Post your production tips

[Trample]

Originally Posted by Kelle Marie

I keep this by the computer:

20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track
60 Hz and below - sub bass (feel only)
80(-100) Hz - feel AND hear bass
100-120 Hz - the "club sound system punch" resides here
200 Hz and below - bottom
250 Hz - notch filter here can add thump to a kick drum
150-400 Hz - boxiness
200 Hz-1.5 KHz - punch, fatness, impact
800 Hz-4 KHz - edge, clarity, harshness, defines timbre
4500 Hz - exteremly tiring to the ears, add a slight notch here
5-7 KHz - de-essing is done here
4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion
6-15 KHz - air and presence
9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix
60Hz with a Q of 1.4 -- Add fullness to kicks.
100Hz with a Q of 1.0 -- Add fullness to snare
200Hz - 250Hz with a Q of 1.4 -- Adds wood to snares
3Khz with a Q of 1.4 -- Adds atack to snare.
5Khz with a Q of 2.8 -- Adds attack to Kicks
7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion
10Khz with a Q of 1.0 -- Adds brightness to hats and cymbals

FREQUENCY:
USES:

50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on loud bass lines like rock.

100Hz
1. Increase to add a harder bass sound to lowest frequency instruments.
2. Increase to add fullness to guitars, snare.
3. Increase to add warmth to piano and horns.
4. Reduce to remove boom on guitars & increase clarity.

200Hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar ( harder sound ).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.

400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.

800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars.

1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.

3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars.

5KHz
1. Increase for vocal presence.
2. Increase low frequency drum attack ( foot / toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars).
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.

7KHz
1. Increase to add attack on low frequency drums ( more metallic sound ).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.

10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.

15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.

There are more great production tips on the studio forum at undergroundhouse.net

perfect, good to know thanks!!!

[justbenjamin]

I know others have posted similar charts but this one is really good and easy to read.

Frequency Range Chart

[Arlen Specter]

Learn Some Music Theory!

<-----Theorist In Training.

[pslayvins]

buy gear. don't settle for just a laptop with ableton or whatever the fuck. sure it's easier to produce music with everything at your immediate disposal, but there is something about using the limitations of synthesizers and hardware drum computers that makes it seem more tangible and like you're using a real instrument. not to mention live performances with gear are much more fun to watch. and it takes much more skill.

and when you get a new synth, don't just pick the first tone you like and fuck with cutoff and patch an lfo to mod and leave it at that and go "wow look at the awesome tone i just made!" because it's still a preset and if you use it in a track everyone will know and be like "hey that's the factory default for A.45 on the MicroKorg, what an asshole"

[soje]

I wouldn't make anything with a preset. I'm obsessed with creating sounds. What's crazy is I do hear tunes with preset samples, instruments, and drum loops.

[undergrowth]

as an old school hip-hopper on a budget i basically take all my samples from records. i can make all kinds of sounds through my mixer and go from there. i work on a fairly strict code of what i sample and dont. you cant beat the recording method of like '76 and before. it just sounds better, real. i use very very simple tactics after i get a recording of the sample i want, recorded at PROPER LEVELS. i go through and chop it all up and roll it like a blunt. like i said im on a budget. i like my sound and thats why i do it. check recent beats here

http://www.myspace.com/theundergrowthprofile



any critism is great

[crade25]

can anyone help me please!!

ok, I love to make music its my passion and i will be heard one day!!

I USE FLSTUDIO 5 AND I AM STILL LEARNING BUT I CAN NOT FIGURE HOW TO GET REAL DRUM AND BASS SOUNDS!!

ANYONE GOT SUGGESTIONS?

HERE IS MY MUSIC

www.myspace.com/stevosk24

thank you for anyone with help

[justbenjamin]

This Mac application is great for joining several audio tracks. Perhaps you did a continuos dj mix and rendered the final tracks into multiple files... Although this is great for identifying where the track changes to the next, it does not always work properly when burning to disk. SOme people forget to change the 'time settings between songs' to ZERO. Joining your tracks ensures smooth transitions and a 'single file download'. Enjoy it bitches.

>>>Join Together<<<

[projectphoenix]

not sure if this has been mentioned and if so how many times but KEEP ORGANIZED. You will save time and energy. If you aren't organized yet take the 6hours of stress and boredom and straightn your work enviorment. not just your physical "studio" but everything from you samples/songs/sound effects/drum hits/programs/favorite links/plugins/patches/notes that you have been taking from this forum.

trust me. you will sleep easier. work faster. not be upset with your setup. I mean listen to everyone of your 40gigs of samples and make 25 different folders, then make sub folders. you know. get real straight with this. that is if you are serious.

oh yeah. and stop looking at porn. set a limit to the kids you kill. it will also save you time with laundry.

