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When making white noise snare reverb you can use a vocoder to make it blend more natural with your main snare.

smile wrote:When making white noise snare reverb you can use a vocoder to make it blend more natural with your main snare.

thats a good idea with any sound used for a drum hit - nice one. But how do you make white noise reverb for a snare, never come across that one

them wrote:

smile wrote:When making white noise snare reverb you can use a vocoder to make it blend more natural with your main snare.

thats a good idea with any sound used for a drum hit - nice one. But how do you make white noise reverb for a snare, never come across that one

It works for anything basically, I've used it for plucks and more. You can generate white noise in basically any synth, if you're in live you wont need to though; live vocoder can generate white noise by itself.

smile wrote:

them wrote:

smile wrote:When making white noise snare reverb you can use a vocoder to make it blend more natural with your main snare.

thats a good idea with any sound used for a drum hit - nice one. But how do you make white noise reverb for a snare, never come across that one

It works for anything basically, I've used it for plucks and more. You can generate white noise in basically any synth, if you're in live you wont need to though; live vocoder can generate white noise by itself.

Vocodex aswell for all the FL heads

Instead of using a HPF to make rid of conflicting frequencies, use a multigate to gate the lows/low-mids and then if still necessary shelf/HPF it just a bit. Basically you'll keep the dynamics/punch of your sounds without mudding up the mix. This works best for enveloped sounds (i.e. plucks or guitars).

I don't know if its been mentioned before, but...
Making your patterns/loops longer can help for creativity. Even if you're stuck with just that one loop, you still have more material than you if you were stuck with a smaller loop. I don't know if that makes sense or not lol Just in my experience, if I make the pattern longer, I'll want to add more changes to it and nuances that make it not so repetitive when listening to it.

^^^ Reminds me of Rusko's masterclass: If you can listen to your drums and incidentals on loop for hours, without bass etc, you're already off to a good start.

El-B in his masterclass suggests building up a short loop, then expanding it to two bars, four, etc.

Artie Fufkin wrote:if I make the pattern longer, I'll want to add more changes to it and nuances that make it not so repetitive when listening to it.

This is some quality advice. Take note!

if you dont know what to do next in your track get off the computer

Work fast and effectively, the last thing you want is anything to slow you down while in the 'zone'

Learn all your shortcuts, remove distractions and get hyped up on whatever substance you need (sugar and caffeine seem to the be the top choice!) then blast through, get your idea down, get any sub-ideas down (variations of sections, themes etc) you want your idea to essentially be complete in that one session. This may give you the complete track or maybe just the bulk of it but either way you will have enough down to keep tweaking, adding stuff, taking away etc until you have done!

Automate a bandpass on a ride cymbal.

Use the midi notes of your leads/plucks etc as a sidechain trigger for your reverb. Allows you to have some pretty massive reverb sizes while avoiding having your note get drowned in reverb. Makes for a cool sounding effect to as your reverb seems to open up after the notes been played

delete it, whatever it is, it probably sucked

Not sure if this is a tip or a technique, but I'm having fun playing effects plug ins. For instance, a reverbs room size and various cutting and damping controls can be used to pick tonal areas from a sample, to the point where it can be made to sound like a (weird) monophonic synth. Also, flanger (high feedback + wet, low dry, zero rate, depth controls the resonant frequency) can be used to turn harmonic material like chords into a beautiful e-bow sounding lead/pad, and more noisy material can give some nice ghostly swan whistle sounds. It works as a writing device too (but not quickly), because it forces you to basically try a lot of "notes" and slides on an essentially continuous scale, you'll probably end up with notes not considered in western harmony.

little known fact:- m80% of producers put too much reverb/delay on a channel when theyre stoned

kaili wrote:little known fact:- m80% of producers put too much reverb/delay on a channel when theyre stoned

but it's so spaceeeey duuudeee. it's like the sound is in a big room or like, soomething

jonahmann wrote:

Invert this curve for me, after 2 years I am finally getting it.

jonahmann wrote:Automate a bandpass on a ride cymbal.

what parameters do u mean one should automate? or u mean like a lfo that goes up and down in the filter

ehbrums1 wrote:Then it wouldn't be random...

An orange isn't an apple, but it's still a fruit.