stumbled across this on another site - 5 part feature which gives a fascinating insight into studio/remix work!.......and it answered one of my unspoken questions as to why an awful lot of remixers use 128bpm
You are absolutely right, but it's more because there are like 4-5 key soft synths that all use. When you work with vocal tracks, at least you get something unique every time, but for trackier mixes, it's hard to be that unique. Still, it was like this when the S-1000 came out and every producer in the world got one and the 5 sample CDs that were available. I think the whole thing will mature and we will get more variation soon. Speaking of the BPM thing again, I spoke to a producer that has a sheet with the exact pitch values in the sampler for 127, 128, 129 BPMs etc - no that's a man with way too much time on his hands
Haha, that does sound like complete rocketscience , pitch sheet for each bpm.
I get your point , It was X-static goldmine etc. back then, Vengeance, Predator, Bassline pro, Albino 3 now..
As long it's not that pitched saw-square bass all over I'm happy, THAT must be over and done now..
Almost 2 hours of real pleasure! Very useful tips for almost everything in building a track or remix, by the way i have some questions left, especially the auxilliary groups you speak about in the last video, I wondered if that was a specificity of Logic, or more or less the same as an "FX track" you can find in Cubase, i.e a track on which you add inserts (reverb, delay, dynamics...) that you can apply to all your audio tracks? Had little troubles to understand everything about these specific things on Logic. By the way, the Audio editor seems to be a real pleasure to use ('1'2'1'2' PDP )
Thanks once again Stone for these lessons, and one more question!
- Will there be an ' Atomic Control (Stonebridge Mix)' release soon?
Guillaume, I have never worked with Cubase, but I know they use the same layout as Logic and many other programs. As long as there's an FX send on each track and you can instert an effect on a FX master track (Aux in Logic), it's the same theory. You will save a lot of CPU and it also makes the mix sit better as all the sounds blend into the same effects. Chris is still working on a vocal for Atomick, so I have been given a little break with the remix - can't wait though as i love the track.
These videos were great Stoney. Just watching your work flow and how you approach things taught much. Tips like using the de-esser, when to filter off the bottom end on some sounds, dealing with a suspect part of a vocal track by dropping down the suspect part and adding a bit of delay right before it - I can't say enough how cool it all was. So many great tips, I'll be watching the videos a few more times. Even the little things you do - that you might not even think about - were instructive.
The bit about keeping all the loops tight so that you know everything will fit together in the future sounds like something learned from experience. The larger lesson about keeping control of things was good too. So so much good information.
I always wanted to see how you did things in the studio. Thanks for doing these.
On the Video, you say you prefer to place the Drums , Snare Percussion straight to the Arrangment Window, because its easier for you to work with these elements in this way.
But, wouldnt it be the same if you chop, move and arrange those samples like you do and load them into let say Ultrabeat, NI Battery or similar and use the internal sequencer of these to create beats and then place them on the arrangement... whats the benefit using one method or another? Im a bit confused.
Ive seen a lot of people working this way, but it looks so time consuming doing it, can you help me out?
Thumbs up to that video, Ive seen it last night, got it with the latest Future Music Mag, and must say I really really enjoyed it. You seem very humble and nice person, I liked very much the way you exposed your tutorial. +1
Wish it be longer. How about doing some Videos, like a tricks and tips section every now and then and post it on your Website or Youtube (If you have the time of course...which i doubt )
By the way... I had no idea "Show me Love" was one of your production (shame on me), I only knew the newer stuff 2001 upwards.
The main reason is that there is practically zero latency in the TDM environment. All native plugs have various latency issues and the only way to know for certain that your drums are rock solid is to program straight into he arrangement using bits of audio that is properly edited. Shockingly enough, I have started to use the TDM version of EXS 24 in Logic, running live (except the kick). It was Thomas Gold that finally convinced me that if it sounds tight, it is tight. I still record all keyboards into the audio though. Logic and TDM used to be the dream combination, but they are gradually drifting apart with every major update unfortunately. Pro Tools have introduced elastic audio, which would be a dream come true for any audio-direct programmer, but Logic's midi and general creativeness makes it impossible to even consider a switch. We shall see what happens in the near future. Apple seem to have listened to some of the critisism of LP 8 and fixed some of the bugs in the recent 8.01 update.