[DJ Joe Virus]

EQ Shelving your tracks brings depth and clarity to your mix. I try not to put anything but my Kick drum under 90hz. My basslines dip down there sometimes, but only offbeat. Low mids are my trouble spot.

Also test out your tracks on as many systems as you can. Everything sounds good in your headphones, but thats a bad way to mix. Some tracks that sound great in my car suck on the club's system.

Good reference monitors with a flat response are also key to finding the sweet spot in your mix.

-Joe Virus

Originally Posted by DJ^3

Aite... Here we go:

Roll off freq's that do not add to your track. That really thick pad doesn't need to dig down to 30Hz. Roll it off right as the bassline is starting to become audible. Lots of stuff sounds -really- good right at 2Khz. Make sure your not stacking everything in this frequency range, pan it out filter it down a little. Drawing with too many 'colors' in one area tends to make black mud.

I'll write more later... =)

[Merlin]

wow, every one of these pages throughout this thread is full of pure gold in advice!!

i learned cubase 3 SX in school - took a whole semester but I finally started to feel like I had some control over what music I could make, how to create my own samples from recorded sounds, how to blend all my different creations together from different softwarez.....

anyways, guess what!! I actually BOUGHT Cubase 4!! yea, its the academic version, but so what!! i'm a legit producer now ;P I have an Axiom 25 key MIDI controller with analog knobs and drum pads along with years worth of random sample collecting.........

here's my question: does anyone here have direct experience with the newest version of Cubase (not the cheap studio version but the full all-out version 4)? Is there anything amazing in Cubase 4 that was completely left out in 3? Anything I should check out immediately that will blow me away ? or is it mostly just an improved workflow..? I think in any case, I'll have a full bag of goodies to play with. Nay, i know that already. Just looking for ... exciting hints & tips about the newest version vs. the one i learned in school 2 years ago (cubase sx 3)!!

[Ares]

Originally Posted by Stefan Anion

oh and one more:

make sure to have a window in your studio. fresh air r gud for creativity

Couldn't agree with you any more. I've always worked with my desk against a window. :-)

[mushroom-eater]

Just getting started on this subject. I want to learn more.

[DJ Finle]

Professional Studio Monitoring System Calibration

May 9, 2008

The Instructions

Instructions for electro-acoustic calibration of a professional stereo, 2.1 and 5.1 studio monitoring systems (speakers) using a SPL meter and ADL’s test files. If you are interested in calibrating a home theater system, we recommend using the test signals and procedures included with your home theater receiver.

Before starting, download the ADLTestFiles.zip (15 MB). To download the zip file, “Right Click” and select “Save Target As” and the file will begin downloading.

Once downloaded, either burn the test files on to a CD or import them directly into your DAW and follow the instructions below.

Additional Required Items

* Stereo, 2.1 or 5.1 Monitoring System
* SPL Meter - such as the SPL meter sold by RadioShack in the U.S.

ADLTestFiles.zip Includes 4 files:

* 1000Hz SINEWAVE -20dBFS.wav – a 1kHz file recorded at -20dBFS for electrical calibration
* 40-80Hz PINK NOISE -20dBFS.wav – a 40Hz to 80Hz bandwidth limited pink-noise file recorded at -20dBFS
* 500-2.5kHz PINK NOISE -20dBFS.wav - a 500Hz to 2500Hz bandwidth limited pink-noise file recorded at -20dBFS
* Pink Noise full bw -20dBFS.wav – a full-bandwidth pink-noise file recorded at - 20dBFS

All the test signals were created and measured on the Prism Sound dScope III and conform to the AES 17 guidelines for digital audio measurements. Because pink noise has a high crest factor, the levels of the pink noise signals were made using a time averaging technique, where multiple time samples are captured and averaged over a ten second interval to calculate the RMS level. These test files are all mono files. Please make sure you hard assign them to the left and then the right, not both channels at the same time. If you are using a CD / CD player, use only one channel of the CD player.

Theory
The purpose of calibration is to adjust the overall electro-acoustic system gain so that 0dBVU of electrical signal level equals a certain acoustic level at the listening position. Since most recording media is now digital, the reference electrical signal level is usually –20dBFS with 20dB of headroom. The reference SPL however can vary based on the delivery media and speaker type.

