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two oh one wrote: Mixing an entire track worth of stems backwards.


Re-amping synths in a nasty sounding bathroom.

.

I heard of the mixing backwards thing before (reverse all audio yeah? then reverse the mixed track the original direction?) its supposed to give a detached perspective to levels and the attack of compressors act as releases and vice versa with extra control of peak levels. I've done the re-amping thing (Sounds like synths on Nitzer ebb -Showtime) although i'm too lazy these days.

Sending a mike to a reverb or fx and then playing a track your working on and moving the mike around the room, towards/away from the speakers can be a fun way of adding reverb, just mute the fx output so you don't get feedback or use the feedback as an effect in itself.

I stick king size rizla over the holes in my monitors, or bits of paper. Then I make bass.

I call it the 'back of the Volks' effect. Its kind of my test to see what my track might sound like when the whole club is rattling.

Mike this up, then resample it back into the track and use (high passed) as an effect in places.

ikeaboy wrote:

two oh one wrote: Mixing an entire track worth of stems backwards.


Re-amping synths in a nasty sounding bathroom.

.

I heard of the mixing backwards thing before (reverse all audio yeah? then reverse the mixed track the original direction?) its supposed to give a detached perspective to levels and the attack of compressors act as releases and vice versa with extra control of peak levels. I've done the re-amping thing (Sounds like synths on Nitzer ebb -Showtime) although i'm too lazy these days.

Sending a mike to a reverb or fx and then playing a track your working on and moving the mike around the room, towards/away from the speakers can be a fun way of adding reverb, just mute the fx output so you don't get feedback or use the feedback as an effect in itself.

Yeah, mixing in reverse makes the whole thing a lot more subjective. Zero emotional response to the music, because it sounds fucking terrible. You actually get the mix done quickly too because you don't want to listen to it all day! Sounds like a mentalist has mixed the thing. Super aggressive sounding. It just takes a lot of time to set up.

Re-amping a synth makes it sound a lot more 'alive', especially plasticky soft-synths. Although, Logic's guitar amp seems more than enough for me these days. A lot simpler to set up, that's for sure.

I used to work at guitar center and we would get stoned and play with all the Boss guitar pedals. There's one that's called a bass synthesizer that somehow assigns a note in real time to any sound run thru it. You can choose an octave/ tune and play with the filter/resonance as well!
It's great for running a drum machine through it. So is a Vocoder... :)_

DJ Fur

yeah that bass synthesizer pedal is sick man been wanting it for days for actually playing bass with but alas i'm making nothing but beats nowadays. the time will come when i get back into playing live reggae, mark my words.

in any case, sending any single track through a series of guitar effects pedals into a reel2reel or high quality tape deck then back into your computer can get you some sick analogish / old school dub results. and just the perception alone of tweaking all the knobs on the go as opposed to working with software or your midi-controller. anyway maybe i'm just talking about some stupid ghetto ass shit as i've never been to school for production and most of what you guys are talking about is over my head.

got the syb 5 pedal.
it´s nice for bass, but i can´t make it work scratching... wich is what i bought it for. odd really. somehow it doesn´t get the basssignal working clearly from the mixer. no matter what the volume, high or low. just distorts a bit.


totally unrelated to dubstep.
but we´ve done pretty unconvetional micin with the band.

like we play in this small wooden hut-so, we micd the whole thing from outside too, because the night was calm. got mad resonant bassthrob because of the tin roof. we also micd the chimney and put a few chains in and used that as an echochamber.
we´ve playd the sea with padles,sampled the whole ambience and the hit, triggered it as a an echo for the snare. the actual snare was a matchbox.
we´ve recorded lots of drums out on the "veranda" of the said hut. also from underneath. gives a very distinctive kick sound and the overall dryness of the drums is lovely...


i´m not even gonna speak about the weird stuff...


oh yeah, i scratch through ampeg super jet guitar amp(and a korg stage echo... and other stuff).
is that unconventional?

WW2 air raid shelter + bass guitar

cat bowls triangles keys and plastic cups

might still have a copy of the tune somewhere

Databending. Take a random file from your comp, copy & rename, change extension to .wav, open in Cool Edit. Save as whatever after limiting, etc.
edit:
You will have to open it as raw pcm or something like that, a little "interpret as" dialog will open, this sorts the offset (dc bias). click ok, happy times. Works with coolpro2 anyway. Try every manner of file possible.

Crazy shit.
Also, speeding up entire tunes/albums till they're <1sec is fun

^^^^
this will provide me with endless fun

sherbert mastodon wrote:Databending. Take a random file from your comp, copy & rename, change extension to .wav, open in Cool Edit. Save as whatever after limiting, etc.
edit:
You will have to open it as raw pcm or something like that, a little "interpret as" dialog will open, this sorts the offset (dc bias). click ok, happy times. Works with coolpro2 anyway. Try every manner of file possible.

Crazy shit.
Also, speeding up entire tunes/albums till they're <1sec is fun

aint done that in a while cheers 4 remindin me

sticking a mic up the ass and attempting to shit it out. Not that I've done that, but somebody with a loose anus should attempt.



EDIT: HOLY SHIT. I just kinda... stuck one of those shitty 10 buck labtec mics in my mouth and went waaaa or something. and... I have the coolest intro ever with pitchbending.

Sorry for double post, but I got another one. Sampling something from a slow ska song, playing it backwards, and then playing the backwards drums in the original pattern


Eg. snare snare kick kick

Reversed: kcik kcik erans erans

And reversed but in original pattern: erans erans kcik kcik

sherbert mastodon wrote:Also, speeding up entire tunes/albums till they're <1sec is fun

Haha. Like a song listened to whilst under the influence of Cake. A made up drug.

i don't know what conventional is. and i'm not sure many self taught producers do.

D-Fly wrote:i don't know what conventional is. and i'm not sure many self taught producers do.

Exactly the feelin you should have.

two oh one wrote:Putting a dynamic mic in a big cardboard box and kicking it as hard as I can yields some interesting kick drum sounds.



Setting up really insane sidechain compressor routings until almost everything in controlled by something else.

this is the shit

wow, this thread sucks.

I was gonna be relevant and talk about my toys http://www.noisefx.com/product_details/ ... =added_twt but fuck it

BORINGSTEP

Mad circuit bending...

But...

Quite like turning an analogue modeled delay until it feedback's to a total ring... Gate it or the like...

sometimes ill make a song standing up