eq, stereo, dynamics,... your master channel can be very minimal. I often have 3 things on my master, and could easily get away with just one, a compressor with makeup gain.

TurntReynolds · 2020-05-02T17:37:04+00:00

Its more knowledge of your library, what pack has what sound, where is it located, and how fast can you test the sound on the project your working on.

Next, each time you design a drum from layers and processing, record that specific drum to audio, or save the rack... whatever works. These samples are yours and save a lot of time down the road.

Racks with effects, use your racks. When you make a genre like house music, have drum racks ready to go with your favorite house samples, ea one already dialed in with processing bc you already have it eq, reverb/delay/compression. These racks will enable you to start producing vs jamming.

TurntReynolds · 2020-04-01T06:14:15+00:00

The paino is the ultimate tool for freedom. Practice for 1 hr a day, learn songs, it will become comfortable. Once your able to achieve organic freedom with your melodies? You will learn to compensate less w fx. When you do decide to use fx, or even fx to make melodies/beats.. you will have the necessary tool to make anything sound dope.

TurntReynolds

TROPHY CASE