11. How do I get vocal and stutter effects like BT, Hybrid, etc.?
At some point in time, I will get around to creating a tutorial on this. For now, use the search function and check this page:
Fractal Tendencies
12. How do I make basslines like Benny Bennassi, Eric Prydz, etc.?
Search for something called "sidechaining" or "side-chained compression". Please do not create a new thread about it. I'll have a clean tutorial on this later as well, once I get the appropriate information for certain sequencers that I'm less familiar with.
13. How do I make a super saw?
If you want to make a lot of people happy, then don't make one. If you absolutely must, there are some super saw links in the tutorials thread.
Making It Professional
14. How do I make good leads/drums/pads/basslines/etc.?
The best way to learn how to do this is to read some tutorials.
Some particularly useful and famous threads are:
Exploration of Sound
Your Favorite Basslines: The Fight Against Oompa-itis
Derivative's Theory Tutorial
The Perfect Kick
15. How do I master my track (to make it sound professional)?
The most important things to understand about mastering are:
a) Mastering is about the "subtle" changes. Mostly, it's about raising the overall volume, although it can also be used to "soften" or "sharpen" a track sometimes. If you think your track needs a *major* adjustment in order to sound good, then the problem is probably in your mixdown, not your master.
b) Poor mastering can easily wreck a great track, but the most brilliant mastering in the world cannot save a poor mix. Very often, producers with dull-sounding tracks will assume that the problem is simply their lack of experience with mastering, but a well-mixed track doesn't need to be mastered at all in order to sound great.
c) Mastering involves compromises. Most of the time, the purpose of mastering a track is to make sure that it sounds "good" on all mediums and all sound systems, rather than "great" on a few systems and terrible on others. Thus, during your mastering phase, you need to try and listen to your track on as many systems as possible!
d) Mastering requires emotional detachment. I can't stress this one enough, folks - TAKE A BREAK from your track before attempting to master it. If you are still very "intimate" with your track, then you are not going to be able to make objective decisions.
Troubleshooting
16. My CPU is maxed out / my sound is stuttering/freezing. What should I do!?
Since this is such a long-winded topic, I've created a thread dedicated to answering this one solitary question:
CPU maxed out? Sputtering? Freezing? Read here!
17. Why does my track sound great in my sequencer but terrible when I render it?
In almost all cases, this is evidence of clipping. Unless you're mixing in the analog domain, make sure that the master volume on your track never goes above 0 dB (in the analog domain it's 2-3 dB). If it does, then your track is clipping.
Some people don't understand why this would make a track sound bad on the render but not in the sequencer. The answer is simple: most people have the master volume on their computers set to a moderate level, significantly below 0 dB. If that master volume is, for example, set to -6 dB, and the track volume in your sequencer goes as high as +6 dB, the resulting volume on your PC will not go higher than 0 dB. However, if someone else's PC had their master volume cranked all the way up, it would distort on their system. And when you render the audio, it is simply not possible to encode values higher than 0 dB; attempting to do so will only result in distortion and noise.
A more detailed and technical explanation is beyond the scope of this FAQ; if you still don't understand what clipping is, read this link.
18. How do I prevent clipping?
There are two answers to this question. The first one is easy, but doesn't really solve the problem. The second one does solve the problem, but you won't like it.
The easy answer: Use a master limiter. This will prevent clipping, but if your mix has extremely high peaks, then it will cause another artifact called "pumping", which is very noticeable on high-fidelity equipment and every bit as irritating as clipping. To make a long story short, pumping sounds like someone's holding onto the volume fader and jacking it up and down very quickly. Sometimes producers will intentionally use this effect in a more subtle way, but in those cases it is rhythmic and controlled; pumping caused by too much limiting is random and unpleasant to listeners.
The hard answer: learn to mix. Mixing is not just the art of balancing out all the elements, it's also the art of controlling the dynamics enough to leave headroom. Many beginning producers want their mixes to sound loud and proud, but mixdowns should actually be kept quiet - mastering will increase the apparent "loudness".
Wrong forum!
19. Can I get some feedback on my latest track?
You sure can, if you post it in the Music Producers Promotion forum.
Please note: your odds of getting useful advice if you post your track in there are proportional to the quality and quantity of reviews you've given to others. Your odds of getting useful advice if you post it in here are near zero.
20. My track kicks some serious @$$. Which DJs/Labels should I send to?
At best, this question will probably be ignored by most of the community - at worst, you might get flamed for it. Signed producers are generally going to be pretty wary of giving away their contacts (and with good reason!).
