Tag Archive for: mixing

Creating a kick drum from scratch with an analog feel

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There’s no doubt that a kick is an important part of electronic music, and in the last few years, it seems like more and more people are creating kick drums from scratch—analog or digital—with lots of depth. The difference between 90s production and modern production is the increased quality of sound systems around the world. I’ve heard that Funktion One sound systems are appearing more and more at festivals and in clubs. I myself have had to adjust my mastering approach to maximize the sound precision on these higher quality systems. In the end, the results are great for everyone. However, one thing I’ve noticed is how 90s music sounds a bit less warm and less open on these newer systems, which isn’t a big deal, but we’re missing out a bit on quality here, as this music is from a different era.

That said, really well designed kicks are so addictive on a nice setup that a kick alone can keep a crowd happy for a while…I’m exaggerating a bit but this isn’t totally false either.

Do you need to buy a drum machine, synthesizer, or something fancy to make beautiful kicks?

Yes and no. There’s something exciting about having gear, but gear can also be a trap. You’ll use it for a while, but eventually you’ll find that a lot of hardware always produces the same type of sound(s). Do you want want the same kick in 99% of your productions? Personally, I don’t—I want variation. This is one of the reasons why I see people buying and selling gear over and over, looking for something they’ll never really find. I like to have a hybrid setup where I get the best of both hardware and software; but trust me, I get a lot from software alone.

I’m a firm believer that one can do a lot with a little. There are a wide variety of cheap options; you can invest a tiny bit without going out to buy expensive machines.

My main kick sounds come from a few machines—I’d advise you to try to find out which machines make kicks you love. I’ve always loved the TR-808 by Roland, which is a classic, but I also love what Jomox does, as well as the Tanzbar (MFB). Once you learn about a few machines you like, the easiest approach is to find some high-quality samples of them; there are many options and sample packs online.

Creating a kick drum from scratch

If you Google “TR-808 free samples” for example, you’ll find websites like this one and this one sharing samples for free. Search yourself and you’ll find some pretty solid 808 kicks. I know this sounds silly, but samples are the fastest way to get things rolling. In a previous post I explained that great kicks are often layered. The best way to build great kicks using a simple setup is to start with a base of high quality samples. They need to be in 24b minimum, not compressed, but at -3dB.

When it comes to making an analog sounding kick “in-the-box” (no hardware), I’d say you should try following these steps:

  1. Start with the low end made by an oscillator. In this case, you can use Ableton’s Operator; you can use the sine wave or use the user section it to color things a little bit with harmonics
  2. Layer a quality sample over it. I’d high pass samples to let the purity of the oscillator take over the low end. It’s also important to align the phasing to get a punchier sound.
  3. Use a transient from a modular sound recording. Snip out a transient or small slice of an audio recording to layer on your kick (I’ll discuss this again later and provide some free downloads!).
  4. Compress the whole thing with an analog modeled compressor to glue everything together. In this case, we can use the Glue Compressor from Ableton.
  5. Add saturation on the sound to provide some finishing warmth. You can use Ableton’s drive, but I’ve never really been a big fan of it. It’ll do the job though if you’re on a budget.

The best way to work with samples like this is to use the Ableton (or whatever DAW you use) drum rack so you can take advantage of the sampler’s modulation system and envelopes.

In Ableton Live 10.1, one feature I really like is the suggested/preset envelopes you can use on any sample. These settings come handy when modeling percussive sounds out of any samples you want. I love to create textures and then slice them quickly using this feature. Returning to the transient recording approach I mentioned previously—this type of slicing is particularly practical when I grab long recordings from my modular synth; there are tiny sounds I can turn into a snare or hat. Like I said, combining the best of all of these sounds will result in a full range kick.

Download sample transients recorded Pheek:

[download id=”39268″]

If you want to invest, below are some interesting kick plugins I’d recommend:

Raw Kick by Rob Papen. Anything by Papen always is quality and you can’t go wrong. Raw Kick is a no-brainer, it will create something ranging from very clean kicks to dirty, badass ones.

Big Kick. As the name states, this plugin creates “big kicks” and doesn’t disappoint. Even the presets—once tweaked a bit—are pretty impressive and ready to use.

Sasquatch. Another solid kick maker that can make a room shake pretty heavily.

Creating tension in music

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Electronic music—oriented for dance-floors—mainly relies on the use of tension to create excitement. I was recently asked how I personally approach tension-building in my work. In this post I’d like to share my point of view on the subject, but before writing this I also spent some time reading articles about tension in music to see how it’s approached by others. To my surprise, I didn’t find anything I could really relate to. Many approaches to creating tension use common, established techniques, and it seems like most of the advice about this topic was for rock-type music. While the techniques I read about are interesting, I firmly believe that you need to understand the reasons behind creating tension in music first, and once you understand them, you might find that things I discuss in this post are still relevant 10 years from now. Personally, I’ve been approaching tension-building in my music the same way for the last 20 years, from a philosophical point of view.

There’s a moment that stands out to me most with regards to my first true understanding of tension in electronic music. I spent the first few years of my DJ career as the opening act. I’d be the minimal dude that plays mellow, heady, trippy stuff, which—at the time in Montreal’s scene—meant opening slots. No complaints here though; this part of my career is when I learned the most about playing live. Opening a show is one of the most misunderstood roles in live music; it’s far more important than most people think.

When people start arriving at a show, the club is empty and there’s already a bit of awkwardness and natural tension mixed in with the audience’s excitement and anticipation. People arrive with expectations, and the opening artist is usually there to set the mood and to build a foundation for what the night will become (which includes not playing too uptempo if the floor is empty). Creating sonic comfort as the opening act is essential.

It’s difficult to create tension if you haven’t yet created a trusting relationship with the people at the event while performing. You’ve probably read many times that the best DJs are the ones that know how to read a crowd—and there’s a reason for this; you have to be aware of the audience’s needs and how to fulfill them, but also of how to create anticipation before addressing those needs: this is tension-building.

Now, it’s important to understand that there are three main tension-building scenarios in music:

  1. Circumstantial. In a given context, some natural tension/excitement might already exist, such as playing your last song before the headliner plays. Those 5 minutes will be naturally more tense as people’s eyes and ears are getting ready for the main act, and the music is supporting this anticipation.
  2. DJ-related. When a DJ knows how to play a track at the right moment and combine it with something else to create an experience, then the music becomes part of a puzzle.
  3. Music-made. This type of tension is created within a song itself, sonically via producing.

When you understand that your music might be heard in these three different contexts, it can give you a better idea of what sort of tension might be best for you personally to create. For instance, perhaps you only want to create music that will rely on the skilled hands of a DJ to really be effective—this doesn’t mean your song is made to be less interesting; skilled DJs search for these kinds of tracks as “tools” for their sets! When someone thinks a song is boring or too “simple”, I’d reply that usually it’s because it’s being listened to out of context, and someone like Villalobos or Hawtin could easily turn a simple track into a bomb by dropping it at the right time. I made an album on my label Climat that was quite experimental, and it was reported that Ricardo played some of the weirdest cuts in the middle of his sets and people would cheer…I doubt many acts can do that with a purely experimental track. That said, music that’s made for DJs to use as a tool has to be very clean from a technical point of view, which means that you need to have your sections very spaced out and have elements that come in repetitively at regular intervals. For example, your 4-bar sections could always end with a snare roll to indicate you’re finishing a section. This organization in your arrangement becomes a track that can be easily layered without confusion, for both the crowd and the artist.

If you think that most of your tracks are for DJs and are meant to be played in clubs, it’s important to test your tracks yourself in a DJ set to see how they go. You’ll want to determine if the tracks are easy to layer or not and to see what you can do with them.

When it comes to creating elements in a track through producing that can create tension, it’s essential to understand that tension rises as an expectation of something to happen (or not). If you write a song so that there’s a specific sound at a specific point every bar, if you have have a bar or two where you leave it out, this can create anticipation and tension. So from a technical point of view, there are some specific tension-producing techniques that can work well when implemented properly:

  • Breakdowns. I’d say that techno between end the of 90s until about 2009 usually had at least one breakdown with “stuff” happening. Breakdowns can include things like cutting the kick out or removing lower frequencies—applied for about 4 bars or so—then a drop would follow. A few years after, people started to get really fed up with this approach, and many producers realized that it was actually more effective not to include a breakdown, and to let the DJs create their own breakdowns by cutting the lows at a moment better suited to their own personal set(s). That said, cutting the lows often still works well.
  • Volume changes. When you introduce a new element into a song, you can either fade it in or simply drop in the sound at 100% volume. A fade will create tension as it the sound becomes louder and louder, while a drop-in is useful to create surprises, which is also a good way to resolve tension. One of the most misused techniques when it comes to volume changes is to have a variation in the volume of an entire section, then having the following section louder. When this is done properly, the contrast is a good way to create an explosion.
  • Decay. Sounds that have their decay increase over time seem bigger and more powerful, especially if you approach changes progressively. Reverb use is also a way of adding decay, and if you add a very large one to short sounds, they’ll become longer, creating tension.
  • From maximal to minimal. Having a lot of sounds happening at the same time and then trimming them down to the essentials will create an “emptiness” that people become familiar; they will anticipate resolution to a “fuller” mix. The density change is something that can be physically felt in a club setting. This is why everyone was using the white noise technique to create excitement for a while; it was a good way to resolve a moment of emptiness.
  • Pitch. Playing with the pitch of a melody or sound is a good head trip, and if you play with it subtly, it can really create uneasiness and tension. Some genres use pitch manipulation in an extreme way by slowly modulating pitch to its highest point, but to me, this technique becomes irritating and predictable after a while.
  • Pattern changes. If you’ve established your groove with a certain pattern and then introduce a hole or change, it will create tension.

Now, is there a particular duration for a tension-building section that might make it work better?

