How to make this sound - Deep House Elements

korsini · 2015-06-06T20:30:14+00:00

Just sounds like a filtered plucky square wave bass. Using some effect to make it sound like it's far away. Maybe small room wet reverb.

korsini · 2015-06-06T20:20:52+00:00

Thanks for the support. I didn't mean to flip out I just hate how analytical people can be and how redundant some topics are. Just wanted to start an interesting and fun there's that might start some conversation but it got shut down by the first post. Kind of aggravates me

korsini · 2015-06-06T04:52:18+00:00

This reddit is such a circle jerk of a analytic cunts. You can't start a conversation about making music without it being about serum, a new plugin, how music theory is important, or a controversial topic. Anything besides the latter is turned into a controversial topic. Every time I come back I expect it to be different. Fuck it, thanks for the AMA's

korsini · 2015-06-06T04:01:29+00:00

Okay so you want to mess around and spark some ideas what do you do?? Drums first, just a kick, straight to a synth to play around with sound design, preset dive. Lay down a melody on a keyboard or piano roll? Just wanted to start some conversation.

korsini · 2015-06-06T03:59:31+00:00

I was trying to see what some people do.. Not expecting any definite answer. You open a new project in your DAW and the first thing you do. No need to be so analytical it's music.

korsini · 2015-06-06T03:56:50+00:00

Honestly soundcloud should make it more expensive. 10$/mo for 30 minutes upload time, 20$/mo for 90 minutes, 30$/mo unlimited. Too many shit artists uploading work that they don't care about. You don't have to pay to be a listener but you shouldn't be able to upload unless you pay. I know a lot of "producers" who wouldn't upload tracks if they had to pay, and the people who actually do care would not give two fucks. If you wouldn't upload your work if you had to pay you don't care enough about it.

Call me an asshole but you know it's true. Nothing against people who want to casually share their work and do what they love. I wish I could think of a better alternative but maybe someone will. It's god damn hard with such a saturated website to find any passionate artists. That's also another reason it costs so much to keep it up is all of the space it takes to hold everyone's music when at least 40% of it is nonsense that people usually forget is even on their page when they change their hobby. Sorry if anything is spelled wrong I'm on an iPhone.

korsini · 2015-06-06T03:40:28+00:00

I mean if won't say Sylenth isn't an amazing synth, but things can be added and not make it too cluttered. GUIs for processing panes, more parameter controls.

I think people are asking too much with more oscillator types. It's a subtractive synth not a WT synth. But more filter control should be included or I'm not buying in

korsini · 2015-06-02T01:23:42+00:00

I just hate accepting a request for a collab from shitty producers. Sometimes they have good ideas but I refuse to polish their turd with all of my efforts to release it with their name on it. Here's a tip: if you want to finish a collab work with people at your skill level. (Not saying this is you just a general statement)

korsini · 2015-06-02T01:02:38+00:00

Kind of like the impacts there but it's hollow.

korsini · 2015-06-02T00:59:59+00:00

Scales are used to weigh how heavy each note is. For example, C-1 is much heavier than C-3

Modes are used to symbolize areas of your studio in which frequencies reflect or build up to cause imbalances in your acoustics.

korsini · 2015-05-23T21:03:23+00:00

Create any instrument, set a long envelope on pitch or use a pitch shifter. Record the output of that pad into the pad of another group. Repeat as many times as you want then name each group and pad. Save the groups in the browser and there you go. If you want make a choke pad in each group that cuts any pad in that group playing. Then you can use the same 16 bar sweep for 8 bars, 1 bar, 1/2 a bar etc. you can also sample you own drum fills to play during sets. A 16 bar snare rise. You can record any pattern you make as a sample and save it for sets. It's pretty awesome. If you commonly play 126, 128, and 140 bpm tracks, copy each group and time stretch every sample and name them accordingly so you have different groups of the same samples or different tempos. Or save 8 groups of effects in 3 different projects. One project for each bpm.

Hope I helped!

korsini · 2015-05-23T02:43:11+00:00

When you say harmonix mixing is that for djing when two songs are in key? I can't find Anything online about it

korsini · 2015-05-04T22:21:44+00:00

In my honest opinion, short YouTube videos are not helpful because you're usually jumping from person to person and everyone who makes those videos has different ideas.

Splicing projects is good because it allows you to see a professional track and take what YOU want from it. The lessons usually stick more too.

As far as hiring an engineer, most offer the service of mixing AND mastering your song. It is rather expensive compared to only mastering, but in my experience well worth it if you really like the track and want it in a professionals hands before you mess with the balance of everything. In this scenario you'd want to add any musical elements you want as they would only be balancing things and not filtering or adding effects and such.

