ok thank you very much for your effort, it's very easy for you but it's difficult for me, I just want to know what makes these sounds so special, that make you focus on them until you are almost hypnotized, I think there is some solution or in the form wave or in sudden stops or in the synthesis of several tones, I don't know, I hope you have some answers
The guy involved into production of such 'hits' are top notch in their domain.
It's an ensemble: the arrangement, sounds and production technique all play a role.
Diplo is a great producer ( Jessica is a killer track:
)
Gear he use can be anything including fx from the studio where they mixed the track in!
https://equipboard.com/pros/diplo
It's an ensemble: the arrangement, sounds and production technique all play a role.
Diplo is a great producer ( Jessica is a killer track:
Gear he use can be anything including fx from the studio where they mixed the track in!
https://equipboard.com/pros/diplo
"Oldschool?" Makes me wonder what concoction of sound will be getting humans excited 100 years hence and what will be yet termed as music - what dimensions perceived talent and resulting joy of listening, er, being immersed in, will ride along.
The use of Ableton is widereaching and diverse these days, from Christian music to hip hop and beyond. I've used it many times for various projects, but the sound signature it leaves behind after mastering is too polite and soft. I can always tell an Ableton track from a Cubase track and a Pro Tools / Avid track. The Cubase stuff sounds much more dynamic and transparent ie Hifi to my ears on a really good system.
The issues with tracks produced by inexperienced bedroom musicians is typically a terrible sounding end product. I got a few demos sent to me from a local guy down here. When I went to play them he had so much DC offset and infrasonic junk riding on his samples that the subs on my monitors were going into DC protect mode. The monitor LF drivers were moving around almost 3/4" every time a sample in the track was triggered with a 10 hz oscillation sitting at -15 dB ! He told me the phantom power was cutting in and out on his interface but it didn't sound to him like it was affecting the recording... yeah, right. I asked him what monitors he had and he said it was bose noise canceling cans, yet he had an Apollo interface bought from a pawn shop. It was hard to tell him that his money wasn't spent very carefully and that he needed have it repaired. It almost took out the woofers on my PMCs if it wasn't for my fast hand on the monitor send mute.
The issues with tracks produced by inexperienced bedroom musicians is typically a terrible sounding end product. I got a few demos sent to me from a local guy down here. When I went to play them he had so much DC offset and infrasonic junk riding on his samples that the subs on my monitors were going into DC protect mode. The monitor LF drivers were moving around almost 3/4" every time a sample in the track was triggered with a 10 hz oscillation sitting at -15 dB ! He told me the phantom power was cutting in and out on his interface but it didn't sound to him like it was affecting the recording... yeah, right. I asked him what monitors he had and he said it was bose noise canceling cans, yet he had an Apollo interface bought from a pawn shop. It was hard to tell him that his money wasn't spent very carefully and that he needed have it repaired. It almost took out the woofers on my PMCs if it wasn't for my fast hand on the monitor send mute.
I see that you are very knowledgeable on the subject. so what can I do to reproduce these sounds, in the sense what equipment do I need besides a synthesizer?
did you do the analysis of the sounds to see their composition?
Ok i've listened to the track on better loudspeakers: i bet you are talking about the dynamic effect happening between the kick drum and the lead synth ( which wasn't obvious with what i initially listened to the track on poor 2" fullrange...).
It is side chain triggering of compressor/gate.
You use the kick drum to trigger an 'envelope' over the entire mix or part of them.
You can hear it on Konflict's 'messiah' i posted previously: the kick drum make the other percussion change in volume.
Let see if you identify the same effect in this track ( pushed to an extreme):
Up to 0'24 this is the voice samples which triggers the compressor, the other parts of the mix react to them while the voice level stay the same. From 0'35 then the kick trigger the comp.
Parisian's guy from 'French touch' school are masters about it.
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On this one the kick trigger the compressor on sample/bass. At 0'53 and 1'42 you hear the compressor releasing it's 'grab' over the dynamic:
By playing with attack/release/ratio on comp you can have same effect as in Major Lazer. A finely set up stutter effect could give same feel too.
By playing with attack/release/ratio on comp you can have same effect as in Major Lazer. A finely set up stutter effect could give same feel too.
In this song by Benny benassi I heard those sounds at 1:02 minutes then between 1:16 and 1:17 minutes and finally between 1:42 and 1:44 minutes, so I think they are heard when there is no voice but only music, also could you explain to me what you mean by dynamic effect and kick drum activation? I think you understand the secret of these sounds, I'm happy
no in this song you do not hear anything perhaps because the singer sings for almost the whole song, perhaps a very slight stimulus is sebte between minutes 1:48 and 1:49 but very weak, so I believe that the effect is only when there is music is not sung, perhaps because when you sing and therefore there is a voice, our brain is more focused on the voice
I
also listening to the song "the messiah" in the first part from 00:00 to 1:27 you will hear a spatial audio or something similar as if the sounds were outside the headphones then at minute 1:28 the base starts and it is the who feels the paralysis effect or greater involvement and moreover this effect is very concentrated of the alternation between the two sounds that alternate and make "zzzzzz" between a high and a bass, and in the background there are percussion
At 1:02, 1:16 and 1:17 this is a kind of 'stutter' fx.
