Posts by Starchild

    I think one of the main problems that keeps Electro down is the fact that there seems to be a lack of education about the history of "Electro", and Electronic music as a whole. Electro elitism is prevalent, and it rubs a lot of newcomers and would-be fans the wrong way.

    People need to understand that Electro as we know it primarily became known as so because of Streetsounds, yet the word had been around since the beginning of Electronic music, which began as being called, "Electro-acoustic" music. It was not yet really a genre, but rather an experimentation of Acoustic instruments ( or at least the traditional acoustic approach of making music ), with Electronic ones, and began with Walter Carlos' ( later to be known as Wendy Carlos ) "Switched On Bach", and was followed by Tangerine Dream's "Electronic Meditation", as well as Kraftwerk's self entitled 1970 album; the last two which are a perfect representation of the era's experimentation with synthesizers and Rock music; what was then known as "Krautrock", or Progressive Rock.

    Many people since that era, even in Disco, used the word Electro, and the same type of in-fighting and attempt to claim one particular style as the actual "Electro" was going on. In my opinion, trying to claim our styles as the one and only Electro will get us nowhere; especially in today's world where once again, so many styles refer to their music as Electro; and in many ways rightfully so. All Electronic music is Electro, it is where the word came from.

    Our styles that we here call Electro, are more specifically "Electro Funk", Electro Bass" ( or Techno Bass ), Electro Pop, etc. One mistake other sub-genres of Electronic music make, is the fact that they don't specify what type of Electro they do. If our genre would however, it would raise eyebrows and would invite a listener to take a peek at what this type of Electro may be. Someone may love Funk, or Bass, and therefore would be inclined to get into it.

    It is a bit like the idea of digital releases saturating the market and making it hard to know what's what, and what is actually good...from a subjective point of view that is. Our Electro is buried beneath countless styles that have come about over the years that now call themselves solely "Electro", and though our style is the closest and truest to the roots, it cannot shine for what it is because it does not present itself as something different than everything else around; mainly because of what people call it when promoting it. We need to realize that our styles of Electro are in fact sub-genres in and of themselves that sprung up in the '80s and '90s, and are technically all in the end Electronic music like any other.

    You may hear influences of Wendy Carlos, Tangerine Dream, or Kraftwerk in our music, but it really doesn't sound like them for the most part. The interesting thing is however, that if you hear the music of the above mentioned pioneers of Electronic music, you hear all of the genres that eventually became their own thing. Electro=Electronic...what are we? that is what we need to tell the world. What we do is unique, and deserves to have its own identity.

    Just some food for thought. :)

    My MPK49 never did work through MIDI, i was only able to get it to come through USB; and through a direct connection, not on a hub. Perhaps the Miniak is having the same issue. Does it have a USB connection? I assume it does.

    It also does not seem to allow you to load any samples or sounds into it, just allows you to use the presets that can then be modified. If you'd like to use your own samples, have you tried using something like NI's Battery sampler triggered with the Akai 25's drum pads?

    FBI welcomes its newest addition, “Ascension Électroniques“. Still working on the upcoming 2012 album “Harmonic Defiance”, the artist has released two songs for preview on Soundcloud.

    Rich synth lines, mesmerizing arps, tough 808 beats, and captivating vocals, are making this new act as intriguing, as it is exciting! Look out for more material to be released for listening in the months ahead.

    [sc]

    External Content soundcloud.com
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
    [/sc]

    [sc]

    External Content soundcloud.com
    Content embedded from external sources will not be displayed without your consent.
    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
    [/sc]

    :cylon:

    Quote from Drew;48768

    selective eq'ing on wobble and distorted bass sounds i know about

    if "surgery" were to be done with an eq it would be on those types of sounds. they can get a little too gritty sometimes. sometimes it can be unbearable so yea, having a tool to completely remove certain freqs can be extremely useful. ;D

    A nice trick for that is to turn the gain up on the range you suspect is the problem, then sweep across with the frequency knob, going back and forth...this will expose the culprit freq, which you can then completely cut with bringing the gain all the way down. Make sure you get your bell really tight though,as to not interfere with the surrounding frequencies.

    This doesnt always work, but its a small trick of the trade that does help in many instances.

    I would agree strongly with the idea of cutting below 40hz in your mixes, this is probably the most important thing in the mixing process, being that it will instantly give you a cleaner mix altogether. I would strongly emphasize the importance though of not having this being a standard, and actually become comfortable with the idea of cutting many times way above 40hz. Many pads, strings, etc, dont really use much below 150hz, so it will give you even more room.

    Another thing I would like to add however, that is just as important, and it is to cut in the high frequency range...ever notice tracks being hissy? you will notice that just as many sounds do not use many parts of the low frequency range, many also do not use the very high end of the high frequency range. This also will help make room so that sounds that do utilize that extreme high end will have room as well...but mostly its about taking out the hiss or suddle white noise that can sound like shrieking.

    I would highly recommend using reverb in just about everything, but be very modest...you dont want to give your tracks too much of a "hall" sound, but reverb in suddle use is what gives tracks that "big sound".

    I would highly recommend the sonnox plug in suite, as it is very clean and offers many options. The EQ is very practical, in that it offers good shelving, but better yet, very nice low and high pass filters that can be curved to fit your needs. I personally do not use shelving as it is not "surgical" enough, but rather the filters...it gets the job done.

    Other than that, another point that hasnt been mentioned is group mixing...another extremely important aspect of mixing, and one that will give you more volume, and dynamic balance. Take all of your drums, and render them into a single stereo group, compress, eq, and then do the same for all synths/strings/pads, then for all arpeggios/loops, and the same for sounds, and vocals. Make sure you have everything panned where you want it before rendering, and a nice tip is to make sure to do a "test render" of your drums. Do one, check it in your car, and home stereo, and if good, then you can begin arranging.

    Its better to get things where you want them in each single track, than try to boost or cut a group mix, which with drums, can really affect things. Say you boost around 100 to compensate for a weak kick, well, you will also be raising that in your snares which may not be suitable. Usually though, 808 snares will not use much below around 120-150hz, so it should be ok, still though, getting things right in each track is always the best practice. It all depends on what you use.

    At the very end, do a group mix for all music ( non percussive elements ), and balance that out with your drums. This will give your very final mix the perfect balance. Do loud tests while mixing, and also low tests. Loud and low tests let you hear if things are too loud or low in the mix. In dance music, you want the drums to be stronger than the music itself, otherwise your drums will be suppressed in the background and will not be as punchy in the final mix.

    Like people said too, rest your ears!!! never master after making a track, and dont master for more than 2 hours straight, you will loose orientation and will not accurately hear what you are doing.