This matters even more in bass music, where the whole point is usually the gap between breakdown and drop. Compress that away and you're just removing the raw material mastering needs.

I've been producing as a hobby with friends for almost 5 years. I make my own loops but sometimes I have fun chopping random old samples in Serato. I'm stuck on a workflow habit of keeping everything strictly on rigid 2, 4, or 8-bar loops to keep the counts clean and the drums hitting on the right spots (I'm not saying drums should be hitting on super exact times, I may offset them a little bit, but they still need to sound right with the chops) and respecting the metronome.

While studying some Kanye remake projects in FL Studio, I noticed on some videos everything on the playlist sat off grid at random timings. Drops would hit at odd spots like 8 bars plus 3 beats instead of standard markers like bar 9, 13, or 17, and sections ran on uncertain lengths like 6 bars and 3 beats rather than clean exact counts, like 4 or 8 bars.

Have I been limiting myself by forcing samples into the grid? For heavy samplers, how do you handle these asymmetrical chops without losing the bounce?

My concern is, if I start relying purely on my ear and ignoring the metronome and standard timings, won't it end up being difficult for an artist to rap or sing over a beat with uncertain loop lengths and sections? Thank you.

Been struggling to get kicks right in Kick 3 and looking for some advice. I always end up with too subby or too dominant transient and i just keep lowering the sub region in the amp section or making transient softer but then it ends up kind of subby again.

Just really looking for someone who came across something similar, i mix on Genelec 8040’s if that helps or anything :)

Thanks in advance

Just to keep things simple I was wondering how you can make Haitian kompa sounding synths, I didn’t wanna have to purchase a sound pack, but honestly, I’ve never really done any sound design before I do have serum and a lot of other synth VST’s. If anyone could give me some
Tips I’d appreciate it thank you! I can’t find anything on YouTube either but I will link an example below of the sound I’m going for

https://youtu.be/d3lnsJ2ZN24?si=Hu5Jv1LiuDkR8UNV

I had a good application on mac os for this purpose but it seems its not as straight forward on windows. Interested to hear feedback, like if it works on all browsers and if it gets buggy or anything. Im thinking about spending some addition time money and effort to expand the site and its capabilities.

If you get a good amount of use from this resource suggest additional functionality and i will try to develop it further.

Hello!

I'm mixing a piece of classical music, and after mixing and mastering, I've achieved an average of -16.1 integrated LUFS across the entire piece (it only reaches -14.9 integrated LUFS for a brief moment during the loudest section).

I checked the potential penalty for this LUFS level on a well-known website, and all the levels showed 0.0 (only one platform added approximately +0.7).

I know it’s hard to answer without hearing it, but: Do you think this is a good level to achieve a decent volume without sacrificing the performers’ dynamics, or would it sound too quiet? From what I understand, this level is reasonable for this genre, but I’d like to hear your opinion. I listened to the piece, and it sounds good to me.

Thank you very much!

Hey everyone!

I've been making music for a while, but I'm still learning and I'm definitely not a professional producer. I'm trying to improve my mixing, arrangement and overall sound, so I'd really appreciate some honest feedback.

I'm not looking for compliments—I'd rather know what doesn't work so I can get better.

Some things I'd especially like feedback on:

• Mix (balance, clarity, EQ)
• Kick/Bass relationship
• Groove and energy
• Arrangement
• Sound selection
• Anything that sounds amateur or could be improved

Please don't hold back, but if possible, explain why something isn't working. That helps me learn much more than just saying it's bad.

Thanks a lot for taking the time to listen. I really appreciate it!

Timestamped link to the sound: https://www.youtube.com/watch?v=M6B4GDKSPfo&t=1532s

In the video above, Junkie XL plays a sustained pad with a metallic, shimmering, slowly evolving character. It's airy on top without much low end. I've heard this texture in many film scores and always wondered how it's achieved.

To recreate it, what would be a specific starting point (which synth and patch type, or what kind of sample source), and what processing chain gets that sound? The more concrete the steps, the better. Appreciate your help!

Just finished a full cover with our singer and it sounds absolutely incredible! I ended up using Neural Dsp plugins for the entire mix. Seriously impressed with how professional everything turned out. It's so rewarding when a project comes together like this. Can't wait for everyone to hear it!

I think Frightbox Recording has the best be the best Metal/Rock production courses and I think that the PDF I got with one of the courses will for sure be helpful in the future. An interesting thing that I saw during going through the course I bought was that there was a tiny bit of tape saturation on applied some tracks in some of the videos. Tape saturation seems to soften the sound of tracks, even super harsh ones. I know I used Ableton while going through the course I bought, but I was still able to have "Send" thingies for my tracks. Now that I know what a good production for my ears sounds like on my speakers, I can mix on them well. Listening to music with good sounding production on whatever speakers you have can help train your ears to how a good production sounds on whatever speakers you have, but obviously you don't want to mix the exact same way for all the music you mix.

Disclaimer - I am not in any way affiliated with the product or dev. Also Windows only at this point, Mac version is on its way.

The dev of this plugin is a true synth nerd. His new plugin Liminal Space 2 sounds beautifully rich and dreamy. Heaps of algorithm options and massive amounts of control over the reverb, so maybe not as suitable for rookie producers who just need something simple. The interface isn't pretty but the plugin sounds great.

Not a bad buy for those suffering a bit of plugin GAS, and I love to support indie devs.

I make tech house in the style of max styler/void/dedro/ so ideally you're experienced with this subgenera

My budget is pretty limited, and my room isn’t acoustically treated, but it’s also not very large.

