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Yes probably the big sell for me. I usually use BlueCats Multi for analysing other channels and adjust Pro q2 to suit. The Brickwall HP/LP sounds ridiculous, hardly any resonance then the dynamic EQ. Christ they really hit it out of the stratosphere with it. The problem frequency highlighting, crazy overpowered. Can't wait to try it out, 30 day trial with all their plug-ins. Definitely one plug-in that is a must have! You hardly even notice it on performance in tracks hope it has the same or similar performance as Q2.

Confused though they have not updated some of their other plug-ins in quiet a while thought they would have updated the Gate plug first. It was/is totally worth the €149 now (upgrade from 2 is half price)

Used to use Span alright. Having it all in one though is much better imo. Less resources being used perhaps.

keithkk16 wrote: »

I made a thing House/Disco/Funk/Soul.
I upgraded to the new Ableton and is the first track from it

https://scoobz1.bandcamp.com/track/back-forth
https://soundcloud.com/scoob89/back-forth

Nice vibes but I think your kick is clipping.

I haven't really made any jams in about a year as I'm a bit of an idealist and waiting til I build the sequencer I mentioned in an earlier post for proper on the fly live looping, just want to be able to jam with minimum fuss.

Anyway here's an Italo 80s style track I made by writing a melody in Abletons piano roll, it was literally done in minutes and the drums are an after thought so it's an early work in progress.

I think it has some potential though:


Listen to Flashback - Work in Progress by AdrianSmith #np on #SoundCloud
https://soundcloud.com/adriansmith/flashback-work-in-progress

Hello All,

Another track of mine i made on album over past year,



And the first one above now on youtube also,

mordeith wrote: »

Very crisp sounding productions. I love the sub bass that plays under the 303 in this one. I think though the track only really gets going at 5.15. It's a bit sparse up to that point. It really kicks on after that though

Thanks for the feedback, i know what you mean, the rawness of the track i do agree changes after 05:15 which is more influenced by the NOOM style of Acid tracks,

When i am producing, i kind of try and make what feels right at that time, which can actually end up with the track sounding like two different styles.

This one i do myself feel the start is like a minimal old style acid track from pre 90's almost, and as you pointed out kicks on into a style that fits more into mid 90's NOOM style, what i think is its most powerful asset at the beginning is the Kick is thumping its way through unhindered by other instruments , and the sub bass part comes in and out to strengthen its effect, if it was rolling all the way through the track, you wouldn’t pay much heed to it and the kick would also be weakened, but I made it so it breaks up the track and allows the rest of the track to shine through a bit when it drops out.

I suppose it’s hard to explain but it made sense to me when I was making it., I wanted an old sound like Acid house at the start.

Anyway, thanks for your feedback, its much appreciated.

mordeith wrote: »

This had an early Orbital vibe for me and at time an old skool rave feel.
I must check out your initial post to hear some more.

Again with this one, its kind of split in two again, the beginning is very subtle and progressive, a lot like the stuff from the Eye Q label, but when it changes again at 05:15 (pure coincidence) its kicks off into a more powerful almost Hard Trance like track.

I will upload more soon, I have finished them, but when I gave myself a week long break from listening to anything, I found two tracks that I want to slightly alter the hi hats and cymbals in.

In relation to the crispness of the production, I think this is what helps,

On the mastering stage, I kept the frequency levels all down around -10db to -8db when working in the DAW, then I went with the advice I read in many places not to try and maximise the loudness up to 0db on final stage of mastering, I went for peaking at -1.25db as the absolute limit, what I found as an invaluable tool in the mastering stage is the use of Voxengo SPAN VST before you start the final mastering.

mordeith wrote: »

Out of curiosity do you do your final master as the DAW project or bounce the whole track to a single audio file and then apply final mastering to that?

I spend a long time mixing it on the mixer rack, using Voxengo as mentioned,EQ, and possibly some filters on certain instruments, then only when i am totally satisfied with mix levels and how the sounds are cancelling each other out or not will i then bounce the track out and master it outside the DAW.

EDIT:

One thing i find useful to do, i apply Voxengo to each instrument and visually look at the spectrum of each individual instrument as it is playing, you will find sometimes with an instrument that is primarily lets say for example between the 1000hz and 10000hz range, that for some reason it can have slight elements that present in the sub bass, bass and just under the 1000hz that are not integral to the sound of your track.

If the removal of those frequencies from that instrument does not detract from the overall end result you are after with the track, i cancel them out using multiband EQ by turning those specific non necessary frequencies right down and eliminating them, that leaves plenty of space for those bass, sub bass etc frequencies and instruments that you are using in the track to have that space and shine through unhindered or masked/cancelled out.

Same the other way round, some bass heavy instruments can show high end elements that are not needed, eliminate that part of the instrument with Multiband EQ

mordeith wrote: »

Yeah, I use Span on each track and cut lower freqs even if they are not visible in Span.

The other fairly useful thing to do is to use a logical progression (That’s just my own term) when using panning.

The only instrument I leave in the centre is the kick, then I start to distribute the bass instruments slightly left and right, the mids a little further out left and right and the highs out even further, if i have two instruments that are same frequency range in the mids, i will put one left and one right and so on and so forth with everything, this gives it its own slot in the field, the distance away from each other usually only in 2.5% increments.

But never usually more than 30% out from centre with anything, I usually try to keep things separated but tight together in the field, I don’t know if that better but it works for me.

So in easy to understand terms, 10:00 O’Clock through to 02:00 O’Clock, putting instruments at 10:15, 10:30, 10:45 etc and so on and maybe some stuff out wider.

Not exactly "dance", more "lofi ambient shoegaze".

I recorded this album in two weeks from the 18th March, as something to do during the lockdown. This is the title track.

If you like it, you can hear more here: https://open.spotify.com/album/0W7C7hCVYwqx2lkfUPKGdO?si=Hxq42YS2SJemaVCl5ONOMQ

Or on Bandcamp: https://lectionary173.bandcamp.com/album/when-memory-remembers-meaning

https://clyp.it/1hut4dkj

keithkk16 wrote: »

First original track I've made in about 2 years or more maybe.
Bandcamp:http://scoobz1.bandcamp.com/track/i-wanna-be
Soundcloud:https://soundcloud.com/scoob89/i-wanna-be

Quality jackin house there. The sub bass line is gorgeous. Good use of the disco guitar and vocal sample. Only negative for is the plucked bass sound doesn't sit quiet right in the mix for me.

keithkk16 sounds like a very well made disco track, I liked the groovy bass guitar riff


https://clyp.it/emp3lpay
Another edgy track in the "slow Dutch hardcore" pattern... not sure what my motivation was when making it, but it was the first track made using the Reaper daw.

A wee preview of some music that I might be putting out next year. Synthy disco for the club https://soundcloud.com/scoob89/untitled-disco-1-preview/s-ZyCqSO2X3pV