Agreed. Definite strong 90s house vibes. I liked the vocal sample you used as well. The feel of the track was definitely there. As I was listening to it I was thinking it could use something to fill out the track more. Whether that spatial effects or fx noises. I thought the drums in general sounded a bit loose but that's personal preference and can easily be cleaned up with some gating or compression. The snare did stand out a bit as needing some attention. What Karl was saying should help with some of that. Layering is also an option. Grab something with more of a transient on the attack. Could also use reverse compression or a transient shaper for some extra attack. Actually this song reminded me of a game called streets of rage that I used to play back in the sega genesis days. Good times. Nice work on the track so far. I'll try to keep an eye open for a repost on this to see how you did if you make any changes.
"I hear what Forky is on about with your transitions but to me everything flowed nicely and you had enough change ups to keep it interesting too."
I do ramble sometimes.
Hey man. This is real old skool, proper 90's classic house feel to this one.
I like your intro, the vocal snippets are a real nice touch and you have mixed them well. The beat sounds nice and the chord melody is classic, but then you introduce a snare/clap sample at 0:33s thats not quite hitting where it should in terms of its timing with the rest of your beat. or you may have layered a snare and clap but have pre-shifted them to far before the beat so it makes it sound out of whack a bit, i think you could mix this snare hit better too, give it some snap with some reverb or delay to make it shine, id even be tempted to EQ some more low end out of it and tune it a bit maybe.
The bass line that comes in is nice and so is the arp melody you have going but its screaming out for some delay, it does sound dry to me.
The first break to me still feels a bit on the empty side, again i think the snare is throwing that flow off a bit, you could get some FX in here and play with some delays too, maybe even an old skool house piano melody.
I do like your vocals though, they are mixed nicely, you could use them more too throughout the track, cut them up a bit, reverse them use them in transitions etc.
Also try side chaining your percussion to your kick or a muted trigger to help your kick come through and also help with your percussion.
Keep at it though mate, maybe come back to it with fresh ears and you should hopefully hear where I'm coming from.
House is not a big genre of mine so believe me I'm no expert mate, I'm just giving you my honest thoughts as i listen to the track and things id personally do or look at if i were producing the track.
Cool work bud, Peace
Really nice work here Morphz.
I can hear how much fun you had putting this together, i cant really suggest anything for the track as i thought it was pretty top notch.
I hear what Forky is on about with your transitions but to me everything flowed nicely and you had enough change ups to keep it interesting too.
Cracking track mate well done
I enjoyed it!!!! Had like a 300 King Leonidas type feel! The drops are like THIS IS SPARTAAAAH!! I've been getting alot of great tips from here and I've soaked it all up! Keep going with it mate!!!!
" I'm a bit obsessive over things like this and find it hard to do things if I know I don't understand them, which definitely holds me back from learning."
Yeah I hear you. In fact I started off like this. The problem I was having had to be down this long rabbit hole and if i only understood what that did completely then I would be able to write better music. Actually I found that was incorrect. There's a difference between understanding how to use a tool and knowing how the tool was made. There are a huge number of vst and hardware compressors that are out there. Each one imparts character in certain ways which is why people use this one for this situation and this other one for that other situation. Maybe it adds more distortion, maybe it DOESN'T distort where it should, maybe it glues everything together better, etc. Now knowing what each of these compressors does sound wise and knowing how a compressor works in general will help you make the right decision about using it in a track. Understanding how it was MADE will help you build a compressor. Ultimately knowing the math behind something MAY help you understand how they intended you to implement the tool. But unless you know the math behind everything you are using you won't have the full picture of what you're doing anyway (i.e. you may know the math behind that compressor but now you want to use a reverb....or you want to lower the bit depth or sample rate....now you need to know how the compressor will effect that altered signal based on the math of those devices). At that point you might as well give up trying to write music and just focus on how to build music writing tools. Unless you are that mathematical prodigy...who knows....you might be.
Anyway all these wormholes go down a path that ill Gates calls "Ant F___cking". I'm not really a swearing kinda guy but the impact here I think is worth it. You get so focused on those little pieces that you can't get anything done.
"Is this the reason people set their kick and bass levels to around -8d to -10db?".
I didn't know that they did. Also who is "they".
You're looking for absolutes I think. If I do the following thing I will get the best result because this pro did this and you want to sound like a pro as quickly as possible. Again I started with the same thing. To answer that I'll go with what Berni was saying. You need to use your ears. You can take any given track and find that those numbers are different. You may find you don't want the kick that loud depending on the type of track you write of the effect you are going for. And if they ARE different it might very well mess you up. WHAT???? He had his kick at -.6db instead of -8db?????
SOOOO mixing phase. When you're writing a track don't worry as much about levels. There are 4 phases that I can tell to writing music.