If this is your first time submitting a track to labels, the link below might help:
Submitting a demo for the first time
Here's another link that might help you:
Electronic Musician Bookshelf
At some point in time, I will get around to creating a tutorial on this. For now, use the search function and check this page:
Fractal Tendencies
12. How do I make basslines like Benny Bennassi, Eric Prydz, etc.?
Search for something called "sidechaining" or "side-chained compression". Please do not create a new thread about it. I'll have a clean tutorial on this later as well, once I get the appropriate information for certain sequencers that I'm less familiar with.
13. How do I make a super saw?
If you want to make a lot of people happy, then don't make one. If you absolutely must, there are some super saw links in the tutorials thread.
Making It Professional
14. How do I make good leads/drums/pads/basslines/etc.?
The best way to learn how to do this is to read some tutorials.
Some particularly useful and famous threads are:
Exploration of Sound
Your Favorite Basslines: The Fight Against Oompa-itis
Derivative's Theory Tutorial
The Perfect Kick
15. How do I master my track (to make it sound professional)?
The most important things to understand about mastering are:
a) Mastering is about the "subtle" changes. Mostly, it's about raising the overall volume, although it can also be used to "soften" or "sharpen" a track sometimes. If you think your track needs a *major* adjustment in order to sound good, then the problem is probably in your mixdown, not your master.
b) Poor mastering can easily wreck a great track, but the most brilliant mastering in the world cannot save a poor mix. Very often, producers with dull-sounding tracks will assume that the problem is simply their lack of experience with mastering, but a well-mixed track doesn't need to be mastered at all in order to sound great.
c) Mastering involves compromises. Most of the time, the purpose of mastering a track is to make sure that it sounds "good" on all mediums and all sound systems, rather than "great" on a few systems and terrible on others. Thus, during your mastering phase, you need to try and listen to your track on as many systems as possible!
d) Mastering requires emotional detachment. I can't stress this one enough, folks - TAKE A BREAK from your track before attempting to master it. If you are still very "intimate" with your track, then you are not going to be able to make objective decisions.
Troubleshooting
16. My CPU is maxed out / my sound is stuttering/freezing. What should I do!?
Since this is such a long-winded topic, I've created a thread dedicated to answering this one solitary question:
CPU maxed out? Sputtering? Freezing? Read here!
17. Why does my track sound great in my sequencer but terrible when I render it?
In almost all cases, this is evidence of clipping. Unless you're mixing in the analog domain, make sure that the master volume on your track never goes above 0 dB (in the analog domain it's 2-3 dB). If it does, then your track is clipping.
Some people don't understand why this would make a track sound bad on the render but not in the sequencer. The answer is simple: most people have the master volume on their computers set to a moderate level, significantly below 0 dB. If that master volume is, for example, set to -6 dB, and the track volume in your sequencer goes as high as +6 dB, the resulting volume on your PC will not go higher than 0 dB. However, if someone else's PC had their master volume cranked all the way up, it would distort on their system. And when you render the audio, it is simply not possible to encode values higher than 0 dB; attempting to do so will only result in distortion and noise.
A more detailed and technical explanation is beyond the scope of this FAQ; if you still don't understand what clipping is, read this link.
18. How do I prevent clipping?
There are two answers to this question. The first one is easy, but doesn't really solve the problem. The second one does solve the problem, but you won't like it.
The easy answer: Use a master limiter. This will prevent clipping, but if your mix has extremely high peaks, then it will cause another artifact called "pumping", which is very noticeable on high-fidelity equipment and every bit as irritating as clipping. To make a long story short, pumping sounds like someone's holding onto the volume fader and jacking it up and down very quickly. Sometimes producers will intentionally use this effect in a more subtle way, but in those cases it is rhythmic and controlled; pumping caused by too much limiting is random and unpleasant to listeners.
The hard answer: learn to mix. Mixing is not just the art of balancing out all the elements, it's also the art of controlling the dynamics enough to leave headroom. Many beginning producers want their mixes to sound loud and proud, but mixdowns should actually be kept quiet - mastering will increase the apparent "loudness".
Wrong forum!
19. Can I get some feedback on my latest track?
You sure can, if you post it in the Music Producers Promotion forum.
Please note: your odds of getting useful advice if you post your track in there are proportional to the quality and quantity of reviews you've given to others. Your odds of getting useful advice if you post it in here are near zero.
20. My track kicks some serious @$$. Which DJs/Labels should I send to?
At best, this question will probably be ignored by most of the community - at worst, you might get flamed for it. Signed producers are generally going to be pretty wary of giving away their contacts (and with good reason!).
If this is your first time submitting a track to labels, the link below might help:
Submitting a demo for the first time
Here's another link that might help you:
Electronic Musician Bookshelf
