Awesome tip, thanks a lot!
It's working in Ableton Live X64 with JBridge. I've recorded a Live session without microphone (that i don't have atm), and i'm not sure how i'll have to route it? Should it be muted or? If you don't mind elaborate

 

Thank you, i since found my way with Voicemeeter ;)

 

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SOUND DESIGN, MIXING AND CREATIVE EDUCATIONAL RESOURCES

SeamlessR - This guy is just a gold mine of sound design and other musical knowledge. If you like loud, distorted bass (especially if you use FL Studio) this is your channel

Vespers - Lots of great stuff on here. Very Ableton-centric channel with tips from sound design to creativity optimization.

SOS Synth Secrets - Big ass synthesis manual. Much of it seems to be geared toward reproducing real instruments

Ill Methology Pt. 1 | Pt. 2 - Excerpts from a workflow/creativity workshop[/QUOTE]

Great Post

 

Only just seen this. Incredible! Thank you!!!

I have a technique I've been using for a long time now that I'd like to share. (probably already know how to use it but it brings a huge element to my mixes).

Big SUB wide dirty bass.
1. Use a simple sinewave type bass for your Sub.
2. Add saturation to the sub. (Fabfilter Saturn <3)
2. Bus that sub.
3. On the bus Low cut everything under 200hz (or more depending on your mix) (I also use a long slope so like 600hz rolls off down to 200hz).
4. Add a chorus plugin onto the bus and set it to 100% wet. (I use Valhalla UberMod and the default setting is what I usually go for).
5. Put the bus level down a bit so it sits above the sub enough to make a difference, or however you'd like to taste it.
6. Voila.

This can fill a mix up, especially if you want dirty trap style 808 basses with grit on it. When a song is fairly mono, I usually fill up the whole mix with this technique and even use it with kicks and other sounds to make it bigger and wider. As long as you check the phasing it should be all fine as the chorus settings I use tend to be fine with phasing!

 

Great reference... Thanks a lot.

 

Best thread Ive read thus far.

 

can u state them please ?

 

Once you've got some drums, melody, maybe some lead or whatever you're doing, but you need some background: Mute kick and send every other track to some nice, long-tail reverb of your choice. Or even two. Bounce it to new track, loop, high-pass; play with it around - here is your in-key atmos.

Also if I save my samples on usb drive I tend to forgot about them. Now I burn sample CD's for my personal use, nicely labeled lying on shelf.

 

you already listed a few interesting ideas which are the results of a certain method to find new things, and that is recombining known methods.

as a programmer and artist i am a fan of systematic experiments with such "combinations".

for example actually try to combine the analysis method of A and use it to make control signals for the effects B-F, which "normally" use other methods.

"A" could be the power history of only the spectral transient parts of the input - and normally you would use it maybe to reduce the "sssh" in a voice recording, which is very noisy (so that a deesser failed.)

but now you abuse this to derive a controlsignal from the key input of a dynamic gate. or to pan a room reverb.

most of the time the output will be nonsense, but sometimes such new combinations can give you new ideas.

this is basically what you can see in industry products, too, they are jusst slower than what scientist and artist originally create.

today we all know what a multiband compressor is - in 1955 nobody had one.

when impulse-response reverbs were born in the 70ies, they only made filters and room reverb with it and noone could afford machines which were able to process it.

later with focusrite liquid, layers of dynamics were added to the basic technique.

now they have eurorack modules where you can change the pitch of the IR file in realtime and while it processes - and with VSL version yada yada everyone has access to multiposition IR sets.

is there a deconvolution effect already which only affects the high frequencies but only when the light in your studio is closed? no? then build it. and if you are not a programmer, then use plug-ins and do it in audiomulch.

the principle is always the same: you combine things which are already known.

interestingly there is still a lot to explore even with all of the really simple things.

for example i have made a series of plug-ins where you control the frequency with note input... the perceptable frequency of a phaser, flanger, bitrate reducer, that is. (they did that for bandpassfilters before, so why would i recreate it?) oh, and of course they are "polyphonic".

then i have made a bunch of plug-ins which control other plug-ins´ vst parameters so that you can sync them, link them, remote them, randomize them or put them on auto-mutation. your synths will sound different when you do that - no need to download buy new ones.

often i´ve build stuff for myself, which later were commercially available because you are never the only one who thinks something new.
the multiband M/S imager and shuffler is a good example. first i made my own, then suddenly you could buy those.

it simply makes totally sense to do that frequency-selective.

it makes even more sense to do that only to the peaks/transients, which is what i did next.

speaking of control signals, i guess those are my pet project. ;)

i mostly control my effects with audio signals, unlike VST with its terrible data rate modulation. this opens up a bunch of new options for things like FM, AM, tuning among others - and it allows you to keep things in sync when you control various effect with the same signal.

then i have a mixing engine based on a 10-speakers channel format i invented for working with sources in the soundfield, VBAP style.
this also can be controlled using signals for all parameters such as broadness, 360° position and distance - this way it can also be used for new forms of synthesis.

FM, waveguide, transient shaper... just reinvent it, but do it a bit different from what was known before.

sometimes the most simple tricks are the best. why not split a track in L and R and use the same reverb plug-in preset on both, but one time only the first reflections and one time only the diffusion/tail. then see what happens when you feed it different sound material.

unfortunately DAWs are usually not very good for multichannel processing, for parallel processing, and for sidechaining/controllings things with signals, and it is hard to provide such features in a plug-in.

but if you dive deep into the world of "methodology" and "strategy" you can do wonderful things with only a sample delay, a tanh() distortion and a cheap digital lowpassfilter.

 

Last edited: Dec 8, 2020

Thanks to everyone this is a great post!!!

 

lol god, you are SO far beyond where I was when I made this post. I was a fairly fledgling producer, who just wanted to collect a bunch of ideas of how to do things.

Sounds like you're way ahead of me now, for that matter. But if you got any kind of use out of this, I'm glad. Sometimes I watch youtube channels where some producer is going over basic stuff that I've known for years, but it reminds me that this is a thing i should be doing sometimes, or whatever.

That reverb trick that you listed is a good example of such a thing. Everyone knows (in some capacity - perhaps not exactly what you described) about panning the source and the reverb against each other, and similar little tricks. But I probably haven't used that in a track for a long long time.

Thanks for this comment. I've been gone a while. I'm happy to see this thread still lives somewhat

 

when i posted, i didnt notice the thread is old, and then i didnt see that there were answers, since i expected the alert tab to blink or something more obvious. new member here. :P

that knowing a lot doesnt automatically mean that you also do what you know, that is a problem i know very well.

i have turned that issue upside down and operate a new form of arts where it is all about the theoretical concept, programming it, and then experiment with it to the max - with the main goal not to produce a concept album but to make the software better. or the philosophy behind it.

 

Great thread. Not sure if posted before, an effective little trick:
To get a cleaner Reverb eq the sound after the reverb inserted to remove unwanted resonances , then put the eq in FRONT of the reverb, so that unwanted stuff doesn’t even get into the reverb plugin.

 

Last edited: Jan 16, 2021

Fantastic thread- not sure why I hadn't seen it before, but I'm grateful for stumbling across it today. Thanks to all for contributing and to Cav for starting it!

 

Great post. Big thank you to all contributors...
Cheers

 

Epic thread!

 

niceness!!

 

Now that's a useful topic! Perhaps it will help me

 

Last edited by a moderator: May 3, 2022

hao....