Discuss the various methods you use in music production, from compressor settings to equipment type.
By construct one Fri Feb 06, 2009 7:05 am
reverse your kicks and you could end up with a better kick.chop the tail end of your snares and you can sometimes get a hi hat out of i.if you want a homemade sub. take 1/8 cables plug one into your mpc and take the other ends and press them against your palm and sample the feedback as loud as you can. asign the sample to a pad and put a low pass and another low pass or wat ever it takes to turn the feedback into bass. its not the best but its worth a try

Re:

By tresperros Tue Feb 10, 2009 5:58 pm
drukqs2369 wrote:
es-k wrote::

i wish i had the time to compile all this ****. there are some great things in here


yea i actually gave this a little shot last night

thing is i dont have any software to compress or anything, so i was just using the eq thingos in ReCycle

still came up with a different and decent sounding snare tho

i'd also like to share more of a detail in the parallel compression technique, using either cubase or logic that i found on another forum;

Legendary NYC Style bus compression - a technique that started in Rock and was handed down to Hip Hop, House and beyond.

1: Create a Group Channel Track (Cubase) or Bus (Logic) called 'Drums'
2: Route the output of all drum sounds to this 'Drums' Fader instead of the master
3: Create an additional GCT/BUS and call it 'NYC' or 'Fatness' and bring the fader right down so it cant be heard.
4: Send from the 'Drums' GCT/BUS into 'NYC' 100% (fx send on cubase/aux send on Logic)
5: Now on the 'NYC' GCT/BUS add the following Inserts with settings as stated:

i1) Compressor: Peak Mode, Ratio about 8:1, Attack 5ms, Release 150ms or Auto, Threshold set so that about -10dB gain reduction.

i2) EQ: Low Shelf boost of +6dB @ 100 Hz, High Shelf Boost +6dB @ 10kHz

6: Bring the NYC fader up slowly.... Fatness happens!

This technique should be used with care - if you use too much of it you may not have enough headroom to fit the rest of your track. If you want to hear it in action listen to Ballistica - it's all over the beats.

It can also be used with other sounds for fattening - including vocals.

_______________________


sorry mate but you don't really know what you are saying.....
compressor set up and EQ setup is absolutely ridiculous.... IT DEPENDS ON MATERIAL,
so how you can give those data for everyone not knowing/hearing music ????????
I've noticed your previous post with some untrue 'revelation' and didn't react, but this one is completely NOT TRUE!

sorry for saying that, but it looks like you don't have an idea what you are talking about....

and for rest of guys, it's much easier option for new york style compress

just use plugin or better hardware with MIX knob (plugin - PSP VW for example)
hardware - ISA 430 mk2
and mix compressed signal with DRY

that's whole idea to mix uncompressed material with compressed one.
that's it
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By Menco Sat Feb 14, 2009 3:32 pm
Layer drumsounds

Make templates for ur sequences and programs with all the presets and track labels u need most of the time

MPC stands originally for MIDI production centre. Midi things up (Rack samplers, sound modules, reason) with the mp as midi sequencer and u really find out the mpc's true power

Use the slider and 16 levels on programming drums. Listen to a real drummer, for example the snare. Not a single snareshot has the same pitch, brightness and velocity.

If u have a long horn note for example and u want to extend it without using timestretch ur pitching. Just chop it up in three parts: attack, middle part and the decay/release. Just play the three chops, and replay the middle part multiple times before hitting the pad with the decay/ release.

If u work with a s900/950 u can prepair ur samples in ur newgen mp if u have one. I like to built and create drumsounds in my 1k, then dirty it up by sampling it into the s950.(and sequence the s950 events)
I also use chopshop for a sample, adjust the start and end points, and then sample every single slice into the s950. Labling and recording goes way faster then chopping in the s950 sometimes, plus it makes life easier when ur have a lack of RAM.
By Clint Tue Feb 24, 2009 9:05 am
Seems to have become a 'Sticky' overnight which should please many of you.

Keep those tips and tricks rolling... :wink:
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By AntonPD Tue Feb 24, 2009 7:24 pm
Today I found that you can get distortion by using gates, set the attack and release times really short (not all the way, that sounds 'wrong' but it depends on what sound is coming in) and itll start buzzing! This was with the GGate vst plugin. Maybe this wont happen on other gates, but im guessing it will.
Question: distortion from compressors with low attack and release values, is that the same thing happening? Cause I hear what it does, and it sounds similar (not the same, but its different plugins..) but im having a hard time understanding what this kind of distortion actually is. If normal overdrive is the high peaks being pushed down a little, and distortion is 'cutting them off' (if you dont agree, tell me!) then what is happening here?
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By Doglamp Fri Mar 06, 2009 6:39 pm
Doglamp wrote:Balanced (TRS) = Less hiss / hum. If my gear doesn't have TRS outs or ins and only RCA; I use SPDIF cables as RCA cables. Why? It's because usually digital coaxial (SPDIF) cables are thicker than the regular RCA's, lol. And they really do help! The thinner RCA cables pick up a lot of noise / interference.
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By -niN Tue Mar 10, 2009 10:49 am
Doglamp wrote:
Doglamp wrote:Balanced (TRS) = Less hiss / hum. If my gear doesn't have TRS outs or ins and only RCA; I use SPDIF cables as RCA cables. Why? It's because usually digital coaxial (SPDIF) cables are thicker than the regular RCA's, lol. And they really do help! The thinner RCA cables pick up a lot of noise / interference.


okay Cool tips there.
BUT; you know the way you can record the main out signal without any cables. just by going into record mode and switching input to main out.
Do you have to twiggle around with the main volume? or the gain? or??
By logic_user99 Wed Apr 08, 2009 9:15 am
Okay - so combining the 'velocity>level' and 'velocity>start' functions in Program mode. The best way to look at this is by using a speech or vocal sample; something pretty varied that will sound nicely choppY. Let's 'step by step' this:

1) Assign a short sample to one pad in a new program
2) Scroll to 'velocity>level' and set to '0'
3) Scroll to 'velocity>start' and set to '100'
4) Scroll to 'Voice Overlap' and set to 'Mono' (very important!)
6) Switch on '12 Levels' and leave as velocity, not pitch
7) Hit some pads!

You should hear your sample starting at different points as you change the velocities. Strangely (or not so strange as everything seems to be backwards in Akai land), you have to hit a velocity of 127 to play from the START of the sample.

Doing this can save you a marginal amount of sample time, as the function gives the impression of a series of chops without actually having to chop the sample or use multiple samples. You can also try it out with a long decay setting, and 'Note On' mode - this'll give some interesting results, too.