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Everything posted by Iacchus

  1. I dont think any particular plugin is especially suited to psy stuff.. but if you wan't to experiment with some new toys, try Looperator and The Mangle. maybe try get your head around FM8 and Omnisphere Generally it's the same old things for any genre.. good synths, good drum samples, use and abuse of simple delay and filtering plugins, etc. I use my built in DAW stuff quite a lot and mostly turn to flashy VSTs for the mixdown
  2. Reaktor is self contained, although it is powerful AFAIK you can't use it to modulate other plugins and the rest of the DAW You can indeed do just about anything in Max4Live.. easier said than done though! That's not going to happen out of the box you need to learn the language and build it.. .you are in danger of spending all your time programming instead of writing music if you go down that road. I dabbled with it and tried a few off the shelf max4live patches from around the web to try and duplicate the bitwig modularity before I completely jumped ship but didn't have any luck. I'd be interested to see if anything new has emerged that can just be instantly applied as I still have a lot of love for Ableton. TBH I expect them to copy bitwigs modularity in a future release.. they'd be mad not to. Renoise do a VST plugin now so you can access the tracker functionality from within another DAW if that takes your fancy. I wish Reason would do the same.. as it's cool but really limited by being standalone and not having VST support
  3. I wouldnt advise mixing on headphones, if you want your bass to behave itself, no matter how good they are. In terms of general production advice, look at formant filtering, using that when making your squelch noises has some great results.. thats something that hasnt been mentioned here I wouldnt say any particular technique is especially important though, just lay down some beats and some synths etc, then repeat for several years until you start to get good at making the noises you like. Get a really good synth and learn it inside out, dont be fooled into thinking the next toy will make all the difference, it is better to know 1 tool really well than to have tons lying around and not know any of them that well.
  4. I'm not saying there is anything wrong with tracks having the master treated with an EQ, of course that is an essential part of the process, I just think that should be left to the mastering engineer, they will want you to and usually as for you to render the track with nothing on the master. So why put it on in the first place? Mixing is about getting the channels to fit together and have them occupying fairly sensible EQ space, let the mastering engineer worry about the final shine... its their job, an they are better than you at it Unless of course you want to master your own tracks, but thats another story
  5. I'd intend to use it for everything, it does all the normal things a DAW can do... I think it will be great for mixdowns too because it supports groups within groups.. Ableton only has one level of grouping.. so you had to carefully think about what to group, or manually route lots of audio In this you can group all your squelchy noises together into a 'squelches' track, put effects on that, group it together with pads into a 'synths' channel, put more plugins on that, then eventually group the whole track into 'top' and 'bottom' for example. In fact I've been doing this as I go along just for organisation, so if I want to find a noise I expand them by category. Although I understand some other DAWs have groups withing groups, like reaper, so this functionality isn't especially novel. Is there any particular functionality of your DAW that you rely on for the full production part of finishing off tracks?
  6. I think most people are agreed the loudness wars are bad, and unless you are making straight up banging dance music, you dont want to limit things too hard But you'd be hard pressed to find someone that thinks no limiting at all should be used.. in any genre.
  7. youll get more of a feel for it after mixing a few albums, we can give you advice but its something that just comes with time, training your ear and knowing what you like. Comparing to reference material is also important, I always choose one track that i think is well produced and similar style, and have that on a channel so i can easily do an A/B comparison on things like the kick and the bass... this kind of comparison can go some way to make up for a lack on an objective ear and a perfect monitoring setup Talking of which, that is something you want to sort out if you are serious.. get some nice studio monitors, preferably not ported, with as wide a cone as possible, or possibly a studio sub with a smaller cone. Have a look at sound treatment of your room, you dont need to go ape with this stuff, just having your monitors on decent solid stands at ear level pointing at you at 45 degree angles (i built mine out of wood and filled them with sand).. making sure you have carpet or a rug on the floor, having some bookcases in the room and hanging throws from the walls and ceilings.. position your desk in the middle of the long wall if the room is rectangular (most bad reflections come from side/side and floor/ceiling).. these are cheap and effective ways of improving the sound of your room. You can take it a step further and look at bass traps and foam and stuff if you want but you can do a decent job with an 'amateuer' setup if you are careful; compare to reference material, take walk around your room while listening, try on other systems, on a PA, in a car, etc.