It is a gate whose sidechain is triggered by an external signal. Often a closed high hat.
It is the same principle that a sidechain triggered compressor except you don't compress but 'gate' the signal.
This is the classical Trance pad effect.
Here is basically how it can be done manually thanks to a gate( there is many ways to achieve this effect):
In Demon's track listen to the time code i gave: the kick drum stop playing and then music seems to 'breathe' during the pause. The background music seems to have changed but in fact this is the same sample playing during the whole song: as it's compressed the 'details' are burried behind voice and lead synth. Once the kick stop you listen to the untouched audio.
If you feel the 'breathe' then you know what to listen for ( identify this effect). I choose this track because there is contrast in this as it is used as accent in the track's structure ( breaks). In benassi's the whole track is based around this and as there is always something moving it is less easy to identify.
Compressor, gates, limiter, expander all behave to dynamic processor as they manipulate level.
Usually those processor 'monitor' the signal at their input and apply an automatic correction to it. The part of the circuit performing the analysis is called the 'sidechain'.
If the sidechain can be triggered by another signal then the treatment is driven by the external signal and not the audio being treated.
It is a gate whose sidechain is triggered by an external signal. Often a closed high hat.
It is the same principle that a sidechain triggered compressor except you don't compress but 'gate' the signal.
This is the classical Trance pad effect.
Here is basically how it can be done manually thanks to a gate( there is many ways to achieve this effect):
In Demon's track listen to the time code i gave: the kick drum stop playing and then music seems to 'breathe' during the pause. The background music seems to have changed but in fact this is the same sample playing during the whole song: as it's compressed the 'details' are burried behind voice and lead synth. Once the kick stop you listen to the untouched audio.
If you feel the 'breathe' then you know what to listen for ( identify this effect). I choose this track because there is contrast in this as it is used as accent in the track's structure ( breaks). In benassi's the whole track is based around this and as there is always something moving it is less easy to identify.
Compressor, gates, limiter, expander all behave to dynamic processor as they manipulate level.
Usually those processor 'monitor' the signal at their input and apply an automatic correction to it. The part of the circuit performing the analysis is called the 'sidechain'.
If the sidechain can be triggered by another signal then the treatment is driven by the external signal and not the audio being treated.
There is no special treatment on the pad: it is the tone and timbre which give this effect ( there is layers of sounds for this pad). The sense of width is given by the contrast between the fx on the small sounds happening from time to time ( with delay, reverb and a bit of automation panning) which give a contrast and a sense of width/depth.
Once the reese enter there is high bass content and so the signal is centered ( this come from a vinyl and there is M/S processing applied - bass is mono). As it is 'heavy' and loud it gives the feeling the width shrinked.
no in the song "demon" I can't understand what you mean by a sound that stops playing, in fact I don't understand much of what you're saying, because I'm not an expert, however I think you understand and you can create this effect, so maybe explain it to me in simpler words so that I can understand and maybe I can do them too
I'm sorry but i can't explain it differently: those are 'advanced' studio technique and without you having a better understanding it'll be difficult for you to get them.
Make a search about what a compressor/gate is and once you understood principle what i told should make sense.
If you want to play with stutter fx then try to grap Ozone Stutter. It is a vst plug in which does it. You'll need a midi keyboard to drive it.
Make a search about what a compressor/gate is and once you understood principle what i told should make sense.
If you want to play with stutter fx then try to grap Ozone Stutter. It is a vst plug in which does it. You'll need a midi keyboard to drive it.
no do not worry in life I deal with business accounting. anyway tell me everything I need to be able to make these sounds and I will learn, also tell me specifically how to produce them like the major lazer and their secret
If i had (better than their secret!) their talent i might could explain but i'm not that talented, i fear.
Farble,
Have you some musical instrument background ( do you play an instrument?)?
Or you just got interested in it recently?
Anyway:
About sidechain compression:
https://www.izotope.com/en/learn/what-is-sidechain-compression.html
Farble,
Have you some musical instrument background ( do you play an instrument?)?
Or you just got interested in it recently?
Anyway:
About sidechain compression:
https://www.izotope.com/en/learn/what-is-sidechain-compression.html
I played violin, but I don't know anything about digital and electronic music, the only thing I want to know is how to create these sounds that seem to paralyze
I get it but... it is digital and an electronic musical instrument! So you'll have to learn ( like you learned playing violin) .
I'm jaleous, such a nice instrument to play along electronic background. Strings merge nice with synthetic sounds and violin sound is nice played through effects...
Ok so you'll need a computer, a DAW, a soundcard with audio (in/out) and midi input*, a midi controler ( keyboard, pads,...) and Izotope Stutter edit.
I suggest Abelton Live as DAW ( dispite the drawbacks... it is used by a lot of peoples so there is support and video tutorials).
*Not mandatory as most recent controllers transmit midi through USB.
I'm jaleous, such a nice instrument to play along electronic background. Strings merge nice with synthetic sounds and violin sound is nice played through effects...
Ok so you'll need a computer, a DAW, a soundcard with audio (in/out) and midi input*, a midi controler ( keyboard, pads,...) and Izotope Stutter edit.
I suggest Abelton Live as DAW ( dispite the drawbacks... it is used by a lot of peoples so there is support and video tutorials).
*Not mandatory as most recent controllers transmit midi through USB.