Thanks to the new whole-discography purchase option of Bandcamp, you can now buy my full discography up at Bandcamp in one go at -50% off (49 EUR) if there’s any bits of mine you don’t have (just view any release to see the option).
Here’s B&B Podcast #11.
I went lighter on the breaks this time, reason being the new Fanu album is dropping soon, which will most definitely make listeners overdose on drums and breaks for a while. Plenty of dubs here from dope artists and labels: Fracture, Astrophonica, Cosmic Bridge, Etch, Moresounds, etc…so this one will provide you with a lot of something you haven’t heard yet. Also has two forthcoming Lightless things. Keep your eye out on all those, as all the unreleased tunes will be dropping soonish.
Fanu – Bad Dreams [Coleco remix] (Lightless)
Danny Scrilla – Riddim (Cosmic Bridge dub)
Etch – Back On The Planet (dub)
Etch / Big L – All Black [Etch reshade] (dub)
Sully – Crystal Cuts (Astrophonica dub)
DJ Madd – Duppy (Cosmic Bridge)
Overlook – Distant Blues (31 Records)
ReDraft x HP. Ritch – Champion Killa (dub)
Moresounds – Etho (31 Records)
Sam Binga – I Tol U (Critical)
J:Kenzo – Rum Punch (31 Records)
Overlook – Gumshoe (Rupture)
Seba – Jungle Music (Secret Operations dub)
SDS – Shadow People (Lightless dub)
Fre4knc – Rotor (Critical)
SDS – Andromeda (Machinist Music)
Moresounds – What A Party (Cosmic Bridge dub)
Module Eight – OK With That (Exit)
Neuropol & Om Unit – The Rise (Cosmic Bridge dub)
Alix Perez – Losing You (Exit)
Fracture – Remember The Time feat. Lucie La Mode (Astrophonica dub)
Fanu – Winterlude feat. Sarah Kivi (Lightless dub)
Demonstrating here how the warping capabilities of the new Ableton 9.5 Simpler are great for warping drumloops, and with the Glide function, a ”timestretch” sort of effect can easily be achieved while still keeping the beat on time.
I did a video on how the new Ableton 9.5 Simpler + warping is great for doing chords with vocal samples. This technology did not exist until 9.5.
Ableton Live 9.5 is out – with nice new analog-modeled filters.
Here’s two quickies relating to them.
1) The new analog-modeled filters can self-oscillate, so by setting the resonance really high (goes up to 125%) and adding some drive (by using the MS2 filter, for example), you can create sinewave type of sound if you play a sample that’s silent.
2) If you have a sample that’s just noise or something similar, crank up the LP filter resonance all the way up to 125%, add some reverb, and you can create a nice bleep sound that you can play melodies with.
This one’s been in the air for a while: to write about the plugins I use the most. I don’t have an absolute massive ton of plugs, and as I’ve become more experienced, I’ve tried to adapt the “less is more” and “learn a few tools inside out” philosophy with plugins, but I suppose still have/had a few too many “waiting to get used” (I actually ended up deleting a few while going thru the list, trying to pick the ones I’d write about).
For this one, I’ll concentrate on the effects Continue reading Badass plugins post
Speaking of Lightless, I’ll soon have finished mastering a pretty exciting compilation for Lightless, which features music from some pretty damn talented bass music heads whose tunes you must hear…stay tuned.
Being a total music tech geek who’s reading Gearslutz and other related forums all the time when not busy making music, mastering it for clients or playing with plug-ins and DAWs, I thought it might be relevant to start writing about it a little. So here’s a little checkout of the Serum synth by Xfer Records. I won’t go into writing a comprehensive manual or a comparison, but just say how I felt about it. I know there’s numerous reviews out there, but I wanted to do one of my own just go get practice with writing a bit longer as I’m planning to write more for the blog.
I bought Serum recently after demoing it for a while. I don’t dare demo things very often because Continue reading Checkout: Serum synth
[sorry for the distorted sound – that’s Instagram messing it up, not me!]
• Select an oscillator; here I’m going for “Mellow But Instable” of the analog ones
• crank up the unison up to 16
• lessen the unison detune amount so it doesn’t sound too out of tune
• add reverb from FX
• set the stack from Global settings to 12+7(1x); this means that every 2nd unison voice will play up an octave (0, +12, 0, +12, 0 +12, etc), and a fifth is also used in the layering of sounds, so you’ll get a really rich sound
• adjust filter to taste
• play a chord (C2–D#2–G2 heard here)
There you go!
Every now and then I receive songs for mastering that sound a bit too hollow in the beat department. Often, the problem lies in the beat that’s been high-pass filtered too high/steep.
The pics show how it’s roughly supposed to look if you have the necessary meat in there (good) or if it’s been high-passed too much (bad), ending up in a hollow-sounding beat. Both pics are from songs when there is no bassline happening; it’s good to check the beats without bass, too. The kick area will peak depending on where your kick hits, but regardless, you shouldn’t have that gap there (as in the bad pic).
Earlier I blogged about high-passing your song and getting your sub bass right, which both relate to the same matter as well and were essentially about how it’s supposed to look when you have bass going on.
Even though listening is key, tools such as Voxengo SPAN are great tools in this matter.
In some DAWs at least, it’s perfectly OK to run the tracks red if the DAW has what’s called a 32-bit floating point engine. This means you can run individual channels as loud as you want as long as the master isn’t hitting red – and it won’t distort/clip.
You should probably check the manual of your DAW if it has info on the abovementioned engine.
Another thing, however, is running the signal red between plugins; that in general should be avoided (as some plugins can’t handle loud input levels very well). Proper gainstaging never hurts; every time I want to keep the level at bay (especially on the master), I use VU Meter by Hornet Plugins.
Drum Geek tip of the day: you can use a multiband dynamics such as Izotope Ozone as a gate to kind of tighten up the sound of your drum loop. See and hear before/after. You can sort of suck out the reverb and boominess to make it snappier. Multiband helps to target the areas where the noise/reverb/etc is most prominent.