Yes and no. I’m lucky and have had the chance to hear and see many of my songs in a club setting. I’ve had many attempts at tension-building fail, and some succeed. Shorter tension-builders work better than longer ones. Also, keep in mind that some songs will play better if you don’t try to add tension to them at all. I think that 2-bar moments are great for tension-building because it also gives the DJs some time to play within them. If you make your tension-builder too long, you’re making the DJ work hard and potentially fail. Think about tension-building like a sauce—if it’s all premade, you have less room to add your own stuff. Don’t overdo it in your own productions; developing a sense of trust with the DJs who will be playing your work is essential. When people listen to minimal music and say it’s boring, it’s something I take with a grain of salt—perhaps at home in your living room it might be, but in the right context (such as a club), it might be more than enough.

SEE ALSO : Building a great groove

Experimentation in music: how far can you go?

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If you’re a regular read of this blog, you know that I encourage people to indulge in experimentation in music and to think “outside-the-box”; to try out new ideas in their music. That said, sometimes it’s difficult to judge how experimental one can get, and to understand the potential downfalls of going too far off into the experimental world. As someone who’s been running a label in which we constantly take risks and avoid shallow trends, I am familiar with the effects of being too experimental.

Recently, I had my friend Stereo_IMG in-studio for a session and he was talking about how hard it is these days to get any attention from labels. We have an EP finished and it seems like wherever we send it, we are not getting very much feedback at all (not even a rejection)—just no information at all. The mixing and sound design are solid, and on paper, to me it seems like there are no technical issues with our work. However, I think that we might be taking some risks that labels might be afraid to embrace.

I got some really interesting insights from an article I read last week about how people deal with novelty. The article discusses how people are attracted to familiarity; humans are more at ease when they can recognize things. According to this article, we look for familiarity in our lives, which explains why routines and rituals are often very popular and have been passed down through generations. We also look for patterns in our lives, and when we decode a series of things that make sense to us, we will even see it as a message—something that we can comprehend; a part of a system we use to learn. No wonder repetition is a good way to get familiar with something!

If we apply these concepts of familiarity to electronic music, it’s fairly simple to see how electronic music is directly linked to this process. Certain genres have recognizable sounds, patterns, and techniques. These patterns aren’t just for DJs who mix, but for people to be able to identify a style. Compared to DJs who mix tracks seamlessly over the course of an evening, top 40 DJs get away with going all over the place without smooth mixing because they’re playing music people can recognize (I’ve never understood the idea of going out to hear music you know, but that’s just me). The commercial music these DJs play is very formulaic; each song differs little from the next. People who are mostly familiar with commercial music are seeking that specific vibe within the boundaries they’re familiar with.

I was at the park over the weekend and there were these two young ladies nearby, drinking, smoking, and listening to Spotify on their phones. They were talking the whole time, never really listening to what was actually playing. They were listening mostly to indie pop; stuff that didn’t feel new and that was very similar to music I heard from other cars driving by. The only time they stopped talking was when Spotify accidentally played a song not in the playlist because it had reach the end. “This is not good”, said the phone owner after hearing just a few seconds of an unexpected track. “Spotify is buggy”, she added, but to my ear, what was now playing was exactly in the same tone and style as the previous song, though she had probably never heard it. Her reaction to “unknown” music was very strong, and it made me smile.

I had played a gig the night before this experience in the park; I had a great time improvising music from material I had prepared. I noticed that people were also talking for the duration of my set, but most people were also dancing, whistling, and cheering. The moments when people would pay more attention to the set were when I’d throw in some weirdness (Pheek TM). These moments of novelty felt like they were suddenly grabbing the audience’s attention. In these moments, I’d also include positive bass-lines and funky percussion to make them feel “safe”. It seems to me like there’s a good ratio to respect when you’re experimenting, and if you don’t overdo it, you can get away with almost anything.

However, I can’t use weirdness and novelty the whole time because then their feelings of familiarity—according to the “mere-exposure effect”—will be ruined. If you over-expose people to something new, they will get bored. This is why in the most exciting sets you reach experimental plateaus where the audience’s minds can wander, but then they’re brought back on track to something familiar. Without the release of the familiar into something unfamiliar and vice-versa, you can’t create this attention-grabbing effect. In other words, “you can’t connect if you’re not divided first.”

This battle between familiarity and discovery affects us “on every level,” Hekkert says—not just our preferences for pictures and songs, but also our preferences for ideas and even people.

My personal conclusion about experimentation is to start by being really aware of whatever style you’re working in. I feel it’s important to really familiarize yourself with the leaders in that style, and then understand the are leaders: why what they do works, and why people like it. One of the reasons why an artist’s peak begins to fade has to do with the theory of over-exposure, after which people’s interest dulls and they will start looking for something new. A good way to remain “interesting”—not only in one song or album, but over years—is to keep yourself on a trajectory; not showing your hand all at once, but instead revealing your novelty in small amounts. Restraint is an important feature of good music that listening to podcasts can help you understand reveal: how do artists distinguish themselves in what they do?

I find that people who often innovate in a very popular ways are people who came from an external community into a new one (say from punk to techno, for example), intentionally or unintentionally adding cross-influences into what they make. To them, this mix of styles sounds new to both themselves and people who are into that particular scene. This was one thing that Petre Inspirescu did so well; he brought his love for classical music into minimal house—and it worked perfectly.

Setting rules for yourself to create “familiarity” for listeners in the style you’re working in, while also searching for what perhaps hasn’t been done within that style, is a great way to determine the amount of novelty you might be able to include in your work. People seem to be put-off by setting rules in creative work, but limitations you impose on yourself give you a creative jump into something more organized. Without these rules, you might end up like Stereo_IMG and myself: creating material that is too “outside-the-box” to fit anywhere.

SEE ALSO : Using Quad Chaos

Choosing a genre for your music

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Every now and then I encounter people I work with who have trouble choosing a genre to produce in because they like a wide variety of different genres and have too many ideas. I’ve also experienced this myself in my early years of DJing, and it was a bit of an issue for my sets. Given my early experiences, I’m well situated to understand how it can feel to have too many ideas and to have trouble settling on a specific genre or style. I’d like to discuss how you can deal with this problem in your own music-making.

As a DJ in the late ’80s and early ’90s, I was very much interested in emotional music and techno. There was some commercial dance music that I would dig and mix with techno in my sets, but the reactions I’d get when I’d do this were often not very good. There are legendary DJs like Laurent Garnier who are masters of surfing different genres in a single set, going from one to another seamlessly and having people love it, but this is an art in itself. To understand how to do this, you have to understand how the music you’re playing is made and how it works, in terms of rhythms and harmonies. But once you do, anything is possible. Now, software like Traktor or Mixed In Key can help with this type of mixing; the flexibility we have now with modern technology provides us with many options to constantly reinvent ourselves.

But what about music-making and producing as opposed to DJing? How can you choose a genre to make if you are interested in many?

I like to have a very open mind about producing in terms of taking influences from multiple genres and styles; I’d say that it can actually be something positive once you understand how your brain works. Many people feel that cross-breeding genres will end up a mess, but just like DJing, it can work. Let me discuss how:

One genre, one alias

A very simple way to approach producing in multiple genres is to use the Uwe Schmidt (Atom) approach where you make and explore making music in one genre, under one alias. Schmidt has a ridiculous amount of aliases he’s been using to make all the music he’s inspired to. He doesn’t hold back, he just makes music and will do whatever he feels like doing in-studio. He might make techno some days, but also has a funny salsa-flavoured house project under the alias Senor Coconut. I’ve always felt that making music should be comparable to an ultimate feeling of freedom. If you don’t feel free, your brain is stuck on something. I think that easiest way to approach solve feeling stuck is to make music using my parallel production technique. When you save your projects, make sure to have folders or categories so you know what project sounds like what.

The advantages of working in parallel this way include:

  • You’ll never run into limitations or lack inspiration.
  • Learning techniques from multiple genres can be a very enriching experience.
  • You get to play with different sounds and tools in each session which will never be boring.
  • Exploring different genres can ultimately lead you to new breeds of styles, spawned from mixing two worlds together which creates your own original identity.
  • Perhaps you’re not aware that you are very good at making a specific genre until you’ve explored it.

However, there are also disadvantages to working on multiple styles in parallel such as:

  • It might take longer to get recognition in one genre if you’re all over the place. “Jack of all trades, master of nothing” holds true.
  • You might never get really solid at working in any genre. Each genre has different approaches and techniques which can take time to master.
  • Getting gigs might become confusing for promoters.
  • Managing multiple accounts/identites on Soundcloud or elsewhere can be a bit of an issue.

So, where should you start with deciding on your genre(s)?

I’ll speak for myself and say that for me, things started to make sense once I saw Plastikman do a live set in 1998 (I’ve said this in countless posts, sorry). I realized that what happened that day was a barrage of multiple personal insights:

  • His set was so inspiring, sounded so new, innovative, and different than everything else, that I fell in love with the sound. It was some sort of deep minimal, with a dub approach. My mind had a reaction of “OMG when this set is over, where am I going to hear this again?!” Back then, when a show was done, it was over. Insight 1: After this show, my brain felt I needed to make music to feed itself.
  • One of the other things that inspired me was how he was using panning and the stereo image to have sounds move in the space in real time. It was truly an exciting experience to hear movement. I felt that I had not heard this enough before and not in a live context. Insight 2: My inspiration came from seeing and hearing this creativity and exploration of new sounds.
  • A last point that’s important here was that this event was well attended and people really understood what was going on and dancing and enjoying the set. I was in awe to see that. Some events I play, people are on the dance floor talking the entire time which drives me bonkers. Insight 3: I wanted to be part of this community of people who liked exploratory music.

When you decide on a genre, there are different things to keep in mind: what are you making? Who are you making it for? Why are you making it? If you’re making music in multiple different genres, your purpose might not be clear, but once it is, it will make more sense for you to trim your genres of interest down to only a few (ideally, just two). I like to encourage people to be interested in two styles because you might get bored of one, or it will become difficult to introduce new elements to your routine.

There’s another important thing to keep in mind when choosing a genre to work in: before you get really good at it, that genre might go “out of style.”

Is working in an outdated style a bad thing, though? Well, when you love something deeply, you usually don’t care if it’s less popular because that genre is you in the end. However, if your goals are releases, bookings, etc., it might get tricky. When minimal techno’s popularity started waning around 2009, many DJs and producers all jumped on the house bandwagon – sometimes not even liking it – they felt they needed to make house if they still wanted to get booked.

