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It's always good practice to start with lower levels in your mixer for this very reason. It's easier to boost one signal then have to reduce the signals for all other tracks in your project. And you can easily turn up the master fader or the gain on your output to a suitable level.

Then when nearing the end of the track like you are you can think about individual levels and boost a track if it needs it and you won't fear maxing out the fader, leaving no headroom or at worst introduce nasty distortion.

Anyway, this advise is for next time.

Right now, all you can do is reduce the volume of each track individually. if you have volume automation then put a gain plugin on the track and reduce it - say to anywhere around -6 to -12dB. Then you'll find you have loads of room to play with your kick drum volume to get it right and then you can bring back all the volume you lost by increasing teh fader on the master bus and/or including a few eq/compression/limiter plugin combinations to achieve the desired effect.

Good luck.

• 
  [Azoic] Choral Reefer by Azoic

  Click to listen.

  Score

  4.28 / 5.00

  Type

  Song

  Genre

  Drum N Bass

  Popularity

  243 Views

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Hey guys - notched up a few listens/downloads for a 5-day old submission but only a couple of reviews. If you get the time...

At 10/16/11 05:06 PM, Space-Whale wrote: are we allowed to use drum loops that we didn't make in our songs?

You cannot copyright a drum beat/pattern, like you can a series of chord progressions or a melody. You'll hear of bands/artists suing other bands/artists over the similarity of the lead melody in the chorus section or whatever but you can take any famous beat and recreate it - lie the We Will Rock You "Boom Boom Cha, Boom Boom Cha" beat.

However, if you're talking about actually ripping a piece of recorded audio from a track of which the copyright does not belong to you then this is illegal.

Despite this, as others have mentioned, genres like Hip Hop and DnB is rife with directly sampled content and for some reason this goes unpunished. This is awesome.

Therefore, I can deduce that as long as you disguise it enough (ie, have drenched it in your creative juices and not just simply cut and paste the sample) then you probably won't be punished. Or you could program the beat yourself... Naaaah.

Maybe for your first session you could take it a bit easier?

So, get some drinks in (or anything else 'recreational') and experiment/have a laugh rather than getting down to the focus-intensive nitty-gritty.

That way it may break the ice a little with how you each work in front of the DAW. You also may find that you're each better at different aspects of the whole procedure - then you can go about dividing up the workload more appropriately for subsequent, more serious sessions.

Just a thought..

If you prefer any particular sections let me know and I'll snip you out a loopable copy.

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  [Azoic] Taking Over The World by Azoic

  Click to listen.

  Score

  4.46 / 5.00

  Type

  Song

  Genre

  House

  Popularity

  80 Views

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My latest Drum n Bass track with pianos, synths & melodica.

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  [Azoic] The Eye of the Storm by Azoic

  Click to listen.

  Score

  4.31 / 5.00

  Type

  Song

  Genre

  Drum N Bass

  Popularity

  132 Views

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Got it in a tune already! :)

it strikes me as the kind of instrument that the older, more battered it is the better it sounds - but I could be wrong.

Awesome work, Merlin.

I'll get to using it right away. Thanks a lot!

At 9/17/11 06:54 AM, merlin wrote: What would you say if I just recorded a whole file of me playing each note for like 2 seconds, and then you can do the rest?

Yeah, awesome! That would be really appreciated.

Of course, I could buy one I suppose. How much was yours?

Not at all.

I don't expect someone to recreate multi-layered samples with all the extremities of velocity, noise, breath, clicking and all the other sounds created by the instrument. I literally just meant one single 5 second sample of each note.

Not only that but I would much prefer a dry sample that I can manipulate to my heat's content rather than anything 'pre-mastered'. Simply the right mic and perhaps a tiny but of pre-EQ is required - but that hardly takes a minute to do.

It's really not that difficult and would take up maybe 3/4 hours of your time tops - depending what you already have set up.

At 9/17/11 04:25 AM, Kirbyfemur wrote:

At 9/17/11 01:56 AM, EoD696 wrote: Google is an amazing thing my friend.

Read the rules real quick. Don't tl;dr it, otherwise don't waste your time posting here if you aren't even going to try to be helpful

It's okay - the guy sent me a PM too.

At 9/17/11 04:09 AM, merlin wrote:

At 9/17/11 03:12 AM, Azoic wrote:

At 9/17/11 01:56 AM, EoD696 wrote: Google is an amazing thing my friend.

I surfed around but didn't have much luck.

I was also genuinely hoping someone with a Melodica would step up and record samples for me! :)

I have a melodica, and I'll be damned if I'm going to take the time to record every god damn note. That's asking a very very long and tedious task my friend.

I don't think so. How many notes does it have? One octave?

Set up mic/daw, record single notes, crop samples, bung in a folder, compress, upload, post link.

It's not tedious if you enjoy doing that kind of thing and some people do. Thanks anyway - nice to know you have one.

At 9/17/11 01:56 AM, EoD696 wrote: Google is an amazing thing my friend.

I surfed around but didn't have much luck.

I was also genuinely hoping someone with a Melodica would step up and record samples for me! :)

Possibility.

Does anyone who owns a melodica want to record each playable note, collate the samples in a folder and .rar it over to me? I want to flood my current track with delay-drenched melodica solos.

Alternatively, any idea where I might find a melodica sampler pack or is anyone cool enough to be able to recreate the sound in a synthesiser?

Check out my new track - An industrial, progressive House tune with a dark, sinister, Halloween feel.

ft. Pinky & The Brain.

• 
  [Azoic] Taking Over The World by Azoic

  Click to listen.

