In dance music, where the kick and clap is 4x4, you may notice that an instrument always starts on the first beat of the measure to layer with the kick. You should intentionally place every note in the midi sequence either on top of the kick or snare, to lead up to a kick or snare (as to create tension), or intentionally off-beat from the rest as to create swing. The concept of layering is not only applied to individual instruments but in the way all the instruments of the track interact with each other. Most people will also make a duplication of this instrument to apply processing, such as reverb on the mid crunch. All the snare samples are then compressed together with a slow attack and fast release to keep the transients snappy. Each of these frequency ranges will generally require an individual sample properly mixed into the track. You want a woody base in the low frequency ranges of 500-1500hz, a nice crunch at the mid-range of 2000-5000hz, and then a third high-frequency crisp to even it off at the 5000+.
PROPELLERHEAD RECYCLE INFLUENTIAL USE FULL
Each layer is meant to further mix the instrument into the track and to refine the idea.Īs an example, to build a proper snare, you will probably find yourself layering multiple sound samples to build a thick and full instrument. One of the most important aspects of creating a solid mix is to layer your instruments.
PROPELLERHEAD RECYCLE INFLUENTIAL USE HOW TO
does allows you to know exactly when and how to use them to come up with the cleanest sound possible. Practice makes perfect - and understanding what compression, reverb, delays, EQs, etc. There is no perfect formula that can be used as a generalized solution. More importantly, every track is different. Experiment to see what sounds best to your ears. When there is a lot going on in a track I see this being a smart move. In my time working with music, I noticed that some producers prefer to only perform subtractive edits on their EQs. If you do not use a low Q on the cut, you will produce a hollow sound that only damages the instrument. Use a middle to high Q setting whenever you make a boost, but with the cut always use a very low Q. In other instances, you may just want to boost certain frequencies to make a sound 'pop.' Whenever you make an increase in one instrument, make a similar cut in the second instrument that clashes. You may notice when producing that there will be some instruments that clash in frequencies. On this note, I would also like to cover some EQing basics. Beyond this, you can create multiple different offsets that work to create an organic rhythm within your 4-bar loop. Creating the proper offset will avoid this and the waves will bounce opposingly, allowing for more sound information to pound through. If two waves acting in similar fashion cross the same path, their Db count will add to eachother and cause clipping. This comes down to the unfortunate limits of technology, as there is a 96Db cap in the bitrate.
In certain positions the drum will clash with other waveforms being played and increase the muddy sound, while in others it will breath through. You have to listen carefully, however, as you have to match the drum beats with any other elements in the track. This can be simply remedied by taking your 1-bar loop and turning it into 4-bars, and shifting the beats over a few milliseconds. One common problem with most amateur productions is that a synthesized drumline may sound 'stiff.' This all boils down to natural dynamics when you compare it with a recording.