To summarize, I think that if you’re not yet set on one or two genres, there’s a part of you that’s still searching for your style. It might take time to figure it out, but I believe that going out and really enjoying music, then listening to it at home, will help you narrow down your search.

SEE ALSO : Experimentation in music: how far can you go?

Balancing a Mix

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Balancing a mix is simple “mixing 101” theory; it’s usually fast and simple to do. I could go into a lot of detail about mix balancing, but the point here is to provide you with some quick information that you easily can put to practice to get quick results yourself. Hopefully this will also make you more curious about balancing and you will research it more on your own.

One of the very first things I do when I create a new project or mix for a client, is to drop Fabfilter Pro-Q3 on the master. Not only do I love how the FFT looks (the frequency graphic analysis), but I also love that I can make cuts, or even dynamic cuts, that react to the incoming signal. The problem with the Spectrum Analyzer from Ableton is that it’s ugly and can be a bit confusing; other than displaying information, it doesn’t do anything. The Pro-Q3 needs no adjustments; you drop it on a track and it’s ready to be used. With Pro-Q3, if you hover your mouse pointer over the graphic, you’ll be also shown the peaks with the precise frequency target. It’s hard to go wrong here.

That said, let’s say your track is about 85% done, and you’re about to switch to mixing mode to see how the track will turn out. At this stage, you know you need to have one thing in mind: balance. People who use a reference track find that there might be a tone that seems to be right to emulate, such as a very bassy or bright track. However, I find that when it comes to a rough mix, balancing the mix before referencing will give you a more objective outlook of your work so far. When I work with clients who are in this stage of their project, this is what I advise: if you’ve been working on something that’s too bright (eg. high frequencies being pushed over 0db), you’ll lose perspective of how piercing that might feel in a club. Darker mixes (eg. high frequencies below 0bd) will sound more organic, mysterious. Human ears tend to get excited by bright mixes at first, but in a loud environment, they get tired. Engineers often get “tired ear syndrome” at the end of a day because of over-exposure to bright sounds.

If you play your track and then a reference track (which should be inside your Project, in a channel that is muted unless you want to AB your mix), you might see some very different EQ curves on the graphic analyzer comparatively. In the middle of the graphic, there’s a line that points to zero dB. Ideally, you want your signal to remain under that throughout the entire frequency spectrum; by doing this you’re creating a mix that’s considered balanced. You will most likely see some “holes” in your mix or some sounds that jump over the zero line (spikes).

The circle points a hole and the arrow points to a potential overload.

One of the things that people sometimes do is boost everything to reach the zero line, but engineers go about this a different way. We will lower the louder zones with a shelving EQ and – using the gain on that plugin – we’ll raise the volume, which will automatically adjust the lower frequencies to reach the 0dB line. This simple trick alone can save you tons of time and headaches. In the case above, I’d lower everything above 3k, raise everything by 3dB and probably give a nudge at around 1k with a wide resonance.

But will this alone solve all your balance problems? The answer is no, it won’t.

The idea of using this technique is not to get into the habit of relying on EQs or tools on your master track to fix things, but more to help you understand how to balance the sounds in your mix as you go. One of the most valuable things you can do is solo each channel and look at the analysis graphic to see what’s truly going on with that sound alone. I usually take some time to fix a channel’s content with its own EQ so that it falls under 0dB on the master. If you do that with each channel, you’ll have a good base to start working from.

What about frequency spikes that go over 0dB? Well, it depends, really. I’ve heard some really good sounding songs where there’s a spike or two somewhere. Usually, spikes can work if they’re not too resonant and if they don’t go beyond 3-6dB at the most. Keep in mind that spikes will really stick out of a mix, and at loud volume they could be imposing if the quality of the system isn’t best.

One of my favorite plugins to put on a track is a channel strip, and there are many out there for you to choose from. Neutron 2 sticks out to me as one of the best out there, based on all the options provides. It also allows each instance of the plugin to “talk” to one another, so you can do useful side-chaining between numerous channels. I’d suggest trying out a few different channel strips, but make they have at least a 3-band EQ as you want to be able to do shelving to balance out your channel(s). Balancing a mix is one of the simplest things you can in the early stages of mixing, and it makes a world of difference!

Let me know what you think and happy mixing to you.

SEE ALSO : Common mindsets of musicians who have writer’s block and how to solve them

Common mindsets of musicians who have writer’s block and how to solve them

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We’ve recently restarted group coaching after a few month hiatus. The initial idea for group coaching is to explore the participant’s current intentions and obstacles in their work, including overcoming writer’s block in music-making. Passionate producers spend a lot of time music-making; it’s a central part of their lifestyle, which means that when things don’t go so well, it can be a very frustrating experience.

While many join the group coaching sessions to get technical tips, often we spend time discussing how we approach music-making and try to understand the mindset(s) that we have towards the craft. I can give you all the technical tips in the world, but if you approach music-making with a foggy mind, you might not be able to apply any of them. This is why music producers often have patterns of creativity that include peak highs and extreme lows. But what causes this pattern exactly? There are a few common cases of lows I’d like to share with you from what I hear and see most often in working with clients.

“I can’t finish projects.”

This is a pretty familiar theme I see on a daily basis. Sometimes people have no issue sitting in studio and are excited to start a new idea. They’ll build it up for a while, but after a few sessions the magic is gone and it feels more appealing to them to start all over with new, fresh ideas. If you recognize yourself here, realize that your brain is in search of a dose of dopamine and starting a new track is instant gratification. I can tell you that finishing a track will provide an even bigger dose of dopamine, but the anticipation of finishing something can kill your momentum and will make you lose focus. Some people also fear messing up the project or have the impression that the more they work on it, the less impressive the track becomes, which often results in feeling like they’re not in control of what they’re doing.

Solution: Under the influence of a big dose of dopamine from creating a new and exciting idea, you build up expectations in your head for your track to become your next masterpiece. Usually, when I notice I’m thinking this way I usually just stop everything and do something else for a moment. Building up expectations that you’re working on something grandiose is a way of setting up yourself for inaction and lack of drive down the road. Here are some music-making habits I have to help keep myself from falling into this trap:

  • In idea-creating sessions, I’ll focus on working on several different ideas and will not elaborate on any of them until a future session. This helps in not getting too excited about anything specific, and the break away from the idea(s) also helps me in understanding the real potential of the track.
  • I never, ever, think of a track as a potential hit. I’m more focused on finishing it and moving on. Finishing something gives the mind clarity, and will give you a sense of accomplishment and build self-confidence.
  • I never forget that because a track has been declared “done”, that this won’t stop me from reopening the project in a few months to change something. Many songs can have multiple versions, and sometimes you need to test it in a club or show it to others for feedback.

“I need perfect conditions to start working.”

This one is also pretty common and I’ve seen it in friends for years. Some people will always say that they can’t be making what they want because they’re either missing something in their setup or because something is stopping them. You often see this in people who constantly buy new gear or plugins but don’t spend much time exploring the real potential of any of their tools.

Solution: To make music, you don’t need much. You need a DAW such as Ableton Live, a computer, and a pair of headphones. That’s pretty much it. If you can’t make something using only this minimal setup, expect to be very frustrated down the road; the more options you have, the more you might become confused in how to use them all together. I often recommend for beginners to try to get the most out of their DAW alone using tutorials (you can learn basically everything on YouTube). You’ll be surprised with what you can create by limiting yourself. “Yeah, but it won’t sound the way I want“. This is what I call a brain distraction. It’s more important to get your skills together and to find ways to sound better later. There’s also nothing wrong with using or buying presets to see how things are made so you can get inspiration from various sources. Here’s how you can avoid getting caught up in waiting for the right conditions to work on music:

  • Realize that there will never be a perfect setup or time to make music. Great sounds and ideas are created while working and exploring, not while you’re imagining how you’d do if you had this or that.
  • How you use your time is up to you. When I had my son, I maximized the little time I had by squeezing in power sessions here and there, sometimes in a 5-minute spans. When you work within a limitation like that, you get crazy productive and don’t get stuck on time-sucking details. When someone tells me they “don’t have time”, I wonder how much time they’re actually setting aside for production.

“I need musical recognition from others.”

This is a complex one. Recognition is often something people chase for a big portion their time. They’ll try different things to get recognized such as releasing music by themselves, asking others for feedback, or sending music to blogs/magazines/etc. Whatever you’re chasing, there are good chances you might not get what you want anyways. Asking for approval is basically saying “I give X the power to decide if what I do is good.” Sometimes we place a lot of importance on one person to give feedback because of their reputation or talent. Even if someone you are pursuing for feedback listens and doesn’t like your work, they could be wrong because they might not be in the right state of mind or right person to listen.

Solution: Usually, the main piece of advice I give to a person who chases recognition is to be aware of their intentions. Sometimes there’s relationship between external feedback and internal feedback. “Are you making music for yourself?” This is the one thing I ask people in this mindset. Sometimes people are so lost in music-making that they forget the initial root of their relationship with music, which was often simply to have fun. If you’re not having fun making music, do you think other people will have fun listening to it? This is why I find it’s important to celebrate music we love in order to understand what we love and why we love it.

“I need to get to the next level of quality in my production skills.”

Very often, people will feel they’ve learned a lot with production – enough to make music – but that something is still lacking. This usually comes after some years of music-making; sometimes when you’ve had a few releases and you perhaps start repeating yourself multiple times in the genre of music you’re making.

Solution: Try to achieve specific goals for yourself. If you’re not reaching the level you’re aiming for, perhaps you’re not pulling your information from sources that actually solve your problems. But there could be nothing wrong with where you are at the moment. I have moments where I’m making music and notice that I’m repeating myself, feeling limited in what I do, but that’s just where I happen to be at that moment; I just continue doing it with what I have. Feeling like you’re stuck on a plateau in your musical or production development is not a problem, but making a big deal about it is, because it stops you from actually working.

I hope this was helpful!

