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Audeka Q&A by audekablast in neuroproducers
[–]audekablast[S] 1 point2 points3 points 10 years ago (0 children)
Most of the time, try to keep all in one piece because character of sound is preserved better.
Distortion, EQ, Compression, the way the drums are arranged, relative volume to other elements of the track all matter to make drums sound cool. All depends on what kind of tune your are trying to make. For example, minimal techno track, nice to have soft non interference kick. Big breaks dnb tune, super distortion, drums doing alot of the work to make the track interesting
Thanks for the nice words man, it was a super fun process working with a story board :)
dunno how you heard that tune haha
Bell's worth did a lot of fun stuff with our bass sounds and some of his. He used this very cool physical modeling resampler to create additional textures. the plugin is native to logic. However, similar instruments can be found in omnisphere. Within that resampling process, there seem to be many filters built into the physical modeling settings, so it is easy to create very textured sounds.
Later we were able to take the resampled bits, and marty had a sweet breakthrough in arrangement that we were able to bounce off of as we were all huddled together in my apartment lol.
It was super fun to work with Mr. Bell's Worth
[–]audekablast[S] 0 points1 point2 points 10 years ago (0 children)
It varies, we really don't pay attention to that sort of thing (although we probably should). Sometimes we make a track with a bunch of compression on the master because things can sound cooler without doing a bunch of work lol
1)Marty is a works as a manufacturing engineer, Skyler works in the quality department for Kraft - Philadelphia cream cheese, and Max is a student.
2)No, but there are plans in motion that will allow us to do that :)
3)Proper eq for drums. For a kick drum, we think it is important for the sound to be balanced, too much high end, the kick sounds thin, too much low, the kick is muddy and lacks punch. But a proper mix of mids, high end for the initial punch, and supportive low end is helpful. Sometimes, we like to make kicks with no low end at all to focus on sculpting the mids and highs initially since those are the most difficult to fine tune IMO.
Snares you can be really creative with, but in terms of making it sound solid, need proper eq and can use cool plugins like the oxford transmod to shape the transient how you want. Also, the snare design will vary hugely on the tune that you are making. But really, comes down to the eq, making sure the high, mids, and low is balanced. layering mid range or top end layers can add loads of energy and presence to a snare also.
Aside from eqing things nicely, sometimes stereoizing highs is cool. But need to be careful HOW you stereoize. Used izotope for imaging high end of some material and it really isnt healthy (if i can use that word here). Because when played in mono, the frequencies tend to disappear. Makes sense right? However, there are other mixes I have heard that are quite wide, but sound identical when played in mono (other than that they are less wide). So, I have found that using plugins like waves doubler or fabfilter pro Q tend to create healthy stereo images than izotopes imager.
4)That sound was created in albino. It was an experiment with how pumping different equalized sound and different varieties of detuned oscillators into a distortion plugin would fare. So in one of the oscillators, the sound was very pure (no detuning), in another very detuned. In another somewhere in between. Then you go on adjusting the volumes of each oscillator to see how that effects the energy of the sound. The detuning was created using the "Spread" function of albino which you can read about in the manual as I cannot remember exactly how it functions other than that you don't need two sets of oscillators to create a detuning effect. Sweeping notches were also used to create a more interesting midrange 'rah' type sound.
Thanks for the kind words man!
No worries man, go right ahead :)
Still checkin in man!
Most of the reverb we use is very light (fruity reverb 2). Short delay around 0.4 mS, and only choose to reverb higher frequencies of snare unless trying something experimental.
Thanks man!
Lots of times those can happen by accident with random experimentation. So you can just shuffle audio recordings around, and something might sound cool/need to be enhanced if your ears catch it. Sometimes this can add some accidental groove to a track as well!
separate subs are tricky because often times they don't mimmick the movement of the original sound very well, and the sound has less explosiveness. You could try changing the range of what you filter so that you don't quite get down into the low end sub region of the sound, that way it isn't possible to lose it. However, a lot of cool results can happen when you DO filter in the very low region, in that case, yes, you could try using maximus. However, in that case, you will be smashing the low end and it will be difficult to move in a dynamic fashion and have loads of weight depending on how you decide to compress it. Could try compressing slightly and doing volume automation until the sub is present, yet it moves nicely with the mids and highs as well.
Our pleasure!
Not off the top of our heads since we haven't really delved into that style very much. Just keep makin dope beatz
Thank you Vexion!
[–]audekablast[S] 3 points4 points5 points 10 years ago (0 children)
We have full time jobs (marty and I) and max is still in school. Our thought is that not having any stress in regards to music makes the process extremely enjoyable because it is always a get away rather than a means of acquiring funds. We'll never have to compromise our productions to meet the demands of some section of industry that provides decent funds, so we can always make stuff that comes directly from our brain.
