3 days

DOLGAP wrote:Because he has money for professional mixing and mastering engineers.

>noob trying to make himself believe that all it takes to make good music is money

You have no idea how nostalgic the OP is

ultraspatial wrote:shit

You just aren't a #truhead

I'll be honest, at the time I posted this, it wasn't a joke. Thinking back, I realise how absolutely terrible it was... The only reason I kept it up is because I noticed that it was bringing me a lot of attention! Lol I can't believe you have enough balls to respond I'd delete all my online account...

https://www.youtube.com/watch?v=bSZFMOO-U0o#t=23
https://www.youtube.com/watch?v=FdkfcwY-dhY#t=45

I just love it.

I hear a lot of weird reverberated low mud in that track... yeah.
Of what track is that remix?

Soundcloud
Make sure you listen to the whole thing

Two saw waves - one +24, and the other one -24 with pitch envelope, and a hardclipper / parabolic shaper. No, you're wrong. The smans one is is a unison high pitched saw with a raising pitch envelope on it. The unison plays a major role here. Set it to 9. Detune amount to taste. Generally the furth...

brb distorting square

Exilium wrote:A simple distorted square with a pitch - envelope.
Lately , the Skrillex sound design it's very simple (except the growls)

>distorted square
>distorted square
>distorted square
>distorted square
>distorted square
>distorted square

Today is your lucky today because you will learn something. https://soundcloud.com/piotr-joniec/snare-eq/s-vEeNe Basically to overcome that extra db boost you are getting after equalizing, you need to hard clip at the same level as your source signal. In that example the first snare is at -6db, late...

How long does it take you to make a song/choon/beat/whomper? Because I've been working on a beat for a total of 25 hours and 13 minutes so far, and that's racked up in the past 4 days. It usually only takes me max 8 hours but this one I've been actually trying on. How long does it take you to make ...

But seriously the thing here is to make your track loud AND have nice snappy transients. But that's basically a paradox, because loudness = little dynamic range, transients = dynamic range.

[+] Spoiler

It can be achieved through saturation, which brings the audible level up without increasing your db level.

jonahmann wrote:You usually don't need compression. Two uses are when you have a filter that moves, and live instruments. The latter I've actually stopped using, though.

And you don't need compression for electronic drums? Are you crazy?

k

haha holy shit, I barely browse this subforum and then I'm called out in one of the threads I open xD But yeah, I spend alot of time working on drums and there's not really any secret apart from strong transients and short bodies. For transients, I usually split them from the rest of the snare for ...

Feels good not to have depression. Feels good man.

sounds cliched but use your ears. if compression isn't making any discernible difference to the track If compression isn't making any noticeable difference to the track, you're not using enough of it. Back to the thread. Compression works best on things that have tails. Like a snare, or a ride cymb...

Alchemy definatly. That's probably to only synth I don't own that I feel like I need :cornlol: Curve has a really cool concept, but the sounds arnt much different ( nit to take away from the synth). Same with Synthmaster, which I love. I really dig Razor because you don't see too many additive synt...