SEE ALSO : Self-Sabotaging Your Music Career

Creating organic sounding music with mixing

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I’m always a bit reluctant to discuss mixing on this blog. The biggest mistake people make in mixing is to apply all the advice they can find online to their own work. This approach might not work, mostly because there are so many factors that can change how you approach your mix that it can be counter-productive. The best way to write about mixing would be to explain something and then include the many cascades of “but if…”, with regards to how you’d like to sound. So, to wrap things properly, I’ll cover one topic I love in music, which is how to get a very organic sounding music.

There are many ways to approach electronic music. There’s the very mechanical way of layering loops, which is popular in techno or using modular synths/eurorack. These styles, like many others, have a couple main things in mind: making people dance or showcasing craftsmanship in presenting sounds. One of the first things you want to do before you start mixing is to know exactly what style you want to create before you start.

Wherever you’re at and whatever the genre you’re working in, you can always infuse your mix with a more organic feel. Everyone has their own way, but sometimes it’s about finding your style.

In my case, I’ve always been interested in two things, which are reasons why people work with me for mixing:

  1. While I use electronic sounds, I want to keep them feeling as if they’re as organic and real as possible. You’ll have the impression of being immersed in a space of living unreal things and the clash between the synthetic and the real, which is for me, one of the most interesting things to listen to.
  2. I like to design spaces that could exist. The idea of putting sounds in place brings the listener into a bubble-like experience, which is the exact opposite of commercial music where a wall of sound is the desired aesthetic.

There’s nothing wrong with commercial music, it just has a different goal than I do in mixing.

What are some descriptions we can apply to an organic, warm, rounded sound?

  • A “real” sounding feel.
  • Distance between sounds to create the impression of space.
  • Clear low end, very rounded.
  • Controlled transients that aren’t aggressive.
  • Resonances that aren’t piercing.
  • Wideness without losing your center.
  • Usually a “darker” mix with some presence of air in the highs.
  • Keeping a more flat tone but with thick mids.

Now with this list in mind, there are approaches of how to deal with your mix and production.

Select quality samples to start with. It’s very common for me to come back to a client and say “I have to change your kick, clap and snare”, mostly because the source material has issues. Thi is because many people download crap sounds via torrents or free sites which usually haven’t been handled properly. See sounds and samples as the ingredients you cook food with: you want to compose with the best sounding material. I’m not a fan of mastered samples, as I noticed they sometimes distort if we compress them so I usually want something with a headroom. TIP: Get sounds at 24b minimum, invest some bucks to get something that is thick and clear sounding.

Remove resonances as you go. Don’t wait for a mixdown to fix everything. I usually make my loops and will correct a resonance right away if I hear one. I’ll freeze and flatten right away, sometimes even save the sample for future use. To fix a resonance, use a high quality EQ with a Q of about 5 maximum and then set your EQ to hear what you are cutting. Then you lower down of about 4-5db to start with. TIP: Use Fabfilter Pro-Q3, buy it here.

Control transients with a transient designer instead of an EQ. I find that many people aren’t sensitive of how annoying in a mix percussion can be if the transients are too aggressive. That can sometimes be only noticed once you compress. I like to use a Transient designer to lower the impact; just a little on the ones that are annoying. TIP: Try the TS-1 Transient Shaper, buy it here.

Remove all frequencies under the fundamental of the bass. This means removing the rogue resonances and to monitor what you’re cutting. If your bass or kick hits at 31hz, then remove anything under that frequency. EQ the kick and all other low end sound independently.

Support the low end with a sub since to add roundness. Anemic or confused low end can be swapped or supported by a sine wav synth that can be there to enhance the fundamental frequency and make it rounder. It make a big difference affecting the warmth of the sound. Ableton’s Operator will do, or basically any synth with oscillators you can design.

High-pass your busses with a filter at 12db/octave. Make sure you use a good EQ that lets you pick the slope and high-pass not so aggressively to have a more analog feel to your mix.

Thicken the mids with a multiband compressor. I like to compress the mids between 200 and 800. Often clients get it wrong around there and this range is where the real body of your song lies. The presence it provides on a sound system is dramatic if you control it properly.

Use clear reverb with short decay. Quality reverbs are always a game changer. I like to use different busses at 10% wet and with a very fast decay. Can’t hear it? You’re doing it right. TIP: Use TSAR-1 reverb for the win.

Add air with a high quality EQ. Please note this is a difficult thing to do properly and can be achieved with high-end EQ for better results. Just notch up your melodic buss with a notch up around 15khz. It add very subtle mix and is ear pleasing in little quantity. TIP: Turbo EQ by Melda is a hot air balloon.

Double Compress all your melodic sounds. This can be done with 2 compressors in parallel. The first one will be set to 50% wet and the second at 75%. The settings have to be played with but this will thicken and warm up everything.

Now for space, I make 3 groups: sounds that are subtle (background), sounds that are in the middle part of the space, and space that are upfront. A mistake many people make is to have too many sounds upfront and no subtle background sounds. A good guideline is 20% upfront as the stars of your song, then 65% are in the middle, and the remaining 15% are the subtle background details. If your balance is right, your song will automatically breathe and feel right.

All the upfront sounds are the ones where the volume is at 100% (not at 0db!), the ones in the middle are generally at 75%, and the others are varied between 50% to 30% volume. When you mix, always play with the volume of your sound to see where it sits best in the mix. Bring it too low, too loud, in the middle. You’ll find a spot where it feels like it is alive.

Lastly, one important thing is to understand that sounds have relationships to one another. This is sometimes “call and response”, or some are cousins… they are interacting and talking to each other. The more you support a dialog between your sounds, the more fun it is to listen to. Plus it makes things feel more organic!

SEE ALSO : More tips about working with samples in Ableton

Saturation Tips and Hacks

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After presenting some of my favorite EQs and compressors, it would be silly not to also talk about audio saturation which is complementary tool. There’s not a single project I’ve done in the last 10 years where I haven’t used saturation in one way or another; same with mastering. I often compare it to putting some words in bold in a text, where that effect will do the same thing in a mix: making parts stand out in a way the brain can’t totally understand at first.

What is saturation exactly?

Saturation is essentially a form of soft distortion that gives certain texture to sounds. The simplest way to explain it is to think of how analog processing changes sound; it brings a certain noise it, sometimes very subtly or not. You may use it give warmth or character to the signal being processed, which gives a more aggressive crunch if you exaggerate it. Types of saturation that are most common:

  • Tape emulation: Similar to what was popular in the disco days when they’re send their mixes to a reel to reel, to provide a certain thickness.
  • Tubes: Common in compressors and certain EQs using lamps, they are the absolute reference to warm up synths.
  • Transistor and retro: To emulate an old school feel.
  • Preamp: Often related to guitars and the world of microphones, preamps can be used on anything. They’ve been a tool of excellence for decades to give personality to sound by engineers.
  • Distortion: Pure distortion isn’t always pleasing and appropriate but if you control it properly, it will give beautiful textures and beefiness.

There are multiple situations where you could benefit from saturation in your mixing or sound design in order to alter the character of your sounds.

Pads & synths.

There’s nothing more exciting than rich tones, melodies, and very warm pads. More than often, I see people recording soft synths with no processing whatsoever; they’re really missing out on giving depth to the backbone of their songs. You can for instance simply pass them through a preamp, but my tool of choice for these is absolutely tape emulation (a personal favorite of mine in case you didn’t already know).

How: Start by pushing the saturation to a very high point and make sure it’s more than noticeable. Then adjust the wet/dry to a very low level where you can hear the incoming signal feeling almost clean but have the saturation be mixed in there. I usually find the sweet spot by going “oh, here I can totally notice the saturation” and then lower it by a few notches.

Tool: I’d suggest the Tape from Softubes or RC-20 Retro Color. Both are fantastic to shape your sound with shimmering textures.

One thing I really love is to use multiband saturation to get the most out of your melodies. This way, you can address the lower mids in a way while you bring out harmonics in the higher part of the sound. This can be done with tools such as Ozone 8, Neutron 2, and Melda’s PolySaturator.

Bass

Who doesn’t like a dirty, funky bassline? Low end with grit will always bring some excitement to a mix – especially in a club – this is something we’ve heard so many times in hip hop for instance. A very clean sine bass typically from an 808 has a certain warmth, but if you pass it through tape or tubes, it will give a lot of oomph. If you want to try it, I suggest you even try two instances of saturation to see where that goes. It depends of how much you want it distorted. The wet/dry will have to be applied to taste here. The producers of dubstep brought the game here to a new level.

How: Just experiment. Try to go overboard. Really.

Tool: SoundToys’ Little Radiator does marvel on basses as well as its cousin the Decapitator. For something more subtle but still robust, try the Steven Slate Virtual Preamp Collection.

Percussion

Saturation on percussion will automatically bring an old school feel from breaks that were really popular in the 90’s. The take on that, with Hip Hop (again), was to export the audio to VHS tapes or even tape cassette. The result is pretty badass. Experimenting outside of software is really fun, and I would encourage you to give it a try. One thing I like from doing this is to saturate only the tail and not the transients so that you beef up the overall signal.

How: Duplicate the channel you want to saturate and put saturation on the second one. Using MAX’s envelope follower, map it to the wet/dry of the saturator/exciter. Set the envelope to be flipped so that when a transient is detected, it will duck the knob making sure transient isn’t affected. Melda’s Polysaturator provides that option internally.

Tip: Add reverb and put the saturation after to get really fluffy crispiness.

Tools: Reels by AudioThing, Satin by U-He and Polysaturator once more.

Vocals

There’s nothing more beautiful than vocals that are lush and full. Treating vocals alone is an art in which I could get lost. I don’t want to get into that too much, but I’d like to invite you a bit of everything to see which one suits you best. Some prefer the tubes but other swear by the tapes. This is where Ozone can be a game changer, especially that you can do multi band processing as well as M/S.

Tip: Apply anything and everything from what’s explained above but start by doubling your vocals which will already do great things.

SEE ALSO : Tips to add movement and life to your songs

 

The EQ and compression combo (Pt. 3)

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After going into details with regards to EQ and compression, in this post I’ll cover some practical tips on how they work well together. I’ll try to also clarify why many engineers will tell you that all you need is these two tools to accomplish most of the work in mixing and mastering.