  8. So in bitwig you can modulate any knob. So, you could create an LFO, and attach it to a parameter on any VST. you could then create an audio follower using your kick drum as the source, and attach that to the LFO speed, so that every time the kick drum happens, the LFO speed increases on the VST knob you assigned the LFO to. It had a note mode too, so you can get it to follow some MIDI data, like a melody, then use the note trigger as another signal to attach to anything else you like, this has an envelope so you can change the ADSR of the modulation. I made a MIDI gater with this which surpasses any VST MIDI gater I have ever used Bitwig encourages you to make your own instruments. It doesn't even come with a phaser, it gives you a comb filter, and you can attach that to a LFO to turn it into a phaser. This kind of control and customisation on everything is very powerful, you will finding yourself building your own effects and presets, I've made a complex filter that splits the audio into left and right and subtly modulates the cuttoff on both chanells differently so it gently undulates also as you sweep up and down, you can then attach the LFO amount and speed to macro controls, which could then be linked to another LFO or audio follower etc, the possibilities are endless. Another great feature is how you can easily copy and paste stuff between different projects, that you can both have open at the same time Say I have built a massive drum kit that uses 10 instances of kontact and loads of effects and uses as lot of memory and CPU, I can just bounce the audio, then cut and paste the channels intoa separate track and save it. I can then, if I want to change it further down the line you can just copy and paste it back into your original track.. this whole thing allows you to cannibalise stuff from failed tracks or easily grab things you want to resuse.
  9. I will EQ every channel. You could talk forever about EQing different kinds of sounds, but for me the most important thing is keeping the low end as clear as possible for the bass and kick drum. Every track will have a high pass filter applied. I move the frequency up until the sound starts to lose some of the quality of sound i like it in. Usually you can take a fair bit off the bottom without it sounding any different at all. Usually you can position the cuttoff point just below the 'root frequency' if it is a sound with a clear note. I will do this solod and again perhaps with the whole mix, as often you can take even more off when it is part of an ensemble. This kind of treatment of everything can free up a few db of DB of headroom, bring up your overall volume, and make everything sound more crisp and less muddy in the low end. This is 90% of the mixdown process and the most important thing to do as far as I'm concerned. Try to save this work for the mixdown.. if you apply EQs etc as you go along composing the track for temporary/live versions, take them all off for the mixdown and start again. It may feel like you are redoing work but you will get a better result. Also EQ things in the right order. Get your drums and bass working together nicely first, then do your lead instruments and vocals, then pads and FX last - these need the least amount of 'space'. If a sound has a 'solo' bit or sits in a breakdown where it needs to be EQd less heavily, then you can automate your settings so it can take up more of the spectrum in these bits If you want something to cut through the mix like a snare, you can make a dip in EQ on the other sounds at a suitable frequency. Channel grouping can be handy for this kind of thing. You can even get the EQ to dip only when the sound is happening, if you use an 'audio follower' mod. Bitwig and Reaper have them. One other thing I like to do is EQ my reverb quite heavily, cutting off the bottom and top, the bass is largely useless and adds a lot of mud, and the top end stops your reverb sounding too sparkly and artificial.. give it a go you might find a darker reverb with this kind of treatment can be brought up in volume and have a stronger effect without sounding too 'reverby'. Most reverbs have a HP filter setting but I find it best to ignore this, have the 100% wet reverb on its own channel and own EQ, which gives more control and easy tweaking down the line in the mixdown. Same treatment can be applied to delays. Never put an EQ on the master, leave that to the mastering engineer. If you need to EQ your master, you have down your mixdown wrong.
  10. Virus TI Polar has been my main workhorse for about 7 years now <3
  11. I switched from Ableton a while back.. bitwig is great, i miss a few things from ableton (the delays for example) but bitwig is really powerful.. the universal modulation system alone is a reason to get on it.
  12. I dont think its about analogue being inherently better, my best synth is effectively digital, (analogue modelling), it could theoretically be a VST. But I cant get sounds as good out of VSTs. I suspect people who put a lot of money into developing a really good sound engine dont want to make a VST that everyone just cracks and downloads, so they only sell hardware synths.. its like a rather large dongle. Also you are getting loads of dedicated DSP boards.. I dont know if my computer could handle the 16 instances of the synth that the hardware provides.
  13. Stick all that in a folder called 'older samples' and just organise new files you get as they come in...i ended up doing this... i find i tend to want to use new stuff rather than keep going back to the same old sample packs anyway so your current collection may well be long forgotten one day.