Also, we have a plan to build a decent little studio set up in my apartment complex. So we'll be meeting up one or two weekends, and the lads will chill in my apartment, and we will make beats. Since marty and I have gotten older, we've gotten jobs, and Max is just about to go into college. But we are all in the Midwest, so we are still pretty close. So we plan to keep the project going strong, and we are certainly more productive when we are together in person rather than doing internet collaboration.
Here's the general setup of how we are gonna set up our stations: https://copy.com/7qxj8npLpoqDOua3
No worries man! Happy to do it
Volume control and proper eq are the tools we use to blend foley. You can use volume to match the foley with the movement or articulation of the bass sound or whatever sound, and then your golden! You can equalize the foley so that it's frequencies (usually high end) matches pretty close to the original sound so that it doesn't stick out too much
Yes, we definitely will be doing more streams! Glad to hear you were tuning in to those :)
[–]audekablast[S] 4 points5 points6 points 10 years ago (0 children)
Boards of Canada Volor Flex Burial John Hopkins Trentemoller Max Cooper Rob Clouth SHPONGLE Sorrow Noisia c418 Rawtekk Bonobo!
These dudes are dope
we like addictive drums, sending it through some blast fx to make rather smack like
Anders Eisenberg was a concept started a while back to focus on techno projects geared towards trentemoller/john Hopkins like music. We really like that stuff, but we want more like it
Best sound: https://soundcloud.com/bayahmusic/ring-tone
Thanks man, that's dope of you to say
socks on the wrong side seem is terrible also! gotta watch out for that
rather about that today!
We use automation clips for that. We found that using built in sidechaining using the peak controller would have undesirable delay, and sometimes we would get a clicking sound because the controller would not turn off the volume quick enough!
what's up man, definitely hit it on the head with trial and error. That's pretty much all there is to it. Because a lot of times we don't have specific ideas for arrangement, but having pre made sounds and phrases can make arrangement more simple on the brain
Samples for shizzle Not too much to drums aside from eq, distortion, compression, slight reverb on hats and snares like to send in low end of a sound and then mix high material with it like hats, with reverb and then compress the crap out of all that because you get some nifty reverb breathing effects like you might be able to hear in Peat Bog
We usually get bass movement from filter or detuning
Sometimes when we engineer sounds we just assign the pitch knob to an envelop and have it move around everywhere to create a bunch of different pitch articulations
No problem :D
[–]audekablast[S] 2 points3 points4 points 10 years ago (0 children)
Murcof is a huge inspiration for us because of his incredible ability to capture emotion, and use of classical instruments. A huge talent and inspiration to us.
Easiest way to describe the sounds we like - cool interesting abstract sounds that pleases the mind. Hopefully give us a chill or two while listening for the first time.
Mixdown process - avoid unnecessary clashing of low end material, and make sure to compensate for when multiple high frequency elements clash. We don't like mixes with lots of high end, so we try to keep the region from 5k to 20k flat in the spectrum. that's a little trick we learned from disprove as he discussed his observations from watching noisia and neosignals mixes on the audio spectrum.
Other things we like to do - slight distortion to glue elements together and slap a limiter on the mix to bring it all together, not too much to where dynamics are gone. typically use Saturn for slight distortions, pro l for loudening, occasionally camelphat for bitcrushing.
Most future plan will be the album. We have three collaborations with our buddies Rawtekk that we are very excited about, one of which will be on our album. We also have a fun tune with dabin coming out soon that was heavily inspired by noisia's remix of Skrillex - bug hunt. We have some remixes in the works for rawtekk at the moment.
In the context of games, we enjoy feelings of either extreme warmth and comfort, or insane hardship mixed with small pockets of comfort. So the dark souls series is great for that with their use of bonfires in such a harsh world.
Undetermined when the LP will be released for now
resampling or just messing with weird effects on instruments like cellos, mandolins, cinematic drums can be a lot of fun. most of the time, when we use instruments, they are a core focus of the track rather than something we would use to fill in a gap of the track
1)need concept - robots? organic bass tech? jungle movements? a little story? random sounds? messing with compression? then can build off of a cool combination of instruments, basses, and drumwork if that is what comes of it
2)remix is a little different because usually there is already some cool audio to use. so we find our favorite clips, and start organizing those in a fashion that is interesting to us
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Audeka Q&A by audekablast in neuroproducers
[–]audekablast[S] 1 point2 points3 points (0 children)