1. sound design
Some people end up skipping all over the place in these steps. Every pro in the field will warn you against it because you break your flow. Once you hit the mixing here's what I do. Drag all your faders to the bottom except maybe returns. That one is up to you. You should hear absolutely nothing unless you have a pre fader send. If you do then drop that down too. If your track is kick and bass centric such as dance music of any sort start by bringing your kick up to half. Stop at half. If you bring it up too high you will have nowhere to go if you need to bring it up later. Then bring in your bass. The balance between these two is key so I always start with those two. If you are using a loop for your kick then you're going to have to do the best you can balancing with those other elements in play. Assuming you don't have to do that, once you have the bass and kick in you can start bringing up your other elements. Always balance them though against the kick and bass since those are what drives the dance floor and we're assuming you're writing a dance piece. Don't touch the kick and bass faders if something sounds too loud and is drowning out the kick and bass. If you end up with that being an issue find the element that's too loud and drop that one. If it's multiple then drop everything but your balanced kick and bass back to 0 and start again (you don't have to but it might help). Once you have everything close to where you want it then you can start adjusting those faders above half if you need to. Keep in mind though that this is only level work. You may or may not have done EQing, saturation, compression, etc. those will effect your level as well which is why I emphasize using your ears not your math.
Hope that helps. Sorry for the ridiculously long post but I hope it helps answer some questions. Don't try to be "pro" right away. You need to make mistakes. I challenge you to write 5 crappy tunes as fast as you possibly can. Do everything you can wrong. Overcompress the heck out of everything. Overuse saturations and distortions. Ridiculously EQ things. Get yourself out of the boundaries that you have set for yourself. Writing a really crappy tune is amazingly freeing because you KNOW it's going to be crap and that's what you are trying for. As you are writing these crappy songs you will notice that you will get the hang of the tools you are using and your crappy tunes will start sounding less crappy. You will know what didn't work the last time and try different things the next. "An expert is a man who has made all the mistakes which can be made, in a narrow field". Use your ears......make mistakes.....have fun.
Welcome to the forums, first i would recommend you sign up to Pro Membership and then head to the download archive to watch all of Toms other videos and the rest of the Introduction To Digital Audio Production Using Ableton Live series that you have been watching.
Also join in with the forums, there are a lot of people in this community that will help you and there are also a lot of people in this community that are new to production just like yourself.
In the meantime keep using Ableton, get to know it like the back of your hand and experiment with the devices Ableton offers, combine that with the tutorial videos and you will be making quality music in no time.
All the best.
The Pro Toolkit is a collection of 19 tools that hack the way Ableton Live works.
This device allows you to control several parameters with a single knob, but only changing the parameters on the current armed track.
An example of how this would be used : Having the same effect on several tracks, with a knob controlling the same parameter for each effect, but only having the effect on the arm track being modified, allowing you to quickly switch where the knob is being sent.
For a more detailed explanation please watch the following video.Read more...
From the 26th until the 31st of December, yearly Pro Memberships are 50% off if you use the coupon code GIMMIE when checking out! That's a whole years worth of downloadable projects, HD tutorials, presets, patches and samples, as well as the entire archive of content that's already there. Click here to become a Pro Member or click here to find out more about what a Pro Membership gives you.Read more...
To celebrate my 10 year anniversary of performing live electronic music, I have uploaded my personal archive of live set recordings dating back to 2004.
This is the most extensive collection of my life’s work, with 27 set recordings combining to make a total of 29 hours, 59 minutes and58 seconds of pure original COSM material.
This is all for free, and you can go and check it now at the official website - cosm.audioRead more...
I've been having a great lot of fun with this new Serum VST synthesizer, so much so I've decided to upload the first 10 bass patches I made for Pro Members. Click here to downloadRead more...
Being able to make a fully-fledged song on nothing more than a consumer laptop and a decent pair of headphones is a truly amazing representation of how technology has progressed over the last two decades.
It’s cheaper, faster, and easier. The immense joy of musical creation is no longer a luxury reserved for those with money. Instead, it’s readily available for any person willing to dedicate the time and patience.
But this advancement and opportunity comes with a few caveats, one of which is that the music creation process in the eyes of a bedroom producer has been flipped upside down, chopped-up, and compressed into one holistic task.
Is this a bad thing? No. Not at first look, at least. Every producer has a different workflow, and in my opinion, anyone who stays in the game long enough climbs out of the ruts and moves past difficulties in that area.
Despite this, there is a problem that many developing bedroom producers encounter. The problem of frustration: not being able to finish tracks, taking too long to finish them, or trying to grasp at the enjoyment that you once felt when creating music. This sense of frustration generally has more than one cause, and this article probably won’t fix it, but it may help some of you.Read more...
This utility allows you to specify 16 individual points on the chain selector, allowing you to jump to that point with a single push of a MIDI assignable button.
There is also a previous/next button to move forward or back through your points.
You can also enter text for each preset, which will be displayed in a popup window so you always know which point is selected.Read more...
I've uploaded the entire Ableton Live project files for my two latest tunes, Chelsei's Sea Shells and Mind Gobbies. Here are video runthroughs of each of the two tunes.Read more...
Today I am releasing the beta version of Seepage, an additive style synthersizer/Max for Live patch that gives you control over the behaviour of individual harmonics.
It's available right now for Pro Members to download, play and give feedback on how the future versions should be made.Read more...
Today I made a more in depth tutorial video of how to use the Leakage device for those who are a bit unsure. Click here to learn more about Leakage and how to get your hands on it.Read more...