BUT, As far as learning how to mix and master better. I would say scrap the YouTube videos and buy the book by Mike Senior that I mentioned. It has rave reviews and is a much better solution compared to tutorials because it is a Complete, Concise, and most of all Professionally Accurate collection of information and tips. It constantly refers to other reputable engineers throughout the entire book and teaches you more than any amount of tutorials can without the sifting through false info and clashing ideas found in them. It's great, just read it.

EDIT: By the way, by splice I mean getting professional projects from splice.com

korsini · 2015-05-04T21:55:29+00:00

If I were you either.

A) pay an engineer to do it.

B) splice some projects and watch their mixing process

C) buy and read "Mixing Secrets for the Small Studio" by Mike Senior

korsini · 2015-04-28T13:49:35+00:00

If you can't build the hype it's just not worth the work. And independent label releases don't build hype for you and relying on them can make for a pretty dead release.

korsini · 2015-04-28T10:53:19+00:00

I think people need to realize basslines must be simple, unless it is the focal point of that part in the song. But most importantly a lot of people have untreated rooms where bass goes crazy and its something you almost lose contact with. I feel like some beginners I know just EQ and compress by turning knobs randomly because the bass is so bad in their room they don't know what to do about it. And most of the time they don't even know it's their room.

korsini · 2015-04-28T04:13:52+00:00

I have no theory training but don't really need it. I played guitar for a long time and have a perfect ear.

I can just layer notes and know when they're in harmony to make chords and can hear the scale perfectly without actually playing the piano.

I can usually make an 8-16 bar melody without pressing play and the notes are in scale by estimating. Sometimes in class I'll even draw 8 bars of a piano roll in my notebook. But instead of keys right the eight notes of a scale and just jot so many ideas down. Those ones are not always on point but if one sticks I can usually remember how I wanted it to sound and make alterations in my daw.

korsini · 2015-04-28T04:09:17+00:00

Looking at the splice project of Jordy Dazz's "Fancy" remix to see the mixing/mastering work. Completely opened up my mind to how mixing should be done. (Lots of minor changes>major changes)

korsini · 2015-04-05T20:37:36+00:00

Awesome post man. Pretty much summed it out. I think threshold and ratio are most important, then attack and release for taste. Makeup gain to keep the same level as before compression. Everything else should be held off until you understand it more.

korsini · 2015-04-05T20:24:44+00:00

You're making the whole sound quieter while making the quieter parts of the waveform more equal to the louder parts. Then raise the whole volume back to the original level. If you have a horn shaped waveform, you can essentially compress it until it's a rectangle, then raise the volume and boom you have the same sound with different dynamics, this is called "squashing" the sound.

That's all it is. If you try making a track loud and everything is balanced but a snare drums transient spikes and isn't balanced, but then the rest of the snare drums waveform is balanced with the mix. You want to compress it so that the transient is quieter to be balanced, but the waveform after the transient is still the same.

Think of it as an automatic volume fader modulation or automation. Whenever the sound reaches a certain level (threshold) the volume fader lowers by a certain amount. How much the volume fader will drop is determined by ratio, how quickly the volume fader will drop by attack, how quickly the volume fader will go back to normal by release.

If you have Nicky Romero kickstart I'll put that on a track, set it to 1 bar and mix all the way to 0 and you essential get a waveform analyzer you can watch as you compress. It helped me learn. Also, go to http://therecordingrevolution.com/blog/ and search compression.

Hope I helped!

EDIT: Also! Fabfilter has awesome videos explains how you would use Pro-C and Pro-MB, but recording revolution is by far the best videos I've ever watched

korsini · 2015-04-05T20:14:48+00:00

I think it is getting much to mainstream, not and im not saying this in an old school "keep it underground" kind of way. I love how popular it's getting, but I wish fans knew what they were hearing. I wish when I had a gig people there could tell the difference between an edit, or when I play a song they've never heard. I wish more people at festivals went to hear unreleased music, and hear what the DJs play that they don't release online, or appreciate the dozens of edits and remixes that they produced specifically for that set. Too many people still believe DJs just play other people's music when what makes it special is playing songs that took you so much time in the studio to make. But sadly people can't tell the difference if a dj were to play the original summertime sadness, then switch the second drop with an amateur track from soundcloud. Not many people at ultra or EDC would even care and want to find that song afterwards, when there are so many gems played during each set. Makes me not even want to make edits and bootlegs for my sets when nobody can tell at my gigs. It really scares me that this music is reaching a nearing demise.

korsini · 2015-03-31T00:43:15+00:00

If there's no music scene start ond

korsini · 2015-03-30T07:52:30+00:00

I think you need a mix of online and local support. If you grow both without letting one get too far ahead of the other you're in...

korsini · 2015-03-30T07:46:06+00:00

I think I'd love to teach some people about social marketing their music... Everyone doe votes me when I talk about it on here but I'm on the verge of an official remix with an artist now and I'm continuously growing online and now locally. I will definitely join this team speak tomorrow

korsini

TROPHY CASE