![]() If, for instance, you’ve only got 2 hours to spare, you could use it to export stems and loops from existing projects, organise your sample folders, and save channel strips & synth patches. On these occasions, it’s important to remember that no session in the studio ever needs to be wasted. Maybe you’re tired, or perhaps you don’t have the time on a particular day to get into making a full track. There are sure to be times when you’re not feeling quite as creative. This way, if all goes well, you’ll end up with 2 finished tracks which you can send to labels and you will have minimised the tedious bits that usually lead to time being wasted. Try reaching out to someone you’re friends with, or on the same label, or perhaps have worked with before, and propose that you swap stems and finish each other’s ideas. ![]() They won’t be fatigued by repetition and they will be able to hear things that you’ve missed – both good and bad.įinishing music is absolutely crucial but it’s also one of the processes that requires the most discipline. Collaborating with somebody else can really help you in this situation because the other person is very likely to approach the music or stems that you send them in a refreshed way. Making records as an electronic artist or dance music producer is very often a solo pursuit, and after the initial burst of creativity and ‘fun’, we can spend many hours ‘in a loop’ feeling frustrated, doubting ourselves, and procrastinating over the arrangement and anything that we find tedious. Productions by artists like Kaytranada and Disclosure are great examples of this. Still, it’s a helpful method which not only can improve your mixes but also works as a stylistic sound design tool that you can apply to vocals, pads, textures or anything else to add a dimension of rhythm and movement. We’ve placed it last as a recommendation because it shouldn’t take precedence over choosing the right sounds and tidying up your low-end elements – you should be doing those things anyway. Lastly, some good old-fashioned classic side-chaining may actually be all you need. Using something like a Subpac can help you to measure the interaction between the kick and bass, and also alert you to any other instruments which have rumbles that your ears can’t pick up.ģ. You should also remove any ‘flabbiness’ from both the kick and bass using the envelopes or a transient shaper to tighten up the notes and create space. It’s not uncommon in specific genres to go as high as 30/40/50hz with the kick drum to leave room for the bass. ![]() Be diligent with your EQ, being sure to make a low-cut as high as you can go on every instrument and then on every bus channel too. If you’re happy that you’ve got the best possible sounds, the next step is to tidy up what you have. However, keep in kind that offbeat basslines which are too busy or too sparse may not best suit the genre you’re making.Ģ. You can navigate this by a) not having a bassline and making the kick even heavier (common in a lot of techno productions) or b) programming/playing the bass to be in spaces where the kick isn’t. If you have a kick drum that’s got the sub-heavy, low-end characteristics of an 808, then you’re going to struggle to get a coherent, pleasant balance with almost any other kind of bass sound that plays at the same time. It might sound obvious, but choosing the right sounds to begin with is going to make your life a lot easier. It’s a problem that’s been around virtually as long as we’ve been mixing audio: how to get that coherent, pleasant-sounding low-end with a kick and bass that ‘sit’ together nicely. ![]()
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