Please note that the bandwidth limited signals that have been provided, limit many of the room interaction affects often associated with measuring SPL and broadband pink noise.

*Also note that the LFE channel gain in 5.1 formats varies from 0 to +10 dB depending on the encoding format used. This level is referenced to the bass-managed subwoofer level, which is listed as “SUB” in the chart below. Since the LFE channel is not calibrated as a separate entity, the LFE gain will not affect system calibration. It is important not to confuse the bass-managed subwoofer calibration level with the LFE channel. For more information about bass-management and the LFE channel, please follow this link.

The common calibration levels are listed below:
L C R LS RS SUB*
Movie Theatrical release 85dB 85dB 85dB 82dB 82dB 85dB
Movie DVD release 85dB 85dB 85dB 85dB 85dB 85dB
Broadcast / 85dBC or 78dB 78dB 78dB 78dB 78dB 78dB
Music (Stereo)** 85dB 85dB 85dB
Music (5.1)** 85dB 85dB 85dB 85dB 85dB 85dB

**IMPORTANT: When compared to movie soundtracks, music tends to be much more compressed, with reduced dynamics and greater overall level. Because of this, music mixes may seem too loud when played back on a system calibrated for an 85dBc reference level. If this is the case, we recommend calibrating for a lower reference level, such as 78dBc.

All test signals are recorded at –20dBFS including the 1 kHz sine wave tone. The sine wave tone is used to set the electrical output level throughout the signal path, right up to the point you get to the speakers. While the various pink noise signals are used for acoustic measurements and calibration.

The following procedure assumes you are calibrating the system to 85dBC SPL. If you are calibrating to TV, etc. substitute the appropriate level from the above chart.

1. TURN OFF THE MONITORING SYSTEM (until step 4)
2. Remove all eq and dynamics from the signal path and set all controls to zero / unity gain. Play the 1kHz Sine Wave, hard assign it to the left channel only, and adjust the output fader so the so the output meter reads -20dBFS. If you are using an analog console or measuring the output of your D to A, set the output level to 0dB VU (typically 0dB VU is equal to +4dBu / 185 nanoWebers per meter / 1.23 Volts RMS - using a true RMS volt meter). Then hard pan the signal to the right channel output and repeat for the right channel. For a 5.1 system assign the channel to each output and repeat the adjustment procedure. Once calibrated do not move the output faders.
3. Mute everything and make sure the 1kHz tone is OFF.
4. Now that the system has been electrically calibrated, turn ON the SUB and SATs.
5. Assign the 500-2.5kHz pink noise signal to the left channel only. Make sure there is nothing coming from the right channel (or any other channels). Because this signal is bandwidth limited, you don’t have to worry about turning the sub off. There are two methods of setting the levels.
1. If you have a master monitor level control, you can set the sat gain control at reference and then adjust the monitor gain control for 85 dBC. Then mark the monitor level as your reference position.
2. The other method is to set master monitor level to the position you want as a reference level and then use the volume controls to set 85 dBC. If you use this method you should mark the knob position with a grease pencil so you can always go back to reference level if the knob gets moved.For either method:SPL should be measured at the mix position, with the SPL meter at arms length, with the microphone at seated ear height, angled at approximately 45 degrees, and pointed at the center point between the left and right speakers.Once the left channel is set to 85dBC, repeat this step for the right channel (and C, LS & RS in a 5.1 system).
6. Feed 40-80Hz pink noise signal to the left channel only. Adjust the subwoofer level control until the subwoofer reads 85dBC (slow) at the mix position. The meter will bounce around a little, so you will need to do a mental average (I tend to filter out the peaks in my mind, so I don’t set the sub too hot). The right channel should measure about the same and no additional adjustments need to be made.
7. You can play the full-bandwidth pink noise, assigning it to the left and then the right channel (not at the same time). You should measure about 85dBc. It may be a little higher, because below 30Hz the room may have a little extra gain.No adjustments should be made with Full Bandwidth pink noise, unless you have an RTA (real time analyzer).
8. You are finished and the calibration process has been completed – enjoy!

http://audiodesignlabs.com/wordpress...m-calibration/

[High Maintenance (4peace)]

Here's something I'm a big advocate of (not sure if this has been posted). Keep the main EQ on your master channel flat until after you have all your others sounds in the track eq'd properly and everything is balanced. In other words, don't mess with it until the end.