Here are a couple terms and ideas that have to do with this topic:

  1. There are no rules for how to use EQs or compressors. You’ll read many different views online, and some people will affirm loud and clear that their point of view is right, but after 20 years of trial and error, I still feel that I’ve accomplished a lot of great things when I knew less than now. Relying on your ears is really important. Some of the most innovative trends involve people who have no idea what they’re doing else than following their gut feeling.
  2. Substractive correction. It involves only cutting the junk out.
  3. Coloring correctives. This usually means that you’ll boost frequencies. Sometimes, cutting might necessary.

To start with, I’d point out that in mastering or mixing, one of the most common chain would look like this:

[Corrective EQ]  –  [Compression]  –  [Color EQ]

There’s precise logic behind this. Basically, you want to take the rogue frequencies out first, compress and readjust the good ones with the compression, and finally adjust the tone or highlight details with a coloring EQ. My personal preference for better results would be that whenever I cut, I do it with a pretty narrow Q (resonance) on the EQ. A great starting point is to start with 2 or 3 and then adjust. Don’t hesitate to use visual reference of the FFT that is often included in the EQ’s display, especially if this technique is new to you. Then, I’d cut about 3dB at first, up to 5. You see how this changes your sound by bypassing the EQ and comparing.

When it then comes to compression, there are a few different things you could do here. For instance, if you go with an aggressive setup, then you’ll beef up what you have “open” by cutting away the bad frequencies. I’d suggest starting with a more exaggerated approach to see what will pop as annoying. It might not be possible to hear what’s wrong if you don’t push the sound to its limit.

Once you see and hear issues more clearly, you can cut again, then you roll the compression into parallel mode to have some of the incoming dry signal mixed with the compression.

If you haven’t explored the side-chain frequencies, this is an option where you can decide that your compressor won’t apply anything starting at the target (ex, anything under 100hz). With this, you might want to filter only a part of your song with the EQ and then compress to accentuate the part you want to put to front.

The last process in the chain is the color EQ. You can take any EQ you like but ideally, I’d go for either an analog emulation or a shelving EQ. Those will provide a nice enhancement to complement what the compressor has been doing. For coloring, you can explore. One way to approach it is to completely exaggerate one band to see how it sounds, and then roll down. This is not only very interesting for sound design, but also for mixing more subtly annoying details. It can help build body for a sound that feels week too.

Examples of where to start – EQ and Compression

A pad that that lacks body and roundness. In this case, it’s most likely that a resonance is poking through too loudly and that good frequencies are hidden behind it. You could start by checking if there is one peak on the spectrum and with your corrective EQ, with a not so wide Q (ex. 1.5 to 3), try to bring that peak down pretty severely with a cut of 5-6dB. Get the threshold of your compressor to meet the highest peak and then adjust the output to be the same as the input. With the shelving EQ, bring the mids up but 2-3dB.

A kick that lacks bottom. This might be related to the mids of the kick that are too loud. You could lower them by 4-5dB, then compress with a ratio of 8:1. The shelving EQ should then bring the lows under 100hz up by 4db. If that doesn’t do, cheat by using the corrective EQ to notch up a bell curve at 50hz.

Percussion that are harsh. This is usually because one frequency is resonating around 4 to 8khz. It’s hard to say but try to cut by 8dB and scan around to see if there’s at any point, something more comfortable. Bypass to double check and then adjust your cut so that you can make the resonance almost there. Compress with a fast attack to control the transient and glue them. The shelving EQ could be used to lift the highs.

EQ suggestion: The TDR SlickEQ GE will do a great job for correcting.

Compression: The new SphereComp is super lovely and affordable. I tested it in sound design and it does really nice gluing.

Shelving EQ: I tried the demo of EVE-AT1 and I think you’d like it just like I did. The price is incredibly good for what it offers!

SEE ALSO : Saturation Tips and Hacks

Tips for compression: The Multi-band compressor (Pt. 2)

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Continuing with more compression tips, I’d like to discuss of my all time favorite tool for anything and everything: the multi-band compressor. For many, this beast is a bit of a difficult tool to tame, but I’d like to break it down for you so you can include it in any of your routine and needs. In order to continue, I hope you’ve first read the first post about compression, and also the two posts about how to use EQs.

Compression guidelines

Common Use-Cases for Compression

Controlling harshness. Using a compressor, you can set the attack to be fast and the release to also be pretty fast. This makes the whole action of the compressor fast, controlling any aggressive sounds and taming them. If the attack is too fast however, it can distort, so you need to juggle with the settings to find your sweet spot.

To add punch. This is the opposite of harshness. You’ll want the attack to be slow and the release to be fast. The compressor won’t jump on the transient immediately but will instead create some snappiness. The ratio should be around 5:1 or even higher to achieve this effect in most situations.

To add thickness. Using your compressor in parallel mode, you can set it to about 50% wet/dry, then compress with a medium attack and a medium-fast release. I’d make sure the ratio is as high as possible too. If your compressor doesn’t have a parallel option, then you can use the compressor in a AUX/Send bus.

To glue together a mix. Very similar to thickness and punch, you’ll want to add this to multiple channels and busses at once. Again, parallel compression, slow attack, high ratio. That should do it. Experiment with exaggerated effects and then tone it down.

To sum it up, a fast attack makes the compressor react quickly, which means it is there to control something. A slow attack is to enhance the beginning of the sound. The ratio is how much of that effect you want in action, and the release is for how long.

Multiband action

The multi-band compressor works exactly as the use-cases explained above, but with a multi-band compressor, we can set a range of frequencies to be affected. Therefore, you can set thickness in the mids, control the high-mids for harshness, and enhance the high’s transients with a single compressor, but with different settings for each section.

The multi-band compressor has an additional feature: the use of crossovers that set points for where each section starts and ends. A crossover is simply a frequency you set. For instance, Ableton’s 3-band multi band will have 2 of crossover frequencies. You set the lower crossover which will set where the low end ends in the mids (ex. 200hz) and the other crossover will be where the mids end and the highs start (ex. 6khz).

My perspective on multi-band compressors is that I use them like a shelving EQ where I control each section’s aesthetics in a different way. You can then shape the tone of a sound or mix, or extract minute details. Ideal for finishing touches, multi-band compression can also be used to bring forward parts of your sounds in the most effective way.

Now, here are some situations where the effects of multi-band compression can be useful:

  • Wimpy percussion: If your percussion needs presence, thickness and power, set your crossovers so you can control what’s happening between 200hz and 800, then up to 3khz. Beef up the first section with slow attack and high ratio and aim to add punch up there (refer to the notes above regarding how to do this).
  • Pale pad: Again, say a weak pad needs presence, beefiness between 250 and 600 hz. I’d also compress between 4 and 8khz to add some shimmering, which is like adding thickness. You could even lower your section to hit all the way down to 90hz to get some analog feel.
  • Crazy swirl: Sometimes transitional effects are great but can be not appropriate for your song. I like to control the highs over 7khz in a way were they don’t hit aggressively but will have the mids over 1khz enter smoothly. This is a way to control the harshness and presence; often very useful to create wobble, rubbery movement.
  • Dull mix: A dull mix usually needs brightness which can be created by stimulating the highs and mid highs. This can be a combination of adding thickness or stimulating the transients. I’d say try sharp sections around 4khz to 8, then another one until 11khz and even compress above that with a 3rd section to create what we call pixie dust.
  • Stellar reverb: A multi band with a reverb is pack of fun for me! I like to beef up the mids above 300hz and also create thickness between 2khz to 6. You can then control the levels to decide on the tone of the space you’re creating for your song.
  • Deep kick design: Compress a section under 50hz and then another until 120, plus a last one that goes all the way to 500hz. I can guarantee you that if you have the lower sub purring, then you can also add a bit of punch around the mids to have a super deep, but punchy kick.

When it comes to my favorite multi-band compressors, here are some of them:

Neutron 2 (Izotope)

General tool for mixing that makes pretty much the best all around assistant to deal with numerous problems. Transient shaper, exciters, gate, compressors and all of them are in multi-band mode. You can’t get better than that.

Drawmer 1973 (Softubes)

The Drawmer compressor is amazing for creating ambient so imagine if you can set it in multi band mode, then you get awe dropping moments.

Fabfilter Pro-MB (Fabfilter)

Elegant, precise and transparent would be the best way to describe this one. Really useful for the finishing touch of your mixdown.

 

SEE ALSO : The EQ and compression combo (Pt. 3)

The best EQ plugins and various EQ’ing tips (Pt. II)

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In my previous post regarding the best EQ plugins, I covered some of my favorite EQs and some of their uses. After receiving many compliments about that post, I’ve decided to continue with a part two. In the following post, I’ll share a few tricks with you that you can easily do yourself when facing certain mixing situations, and I’ll also briefly outline compression.

Filters

In case you didn’t already know, EQs are filters; really complex mathematics which each developer has coded in more or less slightly different formulas. This explains why some EQs are really expensive: because of the time invested in perfecting the curves. Many people don’t realize it, but EQs do sound different from one another and you can tell once you have a high quality sound system.

“Most people don’t have a high quality system, so what’s the point…”, you say.

Well, if you use high quality tools, in the end, your regular sounds will be “upgraded” in quality too, which will eventually make a difference where ever you play them.

The number one tip for a better mix is to use filters; this alone can make dramatic improvements.

For instance, your kicks might sound muddy if you don’t remove the garbage frequencies that are below the fundamental note of it. If this sounds complicated, let me explain it in the most simple terms:

  1. Use your EQ and the first point on the left should be switched to filter, then low cut.
  2. The slope should be put to 24db/octave.
  3. Then roll it to 20hz to start with and then go up frequencies until you hear your kick losing power. If that happens, you’re now filtering too high and you have to roll back a bit.
  4. My general rule is to cut kicks at 20hz by default.

Now that tip was for kicks alone, but you should apply this idea to basically everything in your mix. However, besides the kick, I wouldn’t use a slope of 24db/octave on anything else unless there are big issues. It’s up to you to experiment but if you want to test something interesting, try 18 or 12 for cutting other sounds and you’ll see that this leaves less of a digital feel, giving your sounds clarity and warmth.

