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Aiming for punch:

Shatterstar: immediately way better stereo image; mix by far the clearest; sub is incredibly smooth and powerful; drums *very* punchy and nice and high in the mix; transients very snappy all around; extremely happy with this.

(3/3)

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Aiming for loudness:

Full-body Experience: significant improvement again! drums way stronger but are very flat; mix is definitely cleaner though, but very mono.

Praxis: Really loud!! drums are still completely flat though as a result; mix clearer still; think I went a little too hard on the saturation though because a lot of things just sound like they're clipping (mostly cause they are lmao); definitely has a lot of impact though.

(2/3)

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Difference is *really* noticeable going back to my old tracks. Taking the first and last from each broad approach:

Mix by ear alone:

Micro: way too wide at the low end (it'll all cancel out); drums really weak; not properly balanced (too much low mids, too little highs).

Clairvoyant: significant improvement; drums are stronger but still completely buried under everything else; whole mix is quite blurry/clouded.

(1/3)

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Also like, damn I'm going back and forth between my thing and some other people's stuff and holy shit I think I'm onto a winner here. Just as an overarching approach to production I am aiming for "punchy like those cool professional people" and that is exactly what I'm getting this feels so good!!

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I think it's kinda cool how when I went from aiming for loud to aiming for punchy, the way I used compressors basically changed completely.

Went from:

Brick-wall on RMS mode, no attack to keep peak volume down, then release/sustain as low as possible before distortion, then cut the top off with saturation.

To:

Moderate boost in peak, large attack so transients get through and are boosted to shape it to be really sharp, then clip a little bit with saturation for better aggression.

Hardly unusual for me, but I went back in and tweaked some stuff, so the track you may have listened to yesterday isn't quite the same as the one that's there now.

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πŸŽ‰πŸŽ‰πŸŽ‰ Released!! πŸŽ‰πŸŽ‰πŸŽ‰

Future bass-y thing that's sparkly and fluttery.

Enjoy! <3 :boost_ok: :boost_ok: :boost_ok:

miraonthewall.bandcamp.com/tra

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πŸŽ‰πŸŽ‰πŸŽ‰ Released!! πŸŽ‰πŸŽ‰πŸŽ‰

Future bass-y thing that's sparkly and fluttery.

Enjoy! <3 :boost_ok: :boost_ok: :boost_ok:

miraonthewall.bandcamp.com/tra

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10h10m. Think I'm done.

That was fun!

Should be up in 10-20 minutes

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6h35m. Got 4 different sections now. There's no transitions between them yet which is why it sounds quite jarring going between them but I'm liking this.

The cool fluttery background noise is each half of a recording of a cutie typing on a mechanical keyboard played at the same time each panned hard left/right.

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Hm. I'm not convinced I'm gonna release anything this month. There's only 3 days left of it and I am just not having the ideas needed to turn sections into full tracks.

It's a shame, but trying to force it is never a good idea.

At the very least, I've made a lot of music this month and I've learned a lot, so I think that makes up for it. The point isn't to release things, it's to make music, and that's what I've been doing.

Also, I was avoiding compressing the drums because just turning them up instead sounded nicer, but in practice that's gonna require really tall drum transients which'll really drop the loudness of everything overall. I think like, *some* compression but not loads and enough attack time to not eat the transient, plus saturation to clip the top off the transient but keep it loud is gonna be ideal.

This stuff is so fascinating damn.

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I think the ideal is like, a mid-point between this and the really loud one. I've got a lot of the "oomph" back as the drums aren't being completely flattened, but the loud mix just sounds far more aggressive which is what I want.

So I need like, the compression and loudness from the first but with the nice tall transients and space of the second, and I think that's probably gonna involve selectively compressing sounds together rather than squashing the master.

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This track is having an identity crisis by simultaneously wanting to be 40s dance and like, disco pirates lmao

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7h47m and I've got a verse section. The temptation to make a drop is certainly there lmao.

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I know a clarinettist that could record an absolutely blistering solo to go over this it would be fucking amazing.

Hm,,,

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Moar big and punch yes.

Loudness-normalised next to the old one this is so much nicer. It's also *way* easier to mix because you're not constantly fighting every other sound to squeeze it in.

I'm glad I explored loudness though cause I think my production ability is a lot better because of it, and I can still use a lot of the principles within it more locally to make individual sounds really aggressive.

I'm hype now though I may need to finish/release this,,,

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