Very random tidbits of advise I saved

Discussion in 'Production' started by RevTech, Aug 1, 2012.

  1. RevTech

    RevTech Butthole=output transduce

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    Ears most sensitive around 1k to 4khz

    The middle ear highpasses around 700hz

    Ears less sensitive around 5k-4khz

    vocals boost at 4khz, cut everywhere else, 10khz is good a little bit.


    1:1 (unison), 2:1 (octave), 3:2 (perfect fifth), 4:3 (perfect fourth), 5:4 (major third), 6:5 (minor third).
    semitones apart: 1 (minor second) 2 (major second) 3 (minor third) 4 (major third), 5 (perfect fourth) 6 (tritone) 7(perfect fifth),8 (minor sixth) 9 (major sixth), 10 (minoor seventh), 11(major seventh)
    diminshed ones: 1,2,4,6,7,9

    taking out the first and fourth of a major scale makes a pentatonic, for minor pentatoinc take out second and 6th of a minor scale.


    Whole tones scales don't have a tonic and are a whole tone apart, (C, D, E, F#, G#, A#, C) (B, C#, D#, F, G, A, B)
    Major:Whole,Whole,Half,Whole,Whole,Whole,Half(Semitone 2,2,1,2,2,2,1)
    Major scales: In other words, the first six notes of the harmonic series provide a consonant major chord, the fourth to sixth of which form a major triad, and seven of the nine notes between the 8th and 16th harmonics (the 7th and 15th overtones) are notes in the major scale.
    Minor:Whole,Half,Whole,Whole,Half,Whole,Whole (Semitone: 2,1,2,2,1,2,2). Its name indicates that the scale can be built naturally starting on the 6th (relative minor) degree of a major scale
    mystic's scale: b,c,d,d#,f#,g#,b
    the fourth note in a pentatonic minor scale minus 1 semitone is a bluesscale


    "All men should strive to learn before they die what they are running from, and to, and why." -James Thurber

    60,000 devided by tempo is the quartrer note in miliseconds

    C Blues scale
    C - Eb - F - Gb - G - Bb - C



    G Blues scale
    G - Bb - C - Db - D - F - G



    D Blues scale (Down - Up - Top)
    D - F - G - Ab - A - C - D



    A Blues scale
    A - C - D - Eb - E - G - A



    E Blues scale
    E - G - A - Bb - B - D - E



    B Blues scale (Down - Up - Top)
    B - D - E - F - F# - A - B



    F# and Gb Blues scales
    F# - A - B - C - C# - E - F#
    Gb - A - B - C - Db - E - Gb



    Db and C# Blues scales
    Db - E - Gb - G - Ab - B - Db
    C# - E - F# - G - G# - B - C#



    Ab Blues scale (Down - Up - Top)
    Ab - B - Db - D - Eb - Gb - Ab



    Eb Blues scale
    Eb - Gb - Ab - A - Bb - Db - Eb



    Bb Blues scale
    Bb - Db - Eb - E - F - Ab - Bb



    F Blues scale (Down - Up - Top)
    F - Ab - Bb - B - C - Eb - F


    EQ Frequencies

    9KHz-15KHz:
    Adding will give sparkle, shimmer, bring out details.
    Cutting will smooth out harshness, and darken the mix.
    Common processing: Very little compression, add/reduce gain for
    timbral shaping.

    6KHz-15kHz:
    Air and presence.
    Common processing: Slight gain boost.

    4KHz-9KHz:
    Brightness, presence, definition, sibilance, high frequency distortion.
    Common processing: Compression to reduce sibilance/HF distortion. Add
    (gain) brightness or liveliness to a mix.

    5Khz-7KHz:
    De-essing. Narrow band compression.

    800Hz-4KHz:
    Edge, clarity, harshness, defines timbre.
    Common processing: gain reduction to reduce harshness.

    200Hz-1.5KHz:
    Punch, fatness, impact.
    Common processing: Compression and gain boost.

    150Hz-400Hz:
    Boxiness.
    Common processing: Reduce gain to remove 'mud'.

    200Hz-below:
    Bottom.
    Common processing: Compression to tighten a boomy bass sound.


    Example Settings for a Multi-Band Compressor (5-Band)

    LOW - tighten up bottom end.
    Frequency Range: 0Hz-150Hz
    Ratio: 2.5:1
    Attack: 20ms
    Release: 150ms
    Threshold: very low to almost always trigger compression.
    Gain: make up gain lost in compression.

    LOW MID - tighten up the mix.
    Frequency Range: 150Hz-600Hz
    Ratio: 3:1
    Attack: 20ms
    Release: 150ms
    Threshold: trigger regularly, but be about 2dB below the point of
    rarely triggering.
    Gain: make up for compression, or just a little more for warmth.

    MID - add punch to the mix.
    Frequency Range: 600Hz-1.5Hz
    Ratio: 6:1
    Attack: 10ms
    Release: 150ms
    Threshold: set fairly low to almost always trigger compression.
    Gain: add 4-6dB or more to make up lost gain and add guts.

    MID HI - add presence and increased clarity of individual instruments.
    Frequency Range: 1.5KHz-6Hz
    Ratio: 3:1
    Attack: 10ms
    Release: 150ms
    Threshold: trigger regularly, but be about 2dB below the point of
    rarely triggering.
    Gain: add 1-3dB for presence/clarity.

    HI - reduce harshness without losing sparkle
    Frequency Range: 6KHz-15Hz
    Ratio: 2:1
    Attack: 10ms
    Release: 150ms
    Threshold: only trigger when harshness present.
    Gain: maybe add 1-2dB to recover sparkle lost in compression.

    Gain after each band of compression can be used to shape the sound.





    to smoothen transitions before chords add an inversion of the first chord by taking the root note up an octaave

    ?intitle:index.of? wav snare (let's you search google for samples)
     
    kama, lostnthesound, RUSSLA and 4 others like this.
  2. H*product

    H*product Heavyweight product

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    very usefull
     
  3. jimjimjim

    jimjimjim oldskool

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    thanks man thats great.
    repppppped
     
  4. duckstep

    duckstep Member

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    Nice tips, thanks.
     
  5. RUSSLA

    RUSSLA DNBF Monarch

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    Not so much for samples, but this is awesome for finding random movies! Ive just found some DIRT stuff haha!
     
  6. RevTech

    RevTech Butthole=output transduce

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    Production tricks

    Mic mechanical noise of playing synth to make it sound live

    Do a pitch envelope on a copy of a sound to give volume******

    Use gated reverb on a synth patch

    Use desser on drums

    Use vocoder with the carrier and modulator signal the same

    Use short delay with feedback

    Duplicate, phase shift, detune

    Pan a different waveform left and right and mix in with original.

    Use a compressor buss for kick and bass together
    A dark room with few early reflections provide acoustic depth

    For stereo, EQ on a graphic EQ the left with every odd band down and the other every even band down
    Pitch shift down a duplicate of a snare and add 100 perfect wet drum room reverb