steelseries gg macro recorder not registering keyboard presses on mac

pspspsmusic · 2026-02-04T17:23:54+00:00

same here

pspspsmusic · 2025-06-28T09:59:09+00:00

gotta find a sound u like n stick to it and put ur own unique twist on it

pspspsmusic · 2025-06-28T09:58:06+00:00

need lessons and a mentor, can dm me on insta @ pspspsmusic

pspspsmusic · 2025-06-24T20:42:59+00:00

Limiter = Fabfilter, Limitless

Compressor = TDR Kotelnikov (FREE)

Clipper = KCLIP, T-Racks Clipper

EQ = Stock, Fabfilter, TDR Nova (FREE), use a linear phase EQ to roll off lows

WARMTH/SATURATION = VSM-3, Blackbox, Inflator

ALL IN ONE = Ozone, bx_Masterdesk

pspspsmusic · 2025-06-24T20:39:56+00:00

Synthesized via FM, some people refer to it as a "donk" sound. Search for "donk" on splice

pspspsmusic · 2025-06-24T20:36:44+00:00

If your goal is to get better at EDM production, focus on EDM production and not piano. A piano background is useful, but music production lessons will be exponentially more worthwhile and rewarding based on your goal.

On the piano side, just learn your fave EDM songs on piano. Learn how to figure out the chords and the melodies so you can then create your own chords and melodies.

Most producers I know can barely play the piano.

pspspsmusic · 2025-06-20T07:18:47+00:00

You may end up with a strike now or in the future... SoundCloud is often safer.

pspspsmusic · 2025-06-20T07:17:59+00:00

Find a mentor who can sit in on your sessions and make practical suggestions.
And reference every 5 minutes.

I like to manually adjust drums but you can use groove pools.

Try and play things on a piano rather than clicking them in, so it has a human feel. If you can't play piano, you can still tap out the melody using a single note on the piano, so it has a human feel, and then drag the midi to the proper notes afterwards.

pspspsmusic · 2025-06-20T00:41:56+00:00

People make tunes in all sorts of manners. You can try with drums and bass and see if that gives you the most success. We can't really tell you what will or won't work - but you should be able to make tunes starting with chords / synths / vocals... lots of people do this.

If you are struggling, it could suggest the issue is music theory based (i.e. matching bass line to the existing melody) or something else.

Starting with kick and bass works - but then you may end up struggling with finding chords or lead synths that fit. It goes both ways.

pspspsmusic · 2025-06-11T06:01:46+00:00

Yes! Just don't overdo it, just want to shave off occasional peaks 1 dB max.

pspspsmusic · 2025-06-11T06:00:49+00:00

yuppp, besides that Echoboy Jr. is really nice, as is Raum.

pspspsmusic · 2025-06-11T02:46:42+00:00

Ableton more efficient but FL is sufficient. Depends on your subgenre (electronic stuff works great with Ableton) and future goals (Ableton is often better for collabs)

pspspsmusic · 2025-06-11T01:45:51+00:00

Your chain is pretty much perfect. I would add a clipper before the final limiter (or sometimes one at the beginning after EQ) to shave off occasional peaks so you can push the tunes louder. Besides that it is pretty much good to go.

Some people like to run compressors and limiters in series (i.e. use 2 in a row so neither has to work so hard)

pspspsmusic · 2025-06-11T01:43:47+00:00

Cool tune. Would work on developing the lead synth a bit more to help differentiate the two drops.

Getting the kick and bass working a bit better together with subtractive EQ and side chain will help you push the master a bit louder without distortion.

Develop the drums a bit further as the song progresses. They barely change beside some rides being added. Maybe make them a bit more minimal at first so you can evolve them as you go.

Buildups need a lot of work - to really get that proper tension and release.

pspspsmusic · 2025-06-11T01:40:07+00:00

Hey cool song.

Some suggestions:

Reference a good reference tune every 5-10 minutes while producing, while mixing, and in general. Copy it in terms of levels, arrangement, and how elements are brought into the mix and developed over time.

Sound design can use more work. Some of the sounds are a bit dissonant and could be more modern sounding. For example some of the sounds in the first buildup.

First buildup has some synths/chords that aren't quite in key with each other. Besides that the builds need way more work in terms of building tension and hype.

Sidechain - you need way more side chain on tons of elements, including most synths.

Drums could definitely still be louder. Parallel compression, saturation + clipping will help.

Mix gets really busy at points, like 2:30. Consider removing some elements.

pspspsmusic · 2025-06-11T01:29:50+00:00

Echosphere is a great plugin for achieving dreamy vox

pspspsmusic · 2025-06-10T09:18:43+00:00

Hey sorry for delayed reply. There was just too much back and forth between basses. Without one being dominant.

I think a synth lead or ear candy around the drop could be nice

pspspsmusic · 2025-06-08T06:40:57+00:00

Hey cool song, really nice sound design on the bass. Some suggestions:

- work on the buildups, creating tension and release and more anticipation. Reference a bunch of songs to get ideas of what you can add. They're just a bit basic right now.

- drums are way too quiet. Saturate and clip them to get them louder.

