Bump for a rad project. Apollyon features some of your balloon samples somewhat heavily, those made for excellent ambiance.

My .WAVs are usually around 100-140MBs, my 320 MP3s around 14 or so.

At the higher end of the spectrum I become much less worried about frequencies clashing. If something sounds like it is getting swallowed up I'll EQ a bit, but I try not to go too much otherwise things sounds too thin. As far as rolling off, the ear should be able to hear up to 22k, but most of the ...

RandoRando wrote:try loading all of them into RAM, by clicking the RAM button on the waveform view of the clip

Indeed, have that problem routinely, the RAM button on audio clips is the shit.

From what I understand it's not the sub physically playing other frequencies that causes the loss of bass weight, it's the signal being altered from a sine to something slightly less sine-y that causes the loss in weight. When using distortion on a sine sub, you change the signal to be less than a p...

Mexztah wrote:Bitch dun know bout mah 135bpm moombahtrap

That sounds so gimmicky it's painful to think about.

I can agree that there can be some soul put into brostep, but usually that's more just an energetic feeling it conveys, or a happier one. The chill side goes for serious depth though, hitting on emotions that the brostep spectrum can't even glance. That's why I like it, them vibes. http://www.youtub...

Energy in a track is not defined by how many noises it has crammed into it. The tempo of the drums compared to the tempo of the song do not define a genre. You're essentially comparing drum and bass to hardcore because they're both around 170 bpm and have a full drum pattern. It's ridiculous, dubste...

I've actually played around with tempo on my own tracks a lot. I usually just start something at 140, but I got curious one day and played it at 180, 40, 70, all in between. At around 90-75 bpm, 140 bpm percussion sounds so groovy, it's pretty neat.

This is kind of a neat set of tests to see the extent of your hearing/system. So far I've learned that I have a hearing range of 20hz-20khz, with a 72db dynamic range. I also learned that: I can't hear the difference in phase inversions I can hear a 10cent pitch change 9/10 times but a 5cent pitch c...

I've used binaural elements in my songs, gives it some serious depth. But I've not made a song purely in a binaural fashion.

Indeed it is.

I think where people are getting confused (I know it's why I posted), is because it was said to never normalize. But if normalization doesn't do anything besides raise the volume slightly then that seems like a very harsh reaction when it's really doing fuck-all.

If I have a limiter on my master simply to prevent clipping and peaks past 0db, then wouldn't normalizing do literally nothing? If so, then why is it a faux pas to use? Simply because it's redundant? When I export my tracks (that aren't copies meant for future mastering), I leave Normalize checked s...

Play your mix at different volumes when mixing too, to see if anything gets drowned out or comes forward more than it should. That can give you some idea of if the levels are where they should be.

Yeah, it depends on the track. I know I certainly have this problem, the sub on headphones isn't as prominent as other mediums so I tend to turn it up to compensate, and then it's like "wow wtf" on everything else. It seems like a trick of the ear when trying to mix.

If you think the sub is overpowering on car speakers, do not by any means play them in a club setting. Your car speakers don't know what sub is compared to a serious system. Car stereos are a good test medium though, as most people listen to music in their cars (just make sure your car doesn't have ...

If you're working with Ableton you could throw a Utility onto the sample channel and play with the panning and phase, see which settings will mask the piano the most and bring it out the most. If you can bring it out a lot you could try the phase inversion technique with the sample that has it mostl...

The idea is to mix each individual channel to sound exactly how you want it to sound on the final mix. You want to avoid having to EQ anything on the master. Adjust the volume levels as early on the effects chain as you can, and use the channel faders for tweaks when finalizing the mixing process (t...

This is a very interesting thread to trawl through, neat ideas in here. You've got a creative mind Wub, thanks for spilling it out some. :>