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In your quest for richer, more 'pro-sounding' tracks, it's likely you've stumbled across the concept of layering sounds. Fundamentally, this is a basic principle combine or stack two or more of the same kind of sound together to achieve a more powerful or interesting outcome than one single source can achieve in isolation, creating the perception of one fuller, denser sound. The idea is pretty much as old as music itself - imagine choirs combining multiple singers in unison to create more depth and power, providing a more complicated, interesting sound for the listener. The caveat is that... more



Drum 'n' bass is in a great place in 2014. As broad a church as any style of dance music, DnB has something for everyone. From the minimal atmospherics of Exit Records to the full-on jump-up insanity of Real Playaz, and from the deep dark fury of Metalheadz to the liquid euphoria of Fokuz, every conceivable sub-genre is vibrant and flush with exciting new music. All of which means that, if you want to compete, you need to be at the top of your production game, - we've got 11 things to try to keep you ahead of the chasing pack. Source direct Production standards in modern DnB tracks are... more



There's no doubt that side chaining in a popular technique but sometimes traditional techniques can create issues in your mix. One of these is creating ducking effects during drops and breakdowns when your drum parts are removed. With this technique you can enjoy your pumping effects all the way through a project and you no longer have to worry about whether your drum parts are in or out I'm using Cubase here but you can literally use any DAW that natively supports side chaining. Step 1 - The Standard Side Chain Set Up So here we have a small mocked up project consisting of a few drum... more



Hey Daniel, again I would like to ask you about an advice. I wanted to know if you have any good tips for kickdrum build ups fill-ins, like for example in Electric Universe's remix of Insidious at 211 and the big one starting at 420. Normally I make my build-ups with a sample cutting and coping or sometimes with the appreciated, but it's very hard for me to get something like in that example. I'm trying to use triplets as well and it sounds actually not to bad, but not as powerful as I would like it to Best regards. Alex Alex, there is no tried-and-true way of making such build-ups, it's a... more



In the beginning, God created Drums, and created Reverb so Drums would not be alone in the world. --- Not The Bible. To this day, that quote lives with me while I'm mixing music. Probably because I made that quote up today. Honestly, I just couldn't figure out a good way to start this article. I guess I get a pass because there's about to be some great information coming your way I'll be talking about both acoustic and programmed drums, so Rock, EDM, Pop and Hip-Hop will all feel at home here. Intro. Over. Nailed It. 1. If You're Not With The One You Love, Love The One You're With This one... more



Hello producers, how's it going We continue our Let's produce series with Episode 06, where we'll be taking a look at the melodic elements behind a simple Progressive House Vibe. We'll be using Live 9, but all MIDI patterns are provided so follow along with your DAW and instruments. Just make sure to pay attention to the grid settings in the bottom right corner of every image. The post is structured in 3 parts Bass 1, Arpeggio 2 and Chords 3. Make sure to leave your questions or requests for future episodes at hipromusicproducers.com. Okay then, let's start 1 BASS STEP 1 -- Tempo used 128... more



Waves L1 Ultramaximizer is another one of those workhouse plug-ins in my collection. This goes on at the end of my master fader chain. I only use this plug-in on mixes that I know aren't being sent to Carson Ritz for mastering. I call final mixes with the L1 limiter baby masters. If I know this final mix is being sent to mastering, then I'll take of the L1. The L1 is a great way to give a client a mix but with a 'mastered' feel. I leave the out ceiling at -0.1, and the threshold lower enough to where L1 attenuates occasionally between 0 and -6 dB. This should create about 6dB dynamics in... more



If you play the piano, violin or trumpet, to name a few, the rudiments of learning to play your instrument well include being able to play in tune and in time. As producers of electronic music, we don't have those concerns---we can input notes in step-time, or slow the click track down to record notes at a speed we can handle. We can then fix the pitch or timing of any notes we played incorrectly, giving us a safety net that acoustic musicians don't have. In fact, when it comes to playing in time, our workstations can help us achieve the impossible perfect timing. Using quantization, we... more



A short yet detailed look into some great hints and tips for producing Synthwave. 1. Chorus With the proliferation of digital synths packed with a once unimaginable array of processing effects, the humble chorus has been somewhat forgotten in contemporary electronic music. But this often overlooked effect was a key ingredient in scores of 80s synth hits. Simply sending your sounds through even a budget hardware module can add warmth and width. Alternatively, try sending your synth signal through a guitar pedal chorus or even a tube ampilifer for a similar sound. 2. Wow and flutter Back in... more



Hi-hats have been topping off grooves in almost every musical genre since their invention in the 1920s. Most of the time, a drummer 'rides' the hi-hats with a drumstick, applying pressure to the pedal to generate the 'open' and 'closed' hat sounds that give the instrument its expressive character. Open hits have a long sustain, with both cymbals ringing out closed hits decay quickly. The sequencing of closed and open hi-hat sounds forms a metallic pattern that drives a rhythm along. Synthesised 'electronic' hi-hats are usually created using white noise and filtering to replicate the sound... more


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