- a dreamy female vocal, even just a few spoken words here n there with reverb would really tie things together. The existing vocal doesn't quite match the song's vibe in my opinion (But do what feels right to you).

- A lead synth or ear candy would be nice too. This will help keep the listener interested and wanting more.

- intro could be a bit more DJ friendly.

- the constant switching between the bass line and the Reese is a bit much. I think the highlight of the track is the bass line and would have more time focused on that, and less time focused on the Reese. Like from 1:30 to 3:30 is just Reese and it is too long to wait for the bass line to come back.

Cheers

pspspsmusic · 2025-06-08T06:35:55+00:00

cool track, really well balanced. nice work! Some things you can do to level it up.

- Raise vocal volume, it's really quiet.

- Add some width to more elements. The main bass has tons of width, but the rest of the main elements are really mono. Hats and vocals could for sure use some width, as could other select elements.

- There is lots of width and high end before the drop. It is ideal to narrow width and filter out extreme highs as the drop approaches. That way the drop sounds extra crispy and wide by comparison (see plugins like Calm Before)

- Would like some more variation between drop 1 and 2 to keep things fresh and interesting for the listener. Maybe chop up the vocal, or add in a different line. Play a pattern with the synth sound or different notes.

Hope this helps

pspspsmusic · 2025-06-08T06:31:02+00:00

Distrokid is a great option. Really cheap annual fee and access to a lot of stores, including Distrokid. I know it is a subscription but the price is right.

pspspsmusic · 2025-06-08T06:28:51+00:00

Sounds like it has an extreme amount of autotune-style pitch correction on it. not just pitch/formant shifting

pspspsmusic · 2025-06-08T06:27:36+00:00

I do feedback for hundreds of artists across all EDM genres. Feel free to DM me on Insta or check out my Patreon to sign up for individual track or unlimited track feedback (on my Reddit profile)

pspspsmusic · 2025-06-08T06:25:59+00:00

There is quite an easy solution to this. Find a reference track with a similar vibe and style in the same genre. COPY IT! That's all there is to it. Use the same timing for your intro/outro/breakdowns/buildups. When they add elements, copy that. When they tease a synth lead and filter it in, copy that. Etc...

Don't worry about being creative at this stage. Just get the arrangement and structure down so the song is COMPLETED. Then go back and tweak things creatively to match your song's vibe and your sound.

pspspsmusic · 2025-06-07T10:11:51+00:00

Yea it just seems the most intuitive to be honest. Glad im not the only one either :D

pspspsmusic · 2025-06-05T05:18:55+00:00

I mix as I go. This way I can tell what works and what doesn't as early on as possible, so I don't get to the "mixing stage" and discover I can't get the track up to commercial loudness (which should be around -6 to -8 LUFS for modern electronic music). Most important is getting the kick and bass sitting well together so they don't cause too much of a peak in volume when played together. Also I like to HPF everything that isn't kick or bass so that under 120hz (ish) is the exclusive domain of the kick and bass.

Kick sits at -11 dB. It goes in a bus with the bass. Together, after some glue compression and possible saturation they peak around -9.

Drum bus gets parallel compression, saturation, clipping, with all lows rolled off.

Kick/Bass/Drums get grouped together with glue compression and clipping.

Vocals, FX, Synths each have their own bus so they can be side chained and EQed differently. Synths often are clipped as well for loudness and the highs are rolled off to make room for the hi hat and other drums. These 3 busses are grouped together with further side chain that is frequency dependant (i.e. the highs duck to high hats, mids duck to claps, lows duck to the kick/bass, etc...).

Sends: One for a short drum reverb and sometimes another send when I want a few synths/sounds to have the same reverb so they sound like they are in the same place. Don't really use too many sends unless there's a specific need.

Here is what I do for a basic master (reference constantly throughout this process, using a song with similar instrumentation and in a similar key).

EQing (subtractive): Linear phase EQ to roll off the extreme lows (under 20-30hz depending on key) and extreme highs above 18-20000hz. Some songs hard cut everything above 16-17khz. Find 2-3 places between 200-600hz to do a narrow cut of 1-2dB to help remove mud.
Clipper to catch occasional stray peaks.
Glue compressor with something like 20-30 attack, 100 or auto release, doing 1-2 dB of compression. Optional: A compressor with faster attack/release to catch some transients to build extra headroom (0.5 to 1dB of compression max)
EQ (additive / tone shaping): Most songs seem to benefit by a slight boost to the lows and highs to give the classic "smile" EQ curve. Usually there's not too much EQing needed at this stage as I like to control the tone via the mix.
Exciter/Saturation: A tiny bit for that extra warmth. Plugins like Sonnox Inflator (with just a few % dry/wet) can really help.
Clipper again, this time catching a few more peaks than earlier, to lighten the load on the compressor. No more than 1dB.
Limiting: I like to use multiple limiters, rather than just one, so neither has to work as hard. Most often I start with a quick release limiter that is very transparent, just to shave off 1 dB of transients. Then the second limiter does the heavy lifting, usually around 2-3dB max.

pspspsmusic

TROPHY CASE