I’d also cut the highs where they’re not needed, but not too much either.

Percussion, melodies, and high pitched sounds such as hi-hats would benefit from a 6db/octave, high cut filter; this smooths things in a lovely way.

Some of my favorite filters for this kind of use are:

EVE-AT1 from Kuassa

SliceEQ by Kilohertz

PSP MasterQ2: Smooth!

Sharp cuts

Surgical, sharp and static cuts are very useful for a ringing resonance. Many people ask how to spot it these and how to know if it’s really something to cut or if the it’s something to do with the acoustic of the room. There’s no real way to know but to often cross validate with reference tracks.

So often, I get clients sending me a project in Ableton and I see really odd cuts. Is that bad?

Yes and no.

First off, if you use Ableton’s native EQ, switch it immediately to oversampling mode for better quality.

Second, cutting might change something in your environment but you’ll also permanently cut frequencies that might not be needed to change, which could also potentially induce phasing issues (i.e. during the entire length of the song).

*Note – do not use too many EQs in one chain because that will definitely cause phasing!

So, how do you spot one rogue frequency?

Sometimes I just use a spectrum meter to get hints if I can’t pinpoint where it is. Try to always use a spectrum meter on your master to have an overall indication of your mix. If you see some sounds that start to poke above 0dB, this *might* be a problem; not always, but it could. What you want to look for is one thin spike coming up out loud about +3-6dB. This might really be an issue.

My instinct would be to try to lower the volume of the sound itself if that’s possible. Sometimes it’s not and that’s when you use an EQ.

  1. Isolate the sound in the appropriate channel.
  2. Drop your EQ of choice (see below for suggestions).
  3. Pick an EQ point, set it to the frequency you spotted, then adjust the Q to 3-4. Cut 4dB to start with, but more if needed.
  4. On the EQ, there should be a output gain. If you have cut that frequency away, it might be great to just increase the gain by about the half of what you have cut away. Ideally I like to compress but we’ll get into that later.

TIP: Avoid sharp cuts in the low end. That can cause issues such as phasing, muddiness. If you really have to, make sure to use a mono-utility after.

I revealed some of my favorite EQ plugins in the first post in this series, but I’ll add some more:

Cambridge EQ by Universal Audio: Works amazing on synths and melodies.

AE600 by McDSP.

Voxengo CurveEQ: Solid on percussive content.

Valley cuts, boosts, and shelving

Many readings on the subject of EQ’ing only will recommend that if you need to boost, go moderate and try to have a very low Q to have an open curve. However, there are really no rules on what you should or shouldn’t do. Explore, fail, and be audacious, because sometimes great things come out of it.

My only red flag would be on those really complicated, several points EQ curves you can do in Fabfilter ProQ2. This sometimes induce weird resonances when you’ll bounce, which is no good for mastering unless you are OK with annoying people’s ears.

Also, think differently. If you’re going to use 3-5 points that are all boosting, then why not start by turning up the gain on your EQ’s output and cut down whatever you don’t want.

But if you boost, I like to have a Q below 1. It gives really interesting results!

  • For instance, try to boost 2-3db at 500hz to instantly give presence and body to a song.
  • Try it at 8khz to add a lush, bright presence to metallic percussion.
  • Boost at 1khz on your snare to make them pop out of your mix.

Experiment like this. At first it will appear subtle but with practice, great results will come.

My favorites of the moment:

Sie-Q by SoundToys for really doing beautiful shelving.

MEqualizer by MeldaProduction.

 

SEE ALSO :

Tips and recommendations for compression (Pt. 1)

Tips on how to pick your EQs and use them (Pt. I)

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People often ask me about my opinions on what the best audio plugins are, and there are no doubts that investing in quality EQs and compressors is one of the most important things you can do for both sound design or mixing. You can do pretty amazing things just with EQ and compression, but of course you need to understand your tools to make the best of them. In this post I propose some exercises and tips, as well as covering the main tools I have gathered through the last years and my thoughts on the best EQ plugins.

Types of Equalizers

There are many types of EQs and I believe some are more important than others. It took me a while to understand how to fully use them all and how to select the right one for specific situations. This subject is actually so vast and complex, I could make a series of multiple posts and I wouldn’t get through it. I’ll try to avoid being too technical and will explain them in simple terms so anyone can understand.

The way I approach EQs are based on different actions:

  • Corrective. Sometimes a sound will have part of it that will feel aggressive and annoying. I will do corrective by spotting where where it looks like it’s an issue and then cut. Corrective cuts are usually not too narrow (Ex. Q of 3)
  • Surgical. A resonance in a sound makes your ears hurt and that will need a very narrow cut. (Q of 6-8+).
  • Tonal adjustments. An EQ can be used to make tonal changes such as deciding if you want your track more beefy or more light by either boosting lows or highs.
  • Coloring. Some EQs aren’t transparent and will have a musical touch to the changes it makes. This will add some personality.
  • Valley cuts. The opposite of surgical, where the Q will be make the curve really wide. It makes very subtle changes, somewhat tonal, a bit colored and sometimes a bit corrective. Try it at different points on a sound and see it change without being able to really know what’s happening.

TIP: The human ear will hear a noticeable difference if you cut 3-4dB minimum. If you cut 6dB, it will be quite obvious.

The main types of EQ plugin categories are:

  • Graphic/Fixed Frequencies. Influenced by older models and the first EQ, the frequencies you’d have access to are fixed and won’t be changed. In many of those models, the frequencies are based per octaves but certain companies will have their own way of deciding which ones are used.
  • Parametric. One EQ that is very popular is the Q2 by Fabfilter which allows you to drop a point anywhere and then be able to shape how narrow you want to cut or boost.
  • Shelving/Band. This is a part of the spectrum that will be affected. For example, on DJ mixers, the 3-4 EQ buttons are basically shelves of frequencies that are altered.
  • Dynamic. This one is advanced. You can “order” a point of your EQ to react depending of certain conditions. For example, if you have a recording of a drum, you can order the highs to lower down by 3-4dB if the cymbals hit too loud. Very practical!

TIP: If you love the sound of analog, you might want to dig in Universal Audio’s suite that does emulation of classic pieces of gear. The fidelity of replication is absolutely mind boggling!

Now let’s make some associations regarding which EQ does what:

  • Surgical and valley cuts are mostly done with parametric EQs. This type of EQ will allow you to precisely identify the rogue frequencies and then cut or boost, in the way you want.
  • Corrective EQ can also be done with parametric but with graphical ones too. Sometimes a correction needs precision but sometimes, it can just be a way to realign the curve of the sound which a graphical EQ can do easily.
  • Tonal adjustments. This is done with shelving and band EQ.
  • Coloring. This is basically fixed frequencies, but if you look for analog emulation or EQs that provide a type of saturation, then you’ll also get some coloring and personality.

My favorite EQ plugins

Here are my thoughts on the best EQ plugins  that are precious tools to have in your arsenal. I’ve also included low budget EQs alternatives that are similar.

1. Fabfilter ProQ2 (Surgical, Valley cuts, Corrective, Tonal)

This plugin seems to have found it’s way in many producer’s tool kit mostly because it can pretty much do it all. From complex curves, mastering touch-ups to shelving tones and copying the frequency of a sound to apply it to another… the ways you can use this beast are so numerous that you’ll have to watch a bunch of tutorials to get all the hidden things it can do.

Budget Alternative: TDR Nova GE by Tokyo Dawn

2. Electra by Kush Audio (Shelving EQ, analog replica)

Not so known by the masses but this EQ is an absolute wonder to have on hand. I use it in every single mixes I do and the results are always amazing. A bit of a learning curve to understand as the GUI is a bit weird but even if you’re not sure of what you’re doing, it shapes the sound in a way that makes it pop out and warms it too.

Budget Alternative: RetroQ by PSP

3. BX_Hybrid V2 by Brainworx (Corrective, shelving)

I don’t think there’s any plugin that can do what this can do in terms of results. Not as versatile as the ProQ2 but where this one stands out is for how buttery it cuts in the sound, smoothing things out. When I have people studying mixing with me, I would always require them to buy this one as the very first EQ to have and use.

Budget Alternative: Voxengo Prime EQ

4. Passive EQ by Native Instruments (Shelving, correction, color)

This emulation of the famous Manley Massive-Passive EQ is a bomb EQ. I love to place it on a bus of all my melodic content and then smoothly shape it into something that magically turns organic and warm. It requires a bit of exploration but when you get your hands around it, you’ll always want to use it. I find it quite powerful for sound design as a way to warm up the lows.

5. F6 Floating band dynamic EQ by Waves.

I’m not a big fan of Waves as well as their aggressive tactics for selling but this plugin is a really useful one to have. As described above, with a dynamic EQ, you can tame some frequencies that are randomly happening. The problem with a static EQ is, you’ll be cutting permanently a frequency so if what you’re trying to cut isn’t always there, you might cut something that doesn’t need adjustment. This is why you can have more control with a dynamic EQ. This one is also really easy to use if you’re familiar with the concept and the fact that you can use it in MS makes it really versatile. Not as easy and fancy looking as Fabfilter’s but it does more, in other ways. Wait for the price to fall but you might get it fro either 29$ to 49$ if you’re patient enough.

In the next post, I will go more in detail with my favorite plugins and will also explain certain ways, in details, for how to get the most of them.



SEE ALSO :

The best EQ plugins and various EQ’ing tips (Pt. II) 

My Music Production Methodology Pt. III: Depth and spatial shaping tips

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This post about music production methods is an important one. In the group I work with on Facebook, I give feedback to people and I’d say that while for many, the part they strugg le with the most is to nail down a proper mixdown, and for the majority there are issues with the stereo field. I have a bunch of tricks that can help turn a 2D pattern into a 3D realm to get lost in. Let’s start by discussing a few things regarding making music 2D, and then how you can slowly shape it.

One thing that is essential for music to sound clear, loud, and powerful in a club is to have the majority of your sounds “in mono”, or in engineering terms, to have your mids solid. This is why many people will tell that doing a mono test on your mix to see if everything is heard is a good way to know. Why? Because if the sounds are moved randomly around, they might phase with others, which will end up cancelling out once in mono.

