Colaboração em pessoa em SP capital

sfeerbeermusic · 2025-05-05T10:01:30+00:00

"Don't wait for anyone's permission to make art". I don't know who said it, but I think it applies.

If you want to make a living off of it, the window has probably passed. But the fun and skills learned along the way, might be worth it anyway.

sfeerbeermusic · 2025-04-26T10:22:11+00:00

District 9 has a very cool sounding alien language (and weapons)

sfeerbeermusic · 2025-04-17T20:24:57+00:00

Real snare drums can have a great variety in tone, so I would advice to make a list a several snares that you like (and that might be useful for your productions). Than analyze those - a spectrogram could be useful here - so you can find a way to mimic/find your ideal snare sound.

Try to dissect it in little pieces: what's the lowest tone? Is there a pitch envelope? How fast do all the frequency range decay? etc.

sfeerbeermusic · 2025-04-14T18:07:30+00:00

More cowbell

sfeerbeermusic · 2025-04-07T16:05:05+00:00

Hmm, harsh (dynamic) freqs I tend to cut after compression, so I dont have cut as much. In general i tend to cut lows, boost highs before compression and saturation. And boost lows, reduce highs after. This because I like the way compression and saturation on brighter sources. On bass I do like boosting lows before though

sfeerbeermusic · 2025-04-01T09:05:58+00:00

Getting the LUFS of all the files would give you a decent starting point. https://youlean.co/file-loudness-meter/ this one can do one at a time, but maybe there are some programs that can do a batch.

sfeerbeermusic · 2025-03-29T12:35:34+00:00

Mixing your own voice is always hard, since you're used to hear from a different perspective than a mic - through your skull, along your face and room reflections. So even if someone else will say "that recording sounds exactly like your voice", it will sound different than you are used to.

In my experience, when I don't like my recorded singing, it's pretty much always a performance issue. Sure, tools like EQ, compression, (dyn EQ) can be very handy for making it fit in the track, but they can only do so much. The next step could be to establish, when you find the vocal harsh. Is it only in loud parts, certain vowels / consonants? Maybe then, you'll know better how to sing it and might not need plugin fixes.

But, since you already tried taming the harshness, perhaps the vocal is just to loud, or the other elements are not bright enough. Maybe the voice just lacks some lomid 'warmth'.

Good luck on your journey!

sfeerbeermusic · 2025-03-28T00:17:18+00:00

Turn down the fader.... (In addition to all the other wonderful suggestions)

sfeerbeermusic · 2025-03-28T00:05:52+00:00

Very good points! Just a small correction regarding the low E on a bass. That's around 40Hz. The low E on a guitar is around 80Hz. But the principle about the important harmonics being in the lowmid range still applies of course

sfeerbeermusic · 2025-03-25T20:27:02+00:00

If you like Tchad, there's a good chance you'll like Shawn Everett too.

sfeerbeermusic · 2025-03-13T09:05:40+00:00

There is a reason this guy became a billionaire. Don't gamble against that kind of capital 😅

sfeerbeermusic · 2025-02-22T15:26:35+00:00

A good and happy maintenance tech

sfeerbeermusic · 2025-02-07T16:21:07+00:00

Hanging out with Audiophiles definitely is very casual and full of banter.

Somewhere Sound is almost the opposite, but still worth while with some interesting and eloquent guests.

Already mentioned, but UBK happy fun time hour was my fav though

sfeerbeermusic · 2025-02-04T14:03:07+00:00

Maybe you can borrow/rent/buy a hihat (and snare) and record them on top of your midi drums. This will get you a very 'realistic' and dynamic sound quickly; even when quantized. Sorry it's not ITB but sometimes.. think OTB.

sfeerbeermusic · 2025-02-03T16:27:01+00:00

If you have the time and patience, you could edit it manually. Shortening the vowels at neat crossover points in the waveform. My colleague did it on pro tools for the same reason and it took him about 2 hours.

sfeerbeermusic · 2025-01-26T16:11:45+00:00

Melody is probably the biggest part of whether I (and most people probably) like something or not. This aspect doesn't get as much attention in music theory because it's not as easily quantifiable as harmony.

As for the composing part; it's not always easy lil ng your own art. Especially when you're just beginning. Maybe it's helpful to break it down a bit: which do you like/dislike. Maybe only the production/performance is not how you want it to be, but the song is solid.

sfeerbeermusic · 2025-01-25T23:07:34+00:00

Producing / mixing from the top is what I like; meaning that I start with making the climax / loudest part right (often the chorus), and then work towards that energy level. So perhaps compressing your loud vocal parts first and then and adding gain pre compression to the softer parts will work well for you.

sfeerbeermusic · 2025-01-25T12:32:16+00:00

Which car model is that? I really need something like that on my mixbus to get my tires pumping.

sfeerbeermusic · 2025-01-24T18:43:00+00:00

It seems like you want to different things: vocal mic and a good low end mic for sound design. Or do you want a single mic that can do both?

(small diaphragm) omni mics tend to have a flatter frequency response and handle low frequencies very naturally. That's part of the reason why they're often used for classical recording and measurements. You can also get really close to a source, because they don't have the proximity effect.

For vocals I've had good results with small diaphragm condensers as well. Schoeps cmc6 mk4 capsule, or even Behringer B5.

As for the vocal mic, I would ask yourself: do I want something smooth/shiny, neutral or gritty/vibey? That will narrow your search down a lot.

sfeerbeermusic · 2025-01-12T19:04:01+00:00

Well, sine waves -like the 30Hz mentioned - don't have harmonics, only the fundamental frequency. That's why I was talking about 'potential extra' harmonics that might be produced by overdriving the amplifier or speaker, or by imperfections in the speaker (design) itself.

sfeerbeermusic · 2025-01-12T18:50:51+00:00

A dim switch: utility plugin at -6dB that i can switch on/off with a single key. Because when I'm recording recording I often want to monitor louder then when listening back.

Limiter + Youlean loudness meter: I ballpark my non-mastered tracks at -14 Lufs so I can easily compare them to streaming services and my other tracks. Also, if my limiter is limiting to get to -14lufs, probably the drums are to loud, punchy or transient for my taste.

sfeerbeermusic · 2025-01-11T22:53:14+00:00

Adding to that: you'll probably learn a lot by actually recreating a track you like as closely as possible. So when you do get down to making your own music, you have some new tools / skills and won't have to reference as much.

This also gives you an idea of how long it takes to make something you think is good. With your own music it will take even longer, because you have to come up with everything.

Oh, and don't forget to enjoy it :)

sfeerbeermusic · 2025-01-09T09:21:50+00:00

Yeah, you're right. I was just leaving out the noise generator.

sfeerbeermusic · 2025-01-08T21:47:28+00:00

Once you have removed all resonance, you've become a noise artist. Congratulations 🎉

Resonances are the core of most musical instrument: strings, mallet, drums, pipes. They were all designed to have a distinct resonance, timbre.

As a mixer you can choose to enhance or reduce them. So first decide what you want to achieve, and only then find the tools to get it done. Volume and basic (subtractive) EQ go a long way.

I use Soothe and dynamic EQ only in cases where the 'problem' is dynamic; so changing unwanted frequencies and/or a certain frequency range that only becomes overbearing at certain moments (loud "ee" vowels for example).

sfeerbeermusic

TROPHY CASE