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Great idea for a thread, but is clearly going to be terrible in actuality.

ChadDub wrote:My tip is to always use an EQ first and last in your signal chain because that's just how it goes.

having eq last in the signal chain is a fucking big no for me, considering i almost always put shaack transient shaper on EVERYTHING.
for example, say i have a nice punchy snare that sits at -10, when i add an eq on, even WITHOUT boosting/cutting anything, it shoots to like -7..

if anyone could explain how this happens it would be cool

nice tip, OP! i think about this a lot when i'm mixing

Plugs that introduce harmonic distortion, saturate, etc. and emulate vintage stuff, I've found that like distortion, they act on the signal in a certain way depending on how its its EQ'ed before hitting that plug, bc of which harmonics are hitting it harder/softer. also they add noise.. so yes, boost the highs first.
Trying to think of a good processing tip but i dunno, will drop back if i think of one

Sonika wrote:

hudson wrote:

Sonika wrote: Annnnndddd my random tip of the day is that I've recently found that compression is overrated, and it cam generally be created with better results through EQ.
And EQ is everything.

Ha. Just wait until you do something with any live instruments or vocalists.
My tip is... um... compression is awesome, learn to use it properly. It can make drums hits (especially kicks) sound massive, it can help fit things into your box, it can hold your mix together when used on tracks with inconsistent volume, it can make two layered sounds sound like one, etc. etc.
Don't underestimate compression, especially when you're a newb. It's a little conceited to claim that one of the most used studio tools is overrated when you've only been producing for, like, six months and have never mixed or recorded a full band, don't you think?

Jesus. I'm not being conceited, I'm just stating that in my very limited experience, I've found that EQ yields better results than compression.

i think its that EQing and compression are both very useful, and not for the same thing, so neither should be dismissed or played down as they are both valuable tools.

i use compression quite a bit, but i also EQ a lot, I think both are very useful

sample that sort-of works for you ---> very short reverb w/ predelay (time depends on tempo of song)---> saturation--->hipass.

also, to create density/bigger sounds, bandpassed 1/16th-note delays rather than reverb.

Trainrek wrote:

ChadDub wrote:My tip is to always use an EQ first and last in your signal chain because that's just how it goes.

having eq last in the signal chain is a fucking big no for me, considering i almost always put shaack transient shaper on EVERYTHING.
for example, say i have a nice punchy snare that sits at -10, when i add an eq on, even WITHOUT boosting/cutting anything, it shoots to like -7..

if anyone could explain how this happens it would be cool

If it jumps 3db with default settings, something is wrong with the EQ plugin you're using :S

Mid/Side processing.....doesn't get enough mention on here imo

When using a compressor on your drum bus....one with M/S function...only compress the the mid. You can get a really nice solid centre image while keeping the L/R untouched and airy.
This in conjunction with NYC can make tings sound ting.

Also eq's with M/S....try eqing the centre different to the L/R to create a bigger sense of width without compromising mono compatability.
and you can take all the bottom end out of the L/R which is handy a way to control the width down at the lower end of the spectrum

Layer a sub (sine wave) at arround 50hz (play up and down) with short decay and short attack (watch out for clicking). Make it decay in pitch a little. Should feel like a mini sub kick. Play with the volume.

EDIT: LOL I forgot to add... all ^ that is to be layered with your snare.

Crikey, I only meant to talk out loud what I had in my head at the time and we already have 2 pages with some pretty interesting tips in here!!

Nice going all

I don't know if any1 said that already, but I think it's a pretty decent advice:

disconnect your internet (!!!!!) make longer and longer sessions without internet until you get in shape to work on music for hours and hours. That's my biggest problem at the moment, distraction!

render wrote:I don't know if any1 said that already, but I think it's a pretty decent advice:

disconnect your internet (!!!!!) make longer and longer sessions without internet until you get in shape to work on music for hours and hours. That's my biggest problem at the moment, distraction!

Also get your wife to remove her boobs this too is a distraction for me.

my tip of the day: dont quantize everything, throw things to the left and right a bit, especially hats/bass/leads. its really good if you're going for that loose slobbery feel, and just good in general. its a good habit to get into.
check my sig for an example.

Trainrek wrote:my tip of the day: dont quantize everything, throw things to the left and right a bit, especially hats/bass/leads. its really good if you're going for that loose slobbery feel, and just good in general. its a good habit to get into.
check my sig for an example.

This, i just started doing it, and almost all of my productions feel way more human. I'm glad I'm finally out of the mindset that certain things are "wrong". Some things sound terrible, true, but it's not necessarily wrong.

i hardly ever use the grid :S

limiter on the master. always. feedback can be a narsty thing.

try other genres you actually don't like. i'm working on a psytrance bit at the moment and i pretty much hate psytrance. starting to get behind the thought process and production techniques now, have already learned loads of new things in just 2 days.

for example:

use compressors to boost the attack of a bass sound so it appears louder to the listener. the initial transient gives it the impact while the compressed tail leaves you room to keep your mix clean
bandpass filters are the shit
stop thinking in bars, if you feel like it have a breakdown in midst of a measure just to fuck with the listener (and keep the dj steady)

the most effective effects are still the simple ones: delays, verbs, phasers, panning, volume automation (!!!!!)
you dont need ultra long fx chains with multi-input sidechains and whatnot on every sound or even in every tune.

If you're using logic, lay out your drums samples in the arrange view, as audio files. It changed my entire production process, giving me more flexibility and it's generally just BETTER.

hasezwei wrote:limiter on the master. always. feedback can be a narsty thing.

I disagree. I usually leave nothing in my master unless I'm doing something weird with the song. I try and use limiters as less as possible. I feel if you can mix your tracks well, you shouldn't need a limiter. I mean, I'm not saying don't ever use a limiter. it's an important tool to keep some sounds down but it's not something I suggest putting in your master

I often use a pitch envelope on a pure sine sub, to get some bass guitar like attack.