While this might sound like voodoo magic if you make music as a hobby, you can drop a tool into your DAW to make the signal mono so you can check. (hint: in Ableton Live, it is the Utility effect that will let you do that)

Ableton’s Utility tool

This is why you want your low end (under 100hz) to be in mono; to make sure there are no conflicts and that it will be sounding fat and strong. Again, in Ableton Live 10, you can activate the “Mono bass” option on the Utility tool.

Why I’m saying this is clear and simple: depth is a fun thing to have on your music but if you go too crazy with it, it might end up being a problem. So, first and foremost, when you program your patterns and music, try starting in mono. Make sure everything is heard and clear.

Once you have created the arrangements and are pretty much done but before you get to mixing, start spreading your sounds around to occupy the space in front of you. You don’t want to have everything in the middle, it will feel narrow and lifeless. There are multiple ways to get this done and it goes a bit beyond than simple panning which might be a bit boring. (Note: many mixes I get have everything in mono!)

Tips to give your mix more space

Mid/Side is a great way to use space in a mix, but is often misunderstood.

Here are a few tips to give you mix space and life, and if you google this topic, you’ll find multiple others too:

  • If the sound/sample is in mono: Try doubling it by duplicating the channel a few times, then pan and experiment. In pop, soul, R&B, the producers often do that and have up to 4 duplicates, spread around and or pitched to different tones to give sounds textures. You can use a VST Doubler to do the same but there’s something exciting about doing it manually. Keep in mind, a clap is actually 4 layers and so on for your percussion. Try to create something wild.
  • Panning around your sounds can do but it will feel bland if you don’t couple it with a quality reverb. Even at very low levels, a reverb will create space around the panned sound. This is why I group percussion into families (ex. all organic, all metals, all wood, etc) then have a reverb per family, not per sound.
  • Use stereo effects: These will be super useful to help things around and for instance an auto-pan will help give life and movement. These include: chorus, delay, phase, flanger and wideners (of course). These should be applied to a sound, not a family. Only one of these effects per song to avoid issues.
  • Quality reverbs: as described above, a quality reverb is a game changer. Stock plugins are never as good as a whole team that work on making something special. For instance, all the plugins from Valhalla are now recognized as some of the best in the industry and for a reason, they sound just as good as some hardware units. Tip Top who make modular synths has licensed their reverb for their z-Dsp 2. If you can, always go for convolution reverb for your music and use only one, in a AUX/Send. So if you really a 3D sounding song, keep in mind that a reverb will do 80% of the job. The rest is about lowering the volume of certain sounds to give the impression they’re further away. Also, filtering out the low can give that impression. Mixed with a quality reverb, you will have a lovely space.
  • MID/Side: This is one of the most misunderstood aspects of mixing because it’s hard to really understand it. Keep it simple, this term refers to how your space is shaped as what you have in front of you is the mid and the sides are located where are the speakers/monitors are. If you misuse the sides too much, it will make your music phase (you’ll hear it in the mono-check). But it’s really interesting to play with the Mid/Side (Aka MS) of your groups to open them, a bit.

Last tip: Low end should always be in mono and I usually make sure that some part of the melody is also, while it can partly be spread around. The main hihat and percussion should also be strong in the mid but then you can have support sound of the same family be spread around to give room.

 SEE ALSO :   The “sous-chef” experience 

The rule of thirds in arrangements and mixing

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One of my favorite aspects of music making is to use proportional ratios regularly. While this seems perhaps counter-productive when compared with the artistic side of producing music, I use it to eliminate a bunch of technical roadblocks that emerge in the process of decision making. Because making decisions can sometimes end up in roadblocks, you can use this technique as a general rule that you always refer to whenever you have to.

Let me explain how this rule of thirds can give you wings.

The first time I familiarized myself with this concept was when I used the iPhone grid to take pictures. I had read that a tip to take better pictures was to use that grid to “place” your content. To compose your photos according to the rule of thirds, you must imagine your photo divided into nine equal parts using two vertical lines and two horizontal lines. For example, the square in the middle should have the subject of your picture, so it’s perfectly centered, it is also recommended to have something like a detail where the lines cross.

When I practiced this, I immediately saw a parallel with musical arrangements. For instance, any song will have three distinct sections when it comes to the story line (intro, main section, outro). Where each section meets, there must be a pivot, an element of transition. When I work, I always start by dividing the song into equal thirds, then, I’ll divide again so I have nine sections total. Starting with arrangements, they have equal parts, but this will then change as I dive in details of arrangements; some of the “lines” of the grid will be moved around.

TIP: Use markers in Ableton and give names to each section.

What you want in arrangements, is a good balance between expected and unexpected elements.

Using the rule of thirds helps achieve this balance: while you center the main idea of your song right in the middle of your timeline, you can have an overview of where the listener will sort of expect something to happen. Then you can play with that. Either you give the listener something where they expect it, or move it slightly to create a surprise.

The rule of thirds can also help in a few other aspect of your work:

  • Tonal balance: We covered this topic recently and this means splitting your song’s frequency range in three areas (low, mid, high). You can use a shelving EQ to help you with this or you could re-route your sounds into three busses that are per-band. This will allow you to control the tone using the mixer of your DAW. In this case, by simply splitting in 3 bands, you minimize the work of deciding which tone to take.
  • Sound design: We’ve discussed sound design before but I’d like to pinpoint how you can apply the rule here. For instance, think of how a kick is made. There will be the mid punch of the kick, supported by a bit (or a lot) of sub, then a transient on top. Most of my percussion are layered with three sounds. One will occupy most of the space, another will add add body, and the last one will be adding transients or texture. I also find that shuffling with three sounds often makes it difficult to get bored of a sound. The rule of thirds – where you have sound variations – pretty much always works for me. The question to ask is, is there a balance or is there a dominant?
  • Mixing: When I do a mixdown, I always have multiple categories for my sounds. Part of this is that – since I really don’t want all my sounds to be front forward – I’ll have some that are intentionally low, others in the middle, and the loudest one are the ones that are meant to be right in front of me. It’s very soothing for the ear to have these three areas of sound levels because it help creates dynamic range and creates an acoustic feeling of tangible spacing; putting some sounds in the back will give support to the ones who need to be heard. Just like sound design, if you always keep in mind that you’re layering in thirds, this can give your mixes a lot of depth.
  • 1, 2, PUNCH!  This is a technique that I’ve learned in my theater classes, consisting of creating expectations to then mess with the expectations. Basically, you want to introduce a fun sound, and in the pattern introduce it again later, but at the exact same place, then the listener will expect it to come a third time. This is where you can surprise them by either not playing the sound or by bringing something different. Simple, but very effective.
  • AUX/Sends. This might sound a bit much, but I limit myself to not use more than 3 aux/sends. I find that an overflow of effects will make your song messy and unnecessary busy. One of my starting templates has only three sends by default: reverb, delay, compression (or another sound modulation effect such as chorus).
  • Stereo spectrum. I like to see the placement of my sounds in a grid of 3 x 3 zones. It will go as: right, middle, left then, low middle and high. Some of the main sounds will have to be right in the middle (ex. clap, melody), some in the low-middle (ex, bass) and then some elements that are decorative, around. A healthy mix is sort of shaped like a tree: middle low should be strong with bass/kick, then middle left-right and middle-middle are strong too, then some content in the middle-high, with a little presence in the high left-right. You want to be very careful with the zones of low left or right as this could create phasing issues. You want your low end to be in mono, therefore, centered.

There are other examples, but these are the main ones that come to me!

How to get the right tonal balance for a mix

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One of the biggest challenge of finishing a song is to properly adjust the tonal balance. There’s no doubt this part of track-making is puzzling; many people – even experienced producers – are still going to have some issues with tonal balance some days. There are tools and methods to correct tonal balance, but it’s always a challenge; I feel that it’s important to share some tips on how you can make adjusting tonal balance easier.

What is tonal balance?

I’ll keep this as simple as possible: tonal balance, from my perspective, is dividing your song into three frequency sections and figuring out how to adjust them. For instance, in certain genres, you want the tone to be totally balanced, while for dance oriented, electronic music, you’d want the lower end louder in the mix. While this sounds extremely simple to achieve, in reality, it can be a nightmare.

The biggest issue with tonal balance is that if your tone is wrong, your work when played in a specific context (ex. in a club) will sound completely off compared to similar songs of the same genre.

Common problems with tonal balance include:

Lower end anemic: The song will feel weak, energy less and hollow.

Lower end too loud: The song will feel muddy and lacking in body.

Mids lacking: The song will feel empty, no punch or body, far off.

Mids too loud: The song becomes unnecessarily aggressive and obnoxious.

Highs lacking: The song lacks definition and precision in the sounds.

Highs too loud: The song is fatiguing and harsh.

Using the right tools for tonal balance adjustments

Monitoring is of course, crucial to adjusting the tonal balance of a song. I’d say 75% of the time I get a file for mastering and the tonal balance is completely off, mostly because of the artist’s listening environment. While we don’t all have the budget or space to have a fully treated studio, there are some things you can still do:

  1. Cross-validating. With my speakers, I’ll always check a mix periodically with headphones as I work. I like to have a different perspective and I find that the sound I have between the two often reveals a perspective I missed.
  2. Mixing at a low volume. You’d be surprised at how you’ll automatically hear what’s wrong. Reduce by half the volume level you’re working with and listen to how the kick comes through, then the melody compared to it, then the high end, etc. Cross-validate with a reference track.
  3. Using a subwoofer. Many people will tell you that you don’t need a sub to do a good mix but it certainly helps to have an idea of what’s happening down there. Many of us will have issues with the neighbors so I suggest to only use sparingly just to check your mix. A good alternative is getting a Subpac.

There are also tools you can use in your productions to help you. I use many but here are some of my favorites:

Reference

This plugin is a life-saver, no doubt. You load in your reference track, adjust the volume to match and then you can swap between your mix and the reference. There are even some dynamic graphics to show you what part of your mix is too loud or lacking in comparison to the reference track.

If the track is already mastered, you won’t be able to rely on the compression meter but the levels will be used the same way. For 60$, this is certainly an essential to have in anyone’s collection.

