Get flash to fully experience Pearltrees
In this first tutorial, we'll see the notes that sound well together between the melody and bass. This are just some indications and not some rules : it is possible that the music sounds in another way. Before beginning, I mention that when I talk about of the melody , it is the keyboard of the top with the treble clef : and when I talk about the bass , it is the keyboard of the bottom with the bass clef : The octave
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For many people, listening to music elicits such an emotional response that the idea of dredging it for statistics and structure can seem odd or even misguided. But knowing these patterns can give one a deeper more fundamental sense for how music works; for me this makes listening to music a lot more interesting. Of course, if you play an instrument or want to write songs, being aware of these things is obviously of great practical importance. In this article, we’ll look at the statistics gathered from 1300 choruses, verses, etc. of popular songs to discover the answer to a few basic questions. First we’ll look at the relative popularity of different chords based on the frequency that they appear in the chord progressions of popular music. Then we’ll begin to look at the relationship that different chords have with one another.
The Wiseman wrote: Thanks to narrator and Earjax for the responses. @ Earjax, if i don;t use distortion, how do you recommend I get it to sound heavy and gritty? To me, it doesn't sound very gritty at all, it sounds a lot more clean cut than that, instead of using pitch envelopes by the way, use a shortish glide, I've found this works a lot better. To get the "heavy" sound, by which I think you mean wide, I'd maybe layer a higher octave and I would put some saturation on it however only very slight amounts. Also, lots of compression and lots of EQ, boost low mids to get a real punch to your sound <p style="text-align:right;color:#A8A8A8"></p>
SOUND PRODUCTION & THEORY
Maintenant, quasiment tout le monde peut faire de la musique.
Track Duplication its a pretty basic technique but i thought id add it: I've used this in several ways: 1. on tracks already bounced to wav/aif: if you have a part thats dull or just not keeping up with the rest of the song, before you start trying to throw processing at it to get it louder just try duplicating the sequencer track for it. this can add alot of thickness to a sound. this also can cause a loss of definition and timbre however so duplicate it the least amount of times possible.. the goal is to get it balanced out with the other parts of the song not to take it to what you think should be its final volume. that should happen later when you brickwall it with your limiter. or try duplicating a track then pitch shifting it up or down an octave.. this can increase the presence of the sound and make it more interesting all in one shot. ive used it lots for layering strings and pads and what not.
The most Ableton Live Tips, tricks and shortcuts packed into 1 video! If you are new to Ableton or just want 1 resource to increase your knowledge, this should help quite a bit. Feel free to add to this list in the comments section.
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Lots of ghost piccalo snares pon the triplets. Do this in like, every bro tune I make... Looooaaads of non-drum-percussive sounds if your writing bro too... lots of little whooshes and whishes and timestretchy things and funky gunshot percussion sounds and explosions every few bars and blehblehblehbleh... Fill the hell out of the 16s, like, bunch of little white noise hats in there... the energy is in the 16s, and the dj matches to the 16s, just make sure they arent overwhealming in the mix... In brostep, dont overdo the kick and the snare.
Index of /samples/wav Name Last modified Size Description
Sadly I'd have to agree with the guy who said resampling is overated. You really have to know what you're doing. You have to start with a good sound to get a good sound out. I hate how people say the Skrillex sound is a reece, put through a formant filter, with distortion, bounced, more distortion, bounced, more distortion, bounced, more distortion and maybe a bit of chorus, bounced, more distortion...
Insahn wrote: anyone else been experimenting on FM8 with Skrillex-like timbres? Any interesting results? What are you guys trying? TRIANGLES THE FUCKING TRIANGLES, they give a really nice smooth timbre and if given a nice envelope create really good vowel sounds, sometimes having a very high ratio square modulating and .5 ratio triangle gives a nice shimmery vocal like his growls. thats only two 2 oscillators though, i usualy have those two going through 3 more and those being sawtooths, squares, or parabols. all with low to medium ratios.
Turnipish Thoughts wrote: Brilliant work on the organization front Wub, tirelessly bringing all these threads together into one easily findable database. Must have taken you a long time and signifies a dedication to the forum, so big respect for that. See, that's the thing - it didn't. I used Advanced Search to show all threads within the Production sub forum with 'Skrillex' in the thread title. Opened up each thread in a seperate tab, weeded out a couple which weren't relevant then cut & paste the URLs of the others together with their thread titles.
risome wrote: No a mac book pro can run many instances of plugins and audio tracks and then there is freezing tracks, time to upgrade your computer peachey oh, well i've never tried freezing tracks, ill try it now. and yes haha i really need to upgrade, a lot!
Technique : Composing / Arranging Like drum & bass and jungle before it, dubstep showcases the inventiveness of British urban music. We explain some of its fundamental production techniques, from ‘wobbly’ bass lines to half-time drum programming. Pete Jenkins