) we hardly ever use it on an entire mix, although it can benefit a bad mix, but only if there is no option of modifying the mix in its individual parts.Ī really grimey, noisy break is sometimes best left for grimey, noisy production like old school hiphop that really takes it's character from the inperfections of recording, usually it's very very hard to get a shit drum loop to sound good (to polish a turd, as they say) so it's always a trade-off between cleanness and the original raw dirty funk in some breaks. When used in the right places it can give a nice touch of control over your sound, we use it on drums occasionally and sometimes (for example messiah remix - on a group of drums and bass, basically the core groove of the remix - although thats not at all the entire reason why it sounds the way it does. multibands i love multiband compression on drums, although it can make them sound very dull and lose their liveliness - as i have learned as described above. initial punch completley depends on what you combine the sounds with, if you want a sound to be very punchy on its own, you might want to drastically compress it, but then if you play it along with the beats it might get lost after the initial pop.that again is something that completely depends on what you want/have going.i (nik) really love compression and it took me quite a while to figure out how it can benefit your sound.like most things, in the beginning you love something new so much you use it very drastically, and when you look back on that later you realize the agressiveness of your use of it, and slowly learn the nuances (or at least i tend to have that).this of course concerns compression for me in general.ģ. a long sub / reese note.well if you dont like the attack of the sound or would like to create some dynamics in the 'constant' part of it you could use a compressor, or you could set it up so that it effectively limits the signal, in which case i would just use a limiter :) (compressor with infinite ratio)Ģ. we hardly ever compress those, we limit them occasionally, but the amplitude enveloping we do either in the synth/sampler itself where the sound comes from, or in cubase itself, in the audio engine. don't send demos with more than 3 tunes on them.a&r people have very short attention span.ġ. Make good tunes, and people will definitely sign them :)Īnd also keep in mind that the first tune you send out to a label will be your first impression on them, so should you should be quite sure that the tune you send is quite representative of what you do, what you want to do, and what you can do. this means we're basically mixing down the tune all the way till it's finished. all of them do the job although the 6fire is a lot noisier than the emu card, we havent really tested the noise on the other sound cards.Īs you might have read before, we strive to have every sound sitting in the mix right, before moving on to add a next sound. We also have a terratec ewx 24/96 and a dmx 6fire, a m-audio delta 44, and a m-audio audiophile. ehrrrr good showīut it has good latency and good a/d d/a converters (same as the emu samplers)
GLACEVERB MANUAL MANUAL
In the main studio pc there's a emu (creative) 0404 soundcard which has some dsp functions but we're not using them cus the manual said they weren't really reliable when using offline bounces. Right now we have a couple of soundcards
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