  14. I started off with things like this, electribes and stuff, worked my way up through various levels of hardware, generally i found it a waste of money and feel i should have just saved up and got a top of the range item VST plugins can match or outperform these small grooveboxes and synths, you are having all the added faff of working with hardware, but not getting a great deal out of it, IMO you'd be better off just getting a really good MIDI controller for ableton/bitwig and wiring it up to anything you want. If you are a gear junkie and just want to jump around on stage with lots of knobs, wires, and flashing lights, grab them and fill your boots But i think you will out grow them quickly if you are serious about production.
  15. I just maintain a good folder structure, when i get new samples i put them in a sensible place with a descriptive folder.. It Bitwig you can browse folders and everything is indexed so you can eg search for 'snare' within your 'drums' folder or your root, then you get a list of search results, you can go through them and it plays them as you click on them Most DAWs have this kind of functionality If you want to start tagging every single file you have you might never get round to even making any music
  16. It seems whatever I do things tend to follow vaguely the same format Intro Drop Breakdown Buildup Second drop Ending I try to change/add things every 8 bars, or have sounds that cycle through but are slightly different each time For psychedelic music I try to have at least two or three different moods or grooves, I like songs to progress, to be akin to a journey, rather than just a 1 groove that builds up and then fizzles away, its something i noticed in producers like Shpongle... consider Around The World in a Tea Daze... it has several different sections and builds up in energy as it goes, it makes for an epic track. I dont consider djs at all in my production, i dont mix my music when i play it live, and find standard 'beat ins' you get with dance music rather boring if you are listening to single tracks or albums.
  17. I dont use a great deal of big complex pads, I prefer to create small FX and use lots of delay etc to make them last and morph.. but when i do a 'classic' pad its one of the few times I might be inclined to start with a preset and build on it To get complex movement you generally want lots of automation.. find out which parameters on your synth sound great when they are moving and automate them.. and then you can add lots of effects with lots of automation.. Things like the audio effect rack in ableton or fx layer it bitwig are handy, as you can create lots of layers without duplicating the whole track, then you can have eg a high pass filter that doesnt destroy the sound too much.. although obviously a plugin with a dry/wet has the same effect. Phasers tend to work great on pads.. metasynth image filter is great for stereo movement.. fab filter volcano two is a great plugin for making things morph too Tere is nothing to stop you combining multiple pads; a high, a mid range, and a bass for example if you want it super thick and complex.. and whack on a field recording of an eastern market whynot... psychill staple
  18. One really good hardware workhorse is all you really need.. its diminishing returns after that
  19. My favourite has to be ableton live ping pong delay.. if you switch it to 'repitch mode' you get a really good dub delay; the feedback, automation control, and consistent behaviour of it lends itself brilliantly to making really cool effects. Other delays I find might behave differently if you start at the beginning of the bar or start from the beginning of the track, making fine tuning a pain.. others have feedback that just quickly tends towards distortion or buzzing. Ive switched to bitwig recently and just cant get the same result out of the built in delays and really miss the ableton ping pong I also use Bloom if I want a lush sounding delay, it models tape delay really nicely, so Ill use this when Im not trying to abuse the effect to get cool noises, like on a lead synth or vocal https://www.fxpansion.com/products/bloom/
  20. I found with omnisphere that the ocsillators arent especially great or warm, but the tool lends itself to building complex patches, and thats why it is good and why the presets are good, but you might find with it that unless you are especially good at making patches, nothing you make on it sounds as good as the presets. I prefer a synth where even the init patch sounds phat and go from there, adding complexity with an effects chain if need be +1 on the korg MS-20 legacy plugin in that respect, it has a very nice warm sound. Its not immensely flexible though and the interface is unintuitive. Not something I use for pads but the other software synth I would recommend is Serum - the way you can morph through wavetables lends itself to some really cool sounds.
  21. There's a lot of sounds going on it that so not sure if you are referring to one in particular, they're mostly a standard set of psychedelic 'squelches' These sounds are generally made with saw waves, and band pass filtering with lots of resonance. What synth(s) do you have? Here's a tutorial to make the basic psytrance squeak on sylenth, a good place to start. You can push different synth in different ways to get better or more varied squelches.. ring modulation, formant filtering.. I could give you a few tricks for a Virus and could give you a patch using the Bitwig polysynth.
  22. There is tons of stuff you can do to improve the quality of the sounds you get with your tools, thats been covered already But if you want a big stride forward in terms of warmth and quality, you cant beat forking out on a decent hardware synth thats sounds great out of the box.. eg a Virus TI
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