why does my stuff sound under-produced?

Discussion of music production, audio, equipment and any related topics, either with or without Ableton Live
Angstrom
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Post by Angstrom » Thu Apr 13, 2006 10:02 pm

markaugust wrote: not panned; in the now empty middle
the mighty cowbell
alone on his throne
laughing at the hard panned kick and bass
:wink:
with multiband compression on?
if you have the cowbell on the central throne, remember to set your L3 multiband to 'crush'
8O

Jan Holm
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Post by Jan Holm » Thu Apr 13, 2006 10:28 pm

sweetjesus wrote:to be honest, i dont mind some trentmoller stuff and some if really good in that it can experiment a bit, but overall i think he's shit... seriously his productions are not that AMAZING and his sense of music is too simple for the minimal/glitchy stuff i like.
I give you that some of his stuff is not all that musically wise.
But when it comes to the sound of it, the balance, the perspective
of the individual sounds - I cant think of anyone comming close.

mikemc
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Post by mikemc » Thu Apr 13, 2006 10:43 pm

DKushner wrote:[. And as far as panning off the rest of your drums to simulate a real drum kit- NOT IN TECHNO. No techno artist does this and there's a good reason for it. Because it doesn't lend itself to the style.
ok, re 'not in techno', that is true. I don't know that it could be precluded from the style.

As it stands, right now the hihat and bd are stuck on top of one another, splitting them apart a'la a real drumkit would be an improvement-- to be sure, the 'like a real drumkit' suggestion was by way of a model to start with (that keeps the kick centered) but not intended to be interpreted as a suggestion for a 'rule of thumb' for techno.

DKushner
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Post by DKushner » Fri Apr 14, 2006 12:12 am

markaugust wrote:did I say bass or snare?
i said hihats and such

hihats
and
such

create space
some sounds left
some right
and the richiehawtin thing to back the theory up
and not all techno is the same
fast hard stuff different then deep detroit stuff
yes?
ok
good
now I am gonna pan the kick hard right and the bass hard left and see if I can leave the middle completely empty

o no

there comes the cowbell offcourse
Re-read. What I recomended be discarded was advice to pan off the Kick and the bass.
I am Iron man.

markaugust
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Post by markaugust » Fri Apr 14, 2006 12:34 am

DKushner wrote:
markaugust wrote:did I say bass or snare?
i said hihats and such

hihats
and
such

create space
some sounds left
some right
and the richiehawtin thing to back the theory up
and not all techno is the same
fast hard stuff different then deep detroit stuff
yes?
ok
good
now I am gonna pan the kick hard right and the bass hard left and see if I can leave the middle completely empty

o no

there comes the cowbell offcourse
Re-read. What I recomended be discarded was advice to pan off the Kick and the bass.

ehhh...
and I quote

All the advice regarding panning you drum sounds off: Discard now.

First the advice was wrong, second, the advice doesn't really apply to this style of music. That advice applies to Real drum kits or someone trying to emulate a real drumkit from a drum machine.



but


let's stop the discussion

the guys wants a phat record; we agree that it will take a bit more effort, but he's off to a good start.

still the cowbell will probably prove us all wrong and do the trick

rbmonosylabik
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Post by rbmonosylabik » Fri Apr 14, 2006 12:41 am

Image
Image

MBP 2.3 GHz i5, Live 9.6.1, Push, MPD32, Rane SL2

markaugust
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Post by markaugust » Fri Apr 14, 2006 12:45 am

:D :D :D :D :D :D :D :D :D

DKushner
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Post by DKushner » Fri Apr 14, 2006 12:49 am

You should use that camel audio plug and morph the sound of a real cowbell with the classic Roland.


BTW no beef, I just think we weren't understanding each other there.
I am Iron man.

forge
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Post by forge » Fri Apr 14, 2006 1:33 am

Jackal and Hyde wrote:...... To put it simply, thats one of the reasons why in your car, a NIN or Prodigy track (for instance) sounds huge with the amp lights green/yawning and without adjusting the volume at all, one might put in their track (Maximized to death even) and it sounds like a mouse to your ears yet the amp is Red-lining to death because its having to push all this shit you can't even hear. Trim the fat, create seperation and get a handle on your mix with eq #1 priority. Then move on to fx, comp and subbing/grouping to further blow your music up. Because after trimming, you'll actually be hearing what your truly going to be comping/effecting working with.


2 cents
I think this the most important point that get's overlooked alot

Robert Henke has mentioned a Goldie gig where the 1st thing he did was cut the overall level of the PA - and it gained power with no loss of perceived level

And If you are boosting a really unstable mix of frequenceies then all you are doing is making your sound equipment work too hard, especially because as Jackall here said, you're using up all your headroom boosting things you cant even hear

One of the main things I do now when I have a track on the go is after maybe starting by throwing in a bunch of different sounds they start to build up, then when I'm ready to start refining it I go through and mute things one by one, and if I dont notice it's gone I gt rid of it, if I only notice a "chikka chikka" noise at around 2k missing, then I EQ it to get rid of everything but the 2k where the sound is - gradually you end up with a mix where thing are only there if they need to be, and any extra unneccessary frequencies have gone

it's like a jigsaw puzzle - everything has to fit together

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