  Score

  4.42 / 5.00

  Type

  Song

  Genre

  House

  Popularity

  65 Views

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The utter beginning of an idea - a penny for your thoughts..

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  W.I.P. - Ouch by Azoic

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  0 / 5.00

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  Song

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  House

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At 8/21/11 12:29 PM, Morph94 wrote: http://www.newgrounds.com/audio/listen/4 40227

Cool
How about this?

• 
  Twist of Luck [loop] by Azoic

  Click to listen.

  Score

  4.56 / 5.00

  Type

  Loop

  Genre

  House

  Popularity

  32 Views

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A remix of original Newgrounds track Heartbeats by Broove

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  [oove]Heartbeats [Azoic remix] by Azoic

  Click to listen.

  Score

  0 / 5.00

  Type

  Song

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  Drum N Bass

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Also, where's the hat to put my name in? I have just done that now? If so, excellent!

Should be marvellous fun.

At 6/19/11 07:24 AM, EmceeWhatE wrote: Best mastering plugins / Final Stage mastering programs ? I use Maximus at the moment and I think it does a pretty great job, but I can't seem to match professionals with a nicely EQ'd kick / bass thats compressed in maximus as well, without sounding muddy and distorted .... but i might just not know how to use maximus perfectly..

Are Multiband compressor plugins like Maximus all the same with the same capabilities? or are there better plugins out there?

Thanks people ;) ( I am fairly noobus when it comes to these things )

I would say that problems with muddy sounding bass and distortion is not a Mastering issue; not even if you think about what Mastering actually is: Fine tuning audio to sound good through all mediums.

Muddy kick / bass is a result of clashing frequencies. Google side-chaining for an important role in sitting kick and bass together. Also, look into cutting the bass at the same frequency you are boosting the kick, and boost the bass slightly higher or lower in the frequency spectrum.
Also, boosting higher in the frequency spectrum (in the high to high mids) will give a kick or bass some opportunity to cut through in the mix as often the lower bass frequencies are more for 'feel' and can't be truly appreciated without a subwoofer.

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  Kaifuku suru kizu [Azoic] by Azoic

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  0 / 5.00

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  Song

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  House

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hello.

just trying to work on production and better myself every time.

as [pretty much] always, beats and ambience:

• 
  Oneirology by Azoic

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  Score

  0 / 5.00

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  Song

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  Ambient

  Popularity

  2 Views

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When recording an electric guitar through an amp you need to be aware that there are various things that will change the outcome of your mix.

Each microphone you look at will have a different frequency response. This will change the sound of your guitar after recording. The best mic to use for this will probably be a dynamic mic as it can handle loud volumes really well and you'll want to crank that amp up to 11. However, condenser mics in my opinion tend to offer a much better quality in sound, unless you're spending a shit load of money I guess.
Mic placement is REALLY important if you have a particular sound you're looking for. A close mic will have more bass frequencies in the recording, a distant mix will have more of the ambience and natural reverb inherent with the room you're recording the amp in. A larger room is better for recording guitar otherwise if a small room is not properly 'treated' it can become a big booming bane of bass.
You also need to find where the 'sweet spot' is by moving the mic across the radius of the speaker cone until you get it right. Generally, just off-centre is preferable.
Also, you may want to alter the tone of your guitar to what you're usually used to as the microphone and room shape/size can alter the sound from what you're used to be ear.

For acousitc guitars you'll definitely want to use a condenser mic. Higher frequencies are very important to capture.
Mic placement should not be too close to the hole as this can be really boomy and nasty. Obviously you want to capture some of this as the body of the guitar is part of the uniqueness of its design. You also want to capture the natural reverberation of the strings and body along with the room ambience. If you want to close mic, don't point it directly into the hole. Place it near to but directing towards the bridge. This way you'll pick up the high-mids produced by the contact between the strings and your plectrum.

Can't think of much else really. Hope that helps a bit.

I think that the most important outcome to any piece of music is that a guy and a girl have somewhere had sex or otherwise got pretty damn intimate with one another whilst your song provides the backing music.
The pinnacle of this would be for your tune to feature on an amateur, pornographic webcam upload.

At 12/24/10 07:18 PM, xKore wrote: Massive is pretty well-known for being sick for basslines.

As well as pretty sick for most other applications.

- evolving pads
- synth leads
- complicated percussion
- sound FX and ambience.

GET IT. LEARN IT. LOVE IT.

At 12/24/10 02:05 PM, Gravey wrote: For a more visual explanation, think of a sledgehammer slamming down on a grapefruit. That's basically the same sort of effect it has on audio.

Does this also work for seedless fruits?

Meow!

At 12/24/10 10:33 AM, LogicalDefiance wrote:
Playing drums somebody else made isn't MAKING your own drums, its just like an analogue way of sequencing drums that other people made. Just saying

=P

Shit, that's a good point.

At 12/24/10 01:46 AM, Quarl wrote:

At 12/23/10 06:27 PM, Alchemist94 wrote:

At 12/22/10 12:53 AM, SessileNomad wrote:
not everyone does that

Everyone should.

Linked again for hilarity. It doesn't matter what you do to modulate a sound. If you didn't record the original sound yourself, it's either a sample or it's not technically a drum. No one makes their own drums in the EDM community and telling people to make their own is a misleading statement.

Actually, I'm a drummer and have a back catalogue of my drum tracks from some of my previous bands on my computer. I often use these. Just saying.

So you want to create your own snare/hi hat sounds starting from the very basics?

I guess the real basics would be some gated white noise. Massive is pretty cool for that because it has an in-built step sequencer which you can use to oscillate amplitude and cut off, or whatever other parameters you like within the program. That way you can really evolve your percussive sounds as the track progresses.