Do you want an easy way to drop in cool scales and write in new MIDI parts? Or have you ever wanted a Scale Reference in the Piano Roll? I’ve created a new technique I call Scale References to help me with this. It’s helped my productivity and makes sure the parts I am writing are in the scale I am using. Here is a video walk through of the technique:
Collaborating with your music is such an amazing experience. It lets you bring new perspectives to your tracks, outsource to other musicians to use their strengths, and it’s just straight up fun as hell. Ableton Live is a great platform to collaborate with, but it takes some knowledge. It’s really frustrating when you get that “Media Files Missing” or “Missing external Plugin” notification when you open a file. That’s why I made the (aq) Sharing Files PDF.
Here are some example pages from the Free PDF.
An amazing part about being human is our aptitude for willpower, intelligence, and consciousness. It lets us take abstract ideas, like music, and create such wonder. Sometimes we get lost in our own self importance, our ego. One of the first things you’re going to have to learn as a Mixing engineer is to get over yourself. It’s no longer about how good that guitar solo was, or how fantastic that synth bass is. You have to look at it objectively.
Something that helps us reach that objective is referenced. The way the ear and mind works is it adjust over time. We also get this thing called ear fatigue. If we listen to the same thing over and over, it has a different impact than when we first put it on. Over time we don’t want it so bright because we perceive it differently.
Because of this we must always understand our references and out reference points. (more…)
An important part of any mix is the Low End. Getting that sounding solid, having a punch to it, and bring out a lush bassline is the key to an epic track. Mixing all the Bass Elements is also one of the hardest things to do. The first key in understanding the low end of your track is to understand there is more than one layer to your bass.
There are multiple layers and frequencies that make up a good bass. The way they flow together and interact with your other elements is what will make the bass truly punch through, or be a murky mess. A bass can have a click on it, a warm mid range, a synthy top end, or more. In this article I will go over the different parts that make a up the domain of the low end and share some insight on how to wield it in your music.
Here is a chart to show off the 4 Layers of Bass:
There are a lot of DJ’s and performers out there. It can be a monumental task climbing up the endless heights to be known as a performer. One way you can quickly rise above the crowd and get recognition is through bootlegs and remixes. You can take any track and make your own spin on it. By taking popular dance tracks and adding your own spin you can quickly get your sound and vibe out to the world.
I just created a new Bootleg Remix Pack to help speed up the process and wanted to share some techniques and tips I use a lot in remixing.
WHAT IS A BOOTLEG REMIX?
To start, lets define what a Bootleg is.
A Bootleg is one type of remix of a song in which the remixing DJ uses an entire song or samples from a popular song without the explicit permission of the original artist. A bootleg remix generally uses the stereo master track and or accapella of the track.
Compression is a key to controlling the Dynamics of your track. In this article I will be going over the basics of Compression, other resources, and share a collection of Compression Presets I use in production. This will include Parallel compressions, Drum Compressors, and Side Chain Compression Presets.
Wikipedia explains compression as:
Dynamic range compression or simply compression reduces the volume of loud sounds or amplifies quiet sounds by narrowing or “compressing” an audio signal’s dynamic range. Compression is commonly used in sound recording and reproduction and broadcasting and on instrument amplifiers. Audio compression reduces loud sounds over a certain threshold while quiet sounds remain unaffected. The dedicated electronic hardware unit or audio software used to apply compression is called a compressor. Compressors often have attack and release controls that vary the rate at which compression is applied and smooth the effect.
Compression is a tool that lets us tighten the gap between the loudest and quietest parts of an audio signal. Most compressors have pretty much have these same basic controls:
1. Threshold sets the level when the compression starts. If the peak of the sound is under the threshold, then nothing happens to it. If it is above the threshold amount it then becomes compressed.
2. Ratio sets the degree of compression above the threshold level. A ratio of 2:1 represents mild compression and means that when the incoming level (that is, the level above the threshold) rises by 10dB, the outgoing level will only rise by 5dB. The different ratios let you decide how obvious, and how much the compression is happening to the signal.
3. Attack is measured in milliseconds and sets the time taken for the compressor to start working once the signal has passed the threshold. For drum parts like snares and hi hats you will want some attack to come through. Other things like Sidechain compression you might want a slow attack to give it a pumping sound.
4. Release sets the length of time it takes for the compressor to return to its normal state once the signal has gone back below the threshold.
5. Gain lets you raise or lower the final output sound. Sometimes in compressing you make the sound much louder and it will clip. You can turn down the signal with the Gain Knob.
To continue with this whole theme of Time Management, I want to dive into techniques in Ableton live for fast songwriting. These tips and tricks will help you stay creative, bust out songs, and feel confident in how you are spending your time.
If you are not using Ableton Live or, what to read the article on taking your time, it will look at the bigger picture of how artists can better manage their time.
1. Good Old File Management
Nothing says “I am an artist” like spending a day going through your files. Every successful musician I know is ruthlessly efficient with their sample library. We each have our own way of managing our files as well. Here is what I do with my Sample Library:
As a Professional Producer in it for the long hall we are always looking to improve our mix. It’s never “perfect” and there are always tricks and things you can learn to get faster, and better at mixing. Here is a list of a few Tricks I’ve learned along the 8 years of mixing and mastering in Ableton live.
1. JUST THE RIGHT EQ, NOT TO MUCH!
Lowpass and Highpass can sharpen your mix, if used right. There are two techniques here. First being Low Pass. If you have a bright guitar you might think having all that high end is good, but staking it on top of all the other high end might make it seem harsh and not “bright” so cutting off the top lets the clear frequencies through and leaves room for the hats, or anything else you need be more in the realm of shimmers and accents.
I am Sam Windell, composer and the creator of the website FrozenPlain. The site hosts my sample libraries and Kontakt scripts, which focus on atmospheric instruments. Over the past month I have been immersed in the world of impulse responses creating a library of IRs called Frostfall.
Convolution reverb is an excellent tool for emulating real spaces, it is employed by many. Most of the impulse responses about are directly recorded from halls and rooms using sine sweeps and microphones. With Frostfall, I have taken a slightly different approach. In this article I hope to show how it was made and my general experiences with impulse responses (IRs) and convolution reverberation. (more…)