We love to confuse around these parts. If you read last week’s Assignment you’ll know we urged you to spend the weekend making some of your own presets… and now here we are giving you one of our own?! Continue Reading
Nobody likes cookie cutter music, right? That stuff that sounds like it’s been pressed from a single mould, devoid of any personality, all sounding exactly the same? Well, if all you ever use when you’re making music is someone else’s presets, sooner or later you’re going to run into this exact problem.
On the other hand, we’ve found a big goal for many of you is to get your own sound – so your stuff has a common element, but nobody else sounds like you. Believe it or not this relies on presets too… But the difference is they’re your own.
Creating your own presets will save you time, ensure you sound original, and can really make you think about what kind of music you want to make – essentially you’re picking the paints you’re going to stock your pallette with.
Give it a go! Try putting together a drum kit that’ll let you dive straight in to making a track with sounds you know you like, hook up a few synth patches to give yourself some go-to bass and leads (just think, Nero’s entire last album seemed to revolve around ‘that’ synth sound) and maybe even save some master compressor and EQ settings to give your tracks a consistent character. There’s nothing to say you can’t tweak them as you go, and of course there’s nothing wrong with using other peoples presets either, if you do it wisely, but there’s nothing like having a stock of your own special ingredients!
Oh, and if you’ve no idea where to start, give our free course OD101 a read!
This week’s Around the Web is a compilation of a few of our favourite news items of the week – read on for free plugins, workflow keyboards, and updates to the Ohm Force range with a discount to celebrate!
This week’s Pocket Tip is a neat trick that will save you tons of time in Ableton Live. While we were making the guide I couldn’t help but play around with some of the things it made easier for me to give you guys a little gift on us – a super slicing preset! Carry on reading to download it free! Continue Reading
I know that Dilla tribute projects are ten a penny… perhaps more. It’s always easy to listen to some Dilla beats, but all too often the artists who jump on the tracks just aren’t up to scratch – and even when they are, the aforementioned glut of projects means that there tends to be a definitive version by that one emcee. Continue Reading
Evolve is, at its heart, a Native Instruments Kontakt Player sound library much like Damage before it. To say ‘before it’ is a bit of a stretch, though, because a Kontakt 2 Player version of Evolve has been around for a few years now. The update we’re reviewing brings it into line with NI’s latest Kontakt Player, version 5, and with it comes a few improvements. Continue Reading
Old people, huh? They just don’t get electronic music (there are exceptions of course… but it would be terribly rude of me to exemplify them as being old. Perhaps you guys would like to do it in the comments!). Continue Reading
You’ll have noticed from our videos that we’re a Mac based studio over at OD, but FL Studio is worth firing up BootCamp for.
We reviewed FL Studio 10 last year, and in the year since the guys at Imageline have been beavering away to make FL Studio 10.5′s highly touted Performance Mode the next killer feature. How does it look? In a word, awesome. We’ll wait to pass full judgement until the final release comes around so that we can review it proper, but there look to be some marked advantages to using it over Ableton Live; there’re visual indications of waveforms and automations laid onto the clips/pads, and the ability to have an indication of loop length with different sized clips is very cool.
Quite how fluidly switching a track between production and performance modes works is a little in the air at the moment, and FL Studio is making things easier by creating macros that change things around for you in a single button press. It’s still not totally ideal, though, so I’m just going to make this plea to the guys at Imageline now: Destroy and rebuild with this mixed linear/clip based production as the forefront of the design, go multiplatform, and use OS native GUI settings. Please. We’ll love you for it.
Let us know what you guys think!
This week we’re taking a quick look at how to make better and more realistic drums with group mutes. It’s not just drums that’ll benefit though, it makes a big difference for chopping things up hip hop style too – check it out!
You may or may not know that in addition to all things music production, I’m also a turntable nut. C2C have thus been on my radar for a long time, considering they’re in strong contention for the greatest turntablism group act of all time, completely dominating the DMC Team Championships for pretty much the entire time they competed.
Unlike many excellent turntablists, who for whatever reason have either kept their DJ and production identities firmly separate or not quite been able to commit the excitement of their live performances to record, C2C have been able to cross over into the world of production and merge their quick fader fingers and record hands seamlessly into the mix.
Their latest EP – Down the Road – has been available for a couple of months, but promotion has been limited to their homeland (France) until now, when they’re gearing up for a big ole global release. What we love about C2C isn’t just the aforementioned ability to blend turntablism into their records, but their general ear for taking different sounds and mashing them into a coherent whole to create an almost genre transcendent record. Elements of hip hop, soul, dubstep, jazz, big beat, and more besides pepper the EP, and it sounds fantastic.
The video to F.U.Y.A. is pretty sweet too – not simply for the clever concept, but for giving you an idea of the separate parts of the production process. Check it out, and go get the full EP from iTunes, unless you want to wait for the UK Vinyl release on the 7th of May…