Shelving/Band EQ

When I first started to make music, I really didn’t like shelving EQs as I felt they weren’t useful, but once I started looking into them, I have to say that it almost became one of those obsessions one can have for a plugin. There are many of them, so I’ll name a few and then explain how to get the best out of them.

  • Tonelux (Softubes): One of the most recognized and acclaimed tools out there. It gets things done, quickly. Often on sale too.
  • Solid EQ (Native Instruments): I love this one because you have some precision on what you do and it is a good mix between being a musical EQ and a transparent one.
  • Maag Audio EQ4: This one is great for highs. It’s one of the most used in the industry in mastering to get the proper “air” sound, right.
  • Hammer DSP (Kush Audio): Crazy musical, warm and outstanding all the time. Often something to just play with on the master bus to see all the different moods one song can have.
  • Sie-Q (Sound Toys): A bit like Hammer. Musical, and slightly magical in how it handles the mids.
  • ValvEQ (Kazrog): A good alternative to the expensive Bax EQ by Dangerous. It’s handling your tone in MS mode as well.

Using the right techniques in tonal balance

If the EQ, cross validation and other tools don’t seem to work for you, I’d recommend a very simple technique to help you nail down the tone.

Basically, we’ll limit it our tone balance to three sections but you can pull it to four or five if you want, but the lower the number, the easier it gets later on. Knowing this, I’d encourage you using Ableton Live 10 for the use of the groups in groups feature. You can make alternative groups where you push all the channels using lower end in one group, then mids, finishing with highs.

If you have only three groups or busses, you really limit your options to these 3 faders to control. The less you have in front of you, the more focused you’ll be.

The way I usually do it, I’ll start with the main, loudest channel and put it as the loudest one, then mix the 2 others accordingly. Pretty often I feel like knowing the level of the low end first will greatly help settle the rest.

Important Music Production Principles

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As a label manager or as a teacher who regularly gives feedback (join our facebook group if you’re interested to participate!), I’ve realized I don’t listen to music like the average person; I listen for certain music production principles. There are a number of things that will get my attention that most people won’t really notice; I’m listen for a number of principles that make – according to my tastes – music that feels full, mature and deep. Many labels are after music that will sell, but I’m more interested in music that innovates, which to me comes from the design work involved in the song.

Why innovation first? I prefer treading new ground than releasing something vanilla. It might not pay, but the delayed gratification is more powerful and I can attract creative minds, which are my favorite kind of people.

I was reading about visual design and I was pretty interested in how it’s similar to audio production. I’ve compiled some basic music production principles that applies to both the audio and visual spheres.

Balance

Balance can be achieved in a variety of ways: from the stereo field being occupied, to the mid/side balance, or the balance between low end vs high end. I like to hear how balance has been designed and exaggerated – the emphasis of a zone that moves towards another. I want to feel the artist is playing with balance, or shows that he can propose balance shift during the whole timeline of his/her song. Balance is to me, the umami of audio, and I want to experience something that feels full.

TIP: In the final stage of arranging, try to check each zone (left/right, mid/side, lows, mids, highs) to see how they relate to each other.

Contrast

This one is a bit tricky. How do you apply contrast in audio? It can be in how you select your sounds for instance. Perhaps having a number of sounds that have very sharp attack compared to others that are soft. Maybe a contrast in volume, compression, harmonics or dull vs very detailed. As you bring in a number of sounds or melodies, think of how each of them can be different. This is useful as it can broaden up your palette of sounds or have them evolve into something else. One of my favorite contrasts is between textured sounds vs some that are smooth.Another type of contrast that I love to hear is a distinction between bold and subtle on certain elements.

TIP: Try to import two samples at a time that are very different. Ex. 2 claps, one bright and the other fat, then go from one to another to create contrast.

Emphasis

Which element that should grab your attention first? This is, in design, the focal point of your artwork and in audio, putting one sound forward will have the listener engage with it. This is usually in the mid frequencies, right in front of you. It’s rare that your key element will be panned to the right and if so, it will be really confusing to get something there through the entire song. A good way to create a focal point will be to decide what will be in front and what’s in the back.

TIP: Use one main element in mono and EQ the mids up to push it front forward. Group all sounds to be put in the back where you slightly remove mids in mid/side mode.

Movement

This one is all over this blog and if you haven’t consulted some of the past articles on how to get more movement in your tracks, I invite you to check some out. Movement is one of the most important parts of music arrangements. Movement is life, nothing less. When music is static, it feels dead, dull, redundant, synthetic in a bad way, and terribly alienating. You need to have your sound move in the space, in the stereo field as well as up and down – there are so many ways to achieve movement.

TIP: EQ, auto-pan, compression, filters are your best friends for movement.

Pattern

Ideas and hooks always are dependent on a precise pattern. Next time you listen to your favorite song, try to determine the pattern of the song. Sometimes it’s simple, sometimes it’s multiple patterns that are layered. Now, the pattern is more than just the percussion; it’s the order of elements that are also reappearing throughout the song. In techno, there’s a micro pattern (eg. within one bar) that is part of a much bigger pattern. Decoding it is a bit like reading morse code. But one of the key points of patterns, as explained by Miles Davis, is understanding the importance of silence because that’s what creates them.

TIP: When creating a pattern, try adding random additional ideas by using Ableton’s MIDI effect, “Random.” Having a developing pattern can do wonders to the timeline of a very simple song.

Rhythm

This is the perfect follow-up from the pattern principle as they go hand-in-hand but are slightly different. I like to see the rhythm as everything that amplifies the flow of the pattern you created. Groove templates in Ableton are particularly tied to rhythm as well as swing. But importantly, one thing to understand is the transition from section to section, as well as what’s regular vs irregular. You can have a very simple, almost boring pattern but with a great rhythm, you can make it very engaging for the listener. However, this doesn’t work the other way around; a poor rhythm will turn a great pattern to garbage.

TIP: Try to DJ your tracks at different stages of production. You can stretch your idea/concept to 5-6 min and see how it feels, mixed as a DJ. Of course, mix it with something you love the rhythm of and see how yours fits in.

Unity

This is the final touch to a song; “making sure all elements feel like they’re working together.”  Sometimes I hear music and I feel there are a few sounds that don’t fit in at all. Perhaps this has happened to you and you’re not sure exactly what it is. Here’s a quick list of things to consider while developing a new idea:

  • Make sure all melodies are in the same scale or in compatible keys.
  • Use the tuner to make sure the most important elements are in key.
  • Always have some sounds that are in the “call/answer” relation with some other.
  • Certain sounds should either be working together or complementing one another (eg. played at same time or shuffling).
  • Use a global swing/groove for main sounds.
  • Stick to just 1-2 reverbs for creating a common space.

Final principle: Make your work understandable, long lasting, and detailed

Here’s a personal motto that I apply to the analysis of my own work:

  1. “Is this song understandable?” If I ask a person to sing it, can he/she relate to one element?
  2. “Is this song based on a trend or will it age well?” I like to analyze songs that I still love after 20 years and try to see what I still love about them. I then try to apply concept with my current knowledge. It can be a concept or a technique too.
  3. “Did I cover all details?” The last round of arrangements I do will be to cautiously pass through my song, one bar at a time to see if I am aware of all details, such as volume, tails, attacks, position, etc. If I don’t do that, the song isn’t done.

I hope this helps you to perceive your music differently and create your music more efficiently!

Transient Shaping

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In this blog, I’ve already discussed many ways of playing with your track to create new textures and variations and how to keep your sounds interesting. I’d like to discuss another way of colouring your music: transient shaping; something that can completely change the way a track sounds and feels, depending how you shape your sounds.

To experiment with transients, we will need to play with certain features of Ableton Live which can be very powerful. Alternatively, you could also invest in a type of plugin that is in the category of “Transient Shapers”; there are many out there but some of my favorites are the MTransient by Melda Production and Transient Shaper by Softubes. Both offer quality results at a decent price.

Firstly, if you’re not familiar with transients, they usually consist of the beginning of a sound/sample. If you’re familiar with the Attack-Decay-Sustain-Release (ADSR) envelope of the synthesizers, the attack would be generally manipulating the transient. Sometimes its fast and strong, or other times, it’s slow and smooth. For a kick that punches, you want it to be pronounced and snappy. If you’re after that specific feel, then the transient shaper will really be interesting for you. A plugin will allow you to make the transient more apparent or make it quieter; generally you will also be able to control the sustain of the transient. Sometimes you might want your transient to snap but the rest of the kick to feel quieter; a transient shaper plugin will be able to do that with 2 knobs. I have multiple versions of these types of tools and use them daily – it’s quite captivating what you can do if you exaggerate the attack of sounds which don’t have any transient at all.

In Ableton Live, you can also have fun with a feature integrated in the sample’s detail view. Let’s have a look at how you can manipulate it and how you can have fun with it…

First take a loop sample, and duplicate it in another channel.

The on the duplicated loop, make sure you set up your details like this. Now turn down the percentage of the transient.

You’ll notice that as you lower down this box, only the transient will remain and the rest of each sounds will disappear. You’re basically trimming each sound to keep just the beginning of it, which is the transient. The new channel can be leveled up and layered with the other: you’ll now notice the transient is louder and you now have certain punch added if there was not enough originally.

If you flatten or consolidate, you’ll get a new view:

See the difference and what we removed? By layering the beginning, you’re giving more punch.

Tip: try it with a kick loop or a hihat loop.

Now your fun really has just begun!

Here are a few suggestions to try for pushing your sound design even further:

  1. Control/lower the transients of the original loop with a compressor. If you set a compressor with a fast attack, it will control the transient. Play with the release to really tame it down.
  2. Add a reverb or any effect on the transient channel alone. This is really cool because the effect can either affect the beginning or the end of the sounds. I like to put reverb only on the sustain while leaving the transient dry, which gives more precision to your percussion instead of having them lost in a pool of reverb.
  3. EQ the transients to keep only the high end for sharp precision or just the mids for more oomph.
  4. Side-chain the transient with the original sound. Experiment with this one and you’ll achieve some fun results!
  5. Compress both channels by grouping them.

Feel free to share your thoughts about transient shaping!