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repost from @flstudiotips - Under yesterday’s @productionmusiclive post there were a lot of requests to make the same FX in FL Studio. We couldn’t resist and here we are today with the Reverb Wobble Trick.
It works the best with Bass Heavy samples, which we took from the EDM Smack Pack sample pack – Swipe up in the story for download link.
1 Load Reverb – 0% dry, 100% decay
2 Load Fruity Panomatic – LFO in Volume mode, increase amt & spd
3 Automate Reverb & PanOMatic’s mix to turn on at the end of sample
4 Play with LFO Speed & decrease Amount in time
Of course we can do a lot of more with this LFO in PanOMatic. What you would use it for?
If you find these tips helpful, let us know in the comments below!
As always, happy producing.
FL Studio Tips
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Posted @withrepost • @productionmusiclive Processing vocals is a crucial point in music production. Many of you keep asking us, if we have a certain routine we do as a basis and to get vocals to sound right in your mix. Yes and we want to share it with you!
Some of you might remember the ‘Synth Wave’ post we did some time ago. We recorded some basic vocal ideas and want to show you our routine on this example.
Should we make a new template out of this? Please tell us in the comments!
If you want to learn a lot more on mixing vocals we suggest you watch our YouTube series on “Mixing Vocals part 1-4”, because we go through all the details from melodyne to de-essing.
You will find the link in today’s stories!
There are 3 aspects you should devote your time and ears to everytime
1 adjusting the main vocals in the harmonic bed of the backing vocals
2 leveling, panning and FX
3 mixing to context of the track
If you follow these guidelines, you will develop a feeling for the different and equally important parts of the mixing process, since your vocals should stand out and shine at all times.
You might need to adjust levels in different sections or compress some parts heavier than others depending on the instrumentation.
Here are today’s basic steps to get a good starting point.
Steps
1 trim breathing
2 add compression (main vocals can get a pretty heavy setting sometimes)
3 cut low end and noisy highs (de-essing)
4 load OTT for richer harmonics
5 reverb & delay with send effects
6 apply sidechain routed to the main vocals and sidechaining the backings
7 cut endings to prevent multiple word endings
Tip - go easy
Try to not overdo it. You can of course use heavy autotune or all kinds of effects in a creative way, but if you want your vocals to be “sitting” in the mix without changing them too much, this is a good effect chain to go with. .
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@productionmusiclive Maybe you remember the post on the Akebono scale, we did some time ago - we are happy that you all liked it so much!
One of you guys proposed: “make it trap” - and so we did!
How do you think it turned out? Which Rapper do you hear on this?
Always feel free to give us cool ideas to work on!
Find below the post on Akebono scale, to refresh your memory:
The Japanese Akebono scale is a perfect starting point for a dark and ominous feel - and playing around with it creates images of an apocalyptic scenery.
Akebono Scale
Starting from C it goes: C - D - Eb - G - Ab
Chords
The chords we used are built with scale notes only.
The first is a Cmin9, which means that we added the D as the 9 to a Cmin chord.
The second chord is only a transition and could be described as a Gsus4. Since the B or Bb, that would determine the third of the chord is not part of the scale, we can not build it completely. But it feels like a Bb would be a better fit for this dark scale.
The third chord is Ab, but without a five. We land back on an open C chord without the three. We cheated on the last transition chord leading to the final C chord and added a Bb to create a cool and heavy Eb chord. Please don´t tell anyone ;).. Like we said: using scales is a very good starting point, but when you intentionally break out of the corset once in a while, we will create your very own sound - and that´s what it is all about anyway!
If you want to produce better beats - check our Trap Production Pack! Link in story!
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To be a successful artist you don’t need millions. You don’t need millions of dollars or millions of fans. To make a living as an artist/creator in the new music landscape you need only one thousand of true fans. A „true“ fan, is a die hard fan who’s willing to drive 200 miles to your live gig or shell out that 70$ for a deluxe vinyl set of your next single. Let’s break this down: First of all you need to produce enough content (music, shows, march, exclusives) to earn an average $100 off of every fan. Second you NEED TO HAVE A DIRECT CONNECTION with them. That is, they must pay you directly. If you keep $100 of each true fan you only need 1000 of them to earn $100 000. That’s a first class living in almost any country in the world. If you live in smaller countries where living expenses are not as high, you can adjust the numbers accordingly. That’s a realistic goal that’s doable and reachable for most of us compared to the 1-3 people who’ll make it to the seven figures mark. And of course, not every fan will be super. While the support of a thousand true fans may be sufficient for a living, for every single true fan, you might have two or three regular fans which may buy from you occasionally or once in a while which adds to your total income. Still you should focus on cultivating die hard fans since they’re also the best marketing force for new fans.
The truth is that cultivating a thousand true fans is time consuming, nerve-wracking, and not for everyone. Done well (and why not do it well?) it can become another full-time job. At best it will be a consuming and challenging part-time task that requires ongoing skills. There are many creators who don’t want to deal with fans and expect their music to do the job for them. Those should just make music, and hire someone else to deal with their superfans (which of course requires a certain income already). More on that in one of my next posts:) Also don’t be a value leech and leave a fucking comment to contribute.
First of all thank you very much for attending our first quiz yesterday- it’s a funny little feature that we will use more often. Maybe even with some random give aways for correct answers, let’s see.
As we can see (result right now) the swarm is always right, which means we are actually putting out a Deep House post today.
Of course there is different kinds of Deep House according to producer, time you play it in the club and also part within a song. Let us show you how to do a cool Deep House Donk bass that usually hits right after the ‚angels‘ were singing some love dovy stuff, fade out with a lot of reverb, topped with a snare roll (with some swing applied) and an extra bar of silence for more tension - now today’s sound can fill up the floor with dancers again.
If your phone is on mute and you can only listen later because your girlfriend is sleeping next to you or you don’t want to be that guy in the bus - you will understand this bloomy description above once you hear the sound of the post.
Steps
1 start with 2 sine waves - short ENV
2 FM from B - mute OSC B
3 link ENV 1 to warp
4 pitch 2 OCT down
5 activate hyper, chorus, compressor + MB
6 add some treble for clearer cuts
Drum Sound
Did you like the drums in today’s post?
You can get all samples in out new pack ‚Deep Premium 3‘ - in our Spring Sale for 25% off!
Check our stories for codes and links.
Best, PML
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