Went in this evening. Pulled up a wavetable instrument, added LFOs and started mapping like crazy. Added glide to a mono waveform. It came out decent.
Those are some big words, Ryan
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Man idk why everyone gives Ryan so much shit. I like seeing the man do his thing
I for one am not mature enough to let a christian brostepper twink go unbullied
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How come my speakers make this fuzzy sound while they’re on?
What kind of speakers are they?
Yamaha
probably the electric cord itself or other electric bits interfering
Most monitors do. Usually the internal power supply
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I jiggled the cord and it helped. I think my interface isn’t good. But maybe it’s the cord? The speakers are like new!
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explain ur set up at the least, impossible to even start to help you unless you tell us
hardware and connections, please list the chain
also, a recording or sample of the noise problem, which will also sort of diagnose at what point the noise is coming from
most/nearly all consumer/prosumer, monitors are going to emit a certain amount of white noise from the tweeters, a hiss if you hold your ear up to the tweeter, if its beyond that then you probably have a problem
if you unhook all the cables from the monitors, do they still hiss?
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what cyclo said
also if you have like a bunch of stuff going into the same outlet as the speakers
i always forget and then end up having to remove an old lamp
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Often it’s a case of the aux cord not being connected properly
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I recorded this just now. It’s a simple prelude to tutorialism. I hope it helps.
Anybody check out my video?
no
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Does anyone have any recommendations for a good EQ?
I’ve been using the stock Reaper EQ since forever, but I find I can’t get a steep enough roll off in the low end. The My kicks and subs are always competing and my kicks end up dull and lifeless.
Trying to get that sonic pressure that Commodo does so well. Like when Living Bones kicks in, it’s just so thick and overwhelming, but also sounds really analogue. I figure it’s not just EQ but a lot of compression to get that huge wall of sound.
It is entirely likely that I am just not good at EQ-ing…
I think its a lot of things, from the basic sound design and choices to eq and saturation and compression etc… but I think people can often overemphasize how much compression you supposedly need for a mix to sound full. I think a lot of what makes Commodo’s stuff so nice is that he maintains a lot of dynamic range and doesn’t slam his mixes with too much compression/limiting
he’s definitely very surgical with EQ though, I remember a Gantz tweet where he joked about collabing with Commodo and was thinking the snare sounded fine until Commodo did some surgical eq thing and then it was like “oh THATs how it should sound”.
anyway my biggest recco. for an EQ has to be fabfilter pro-q. not the cheapest so try to get a deal if you can. but it’s just so good. not just sonically but in how flexible it is for almost any situation and especially how easy and smart the interface is. I really like analog style eqs for a lot of circumstances becuase I think it’s good to get away from always looking at the spectrum analyzer and trying to ‘see’ what you should be cutting or boosting instead of listening… but if I had to have only one eq it would be fabfilter no question. even when you just need a frequency analyzer it’s great, use it for that all the time too cause the visualizer is really nice
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in regards to what I said as well though I do think it’s really good to get used to using eqs with no visual feedback besides gain levels, and not putting too much thought into the db numbers etc… all that matters is that it sounds better/the way you need it too, at the same overall output gain, than it did before. I’m actually thinking of designing a simple eq plugin around that idea once I’m finished the project I’m working on rn…
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I second everything @MARSEN said.
If you listen closely to Living Bones, you can hear that the sub is not hitting straight on, it has a very slow attack and/or sidechain compression going on, to clear up space for the kick, and the transient from the bass hits. The bass is a real bass obviously, but not sure how he has managed to glue that together so well with the sub… Might be the sub is actually part of the original bass sound recording too, but separated to its own channel, with its own processing and EQ.
It’s kinda counter-intuitive, but a lot of the times (almost always) you want to CUT certain frequencies, to remove muddiness, and bring forth clarity. What these frequencies are, depends on the source sound, and what “sound” you want to achieve in the end. Mixing has evolved a lot since the first multitrack recordings on reel to reel tape machines.
Less compression is generally good if you want to send it to mastering later.
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