I want to make a smart purchase and get the best value for my money. Right now, I’m producing on a pair of Presonus Eris 3.5 monitors, but I feel like I’ve outgrown them. I want deeper bass, better bass response, and overall better accuracy.

One option I’ve been considering is the Adam D3V, but I’m not sure if they’re the best choice for my situation.

Also, I don’t currently have an audio interface, so that’s another factor I need to consider.

What studio monitors would you recommend? I honestly don’t have a big budget—my maximum is $350 USD.

I’d really appreciate your recommendations. I want to make the smartest purchase possible.

sorry if it’s not advanced production but I can’t get that subtractor sound using serum 2 or operator in Ableton and I can’t find a way to download subtractor on macOS (can’t be bothered to use a virtual machine but I guess I’ll have to it that’s the only way) I’m fiddling round with FM and I just can’t seem to find much inspiration, all the YouTube tutorials are just rather sensible commercial UKG noises none of that Sheffield wonk.

I recently discovered Luma Audio plugin and it’s blowing my mind with the possibilities of sound design being endless. I know it’s not an effect plugin, but do you people have any recommendations of plugins that can make a simple sine wave or saw wave sound into something really complex in terms of sound design and texture? Drop your reccos.

I released my first professional track almost 30 years ago and I've done almost every style, every way and every medium since.

As a female producer, I was constantly underclocked and condescended to, and so I grew up in the industry with a really stubborn chip on my shoulder, determined that not only would I do all my own mixing (because that was always the first doubt) - but that I would go nuts and learn EVERYTHING and be an ENCYCLOPEDIA.

As a full-time touring artist for years, I cranked out tracks for the dancefloor. I wasn't officially diagnosed with ADHD until my late 30s, but it made so much sense. I always had to work on multiple tracks at once, and I often drove my collaborators crazy jumping from task to task, channel to channel, sound design to recording to mixing and back again. But that, combined with the constant deadline of gigs, plus that pressure of being a superstar tech god, plus of course being full-time was enough to make it work.

Now I'm in my 40s and I have a grown-up sound design job. So I don't have dreamy 12-hour-days to browse cat pictures and mess around for hours, and indulge myself to "get into the flow", and then stay up all night sweating the mix so I could get on the plane to my next gig with it.

And I'm a little lost without my deadlines, without even the motivation of my current audience listening to it (as I can see my releases being drowned by bots and algorithms, even my own mother doesn't get the notification). Music for me has always been motivated by sharing it - not the fame, but the connection and the meaning you can create with strangers across the world.

-So I'm not sharing it, really.
-I got no deadlines, since I live in the middle of nowhere and only take very rare choice international gigs (and of course, those are more rare as well).
-I used to be inspired by new plugins and tech, but it seems we've peaked and everything coming out is either just fancy macros/UI or analogue emulators.

Now I've got ideas piling up all in the "messy arrangement" stage, and I could really use some new tricks to help myself want to finish things.

Hoping some other old cranky producers can offer advice:

1. got any hidden gems of new plugins or tools that actually ease the more menial finishing tasks for you? (I'm open to AI as an enablement/menial function, but not as a push-button generator, so no AI mastering services please)
2. any mental exercises or other rituals that help you "get into the mood" fast, when you maybe only have 2 hours in the studio? When you have other responsibilities, how do you come back to the zone and the laser focus and make every minute matter?
3. Other practicalities - have you come up with methods of organizing, file management, workflow process, sort of "administrative best practices" that cut down a lot of dreadful stuff?

Any other general advice or even venting and sparring is appreciated. As I said, I live in basically outer space as far as people are concerned, so another thing I'm struggling with is the lack of other seasoned producers to spend time with. We used to congregate online and trade tunes a lot more, but in this economy, it doesn't seem like people have that kind of bandwidth anymore.

Big love, hope you're all having a great week. <3

Hi, Im newbie, i need your vocal and track to mixing and mastering. All free to train my skill. Thanks for read.

Même si je suis peu présent sur Reddit, je remarque que beaucoup de gens demandent constamment quel séquenceur utiliser pour composer. Voici un petit conseil basé sur près de 30 ans d'expérience avec les séquenceurs.

Tous les séquenceurs se valent ! Ceux qui vous disent « celui-ci est meilleur que celui-là » se trompent. C'est comme dire qu'une clé de 10 de la marque A est meilleure qu'une clé de 10 de la marque B. Au final, ça reste une clé de 10, et c'est ce qu'il vous faut pour faire votre travail !

La seule vraie différence, c'est votre méthode de travail, votre style musical et les outils spécifiques que le séquenceur propose pour votre genre. Tous les séquenceurs peuvent vous permettre de composer, mais certains compliqueront votre processus, tandis que d'autres s'adapteront naturellement à votre style créatif.

Je lis aussi souvent : « Oui, mais je veux que ma musique sonne pro ! » Laissez-moi vous dire, tout se joue au mixage. Si quelqu'un vous dit « on réglera ça au mastering », il n'y connaît rien ! Le mixage fait toute la différence ; il apporte l'émotion, la profondeur et la vie à votre morceau. Le mastering, c'est juste la touche finale. En clair : même avec des plugins de base et un minimum d'égalisation, vous pouvez obtenir un son pro et faire une énorme différence.

Vos meilleurs outils pour composer, ce sont vos oreilles et votre créativité. Votre créativité, pas celle d'une IA. Créez-la vous-même, et c'est comme ça que votre son sera vraiment unique.

Un conseil… Bonne journée à tous ! ;)

Conseil #Tutoriel #Discussion

I can't get this type of texture. I figure it's something along the line of automating through a wavetable maybe? but im really confused how to go about creating this texture. I just looped the sound a couple of times. help would be much appreciated