Thursday, September 30, 2010

Tip: How to gain stage your mic pre and interface.

NOTE: This was posted by Morning_Star of the URL to the original post will be at the end of this post.

This is a quick run down of setting up your mic and mic pre to properly work with your interface to get the highest quality and best recording. I'm posting this because I see so many problems with this.

If you are using Sonar, Cubase, Nuendo, Reaper or FL Studio to record vocals first go here and download PSP vintage meter. There is even a AU version for mac.

If you are using ProTools then you can use the stock BF Meter Bridge.

Now load up your recording software and create a new audio track to record to. Make sure the gain on your mic pre is turned all the way down. (Remember that if you are using an external mic pre that the output needs to go to line in of the audio interface and not the mic input.)

Next make sure that the fader for your channel for recording vocals is at 0db. Now load the PSP Vintage Meter in the first slot. (BF Meter Bridge if using ProTools). Now click on the PSP logo on the plug-in to view the back. Make sure you change the 0vu refer level to -18dbFS. Now click the label to view the front again and make sure that the meter is on VU with the switch in the middle.

(for protools make sure the meter is set with the -18db button pressed in and the switch on peak)

Now while doing a mic check raise the gain knob of the mic pre until the PSP vintage meter reads close to 0db but never over. (BF Meter Bridge for ProTools) Leave it there for your vocal recording. If you change vocalist adjust the gain on the mic pre until you get the same signal in the meter. Enjoy clean vocals. If using a compressor make sure it's bypassed for this tutorial.

Tuesday, September 28, 2010

Free VSTI Links

Monday, September 27, 2010


Sequencing drumsBy Jeffrey Ryan Smoots

      Creating a realistic, dynamic drum sequence is much easier if you put yourself in the shoes (and sticks) of a drummer. Based on drum layout, number of hands and feet, and other factors, "real world" drummers are subject to certain physical constraints. You can increase the realism of your drum sequence by recognizing and applying these constraints.

Learn the layout

      It's helpful to visualize the layout of an average drum set when sequencing drums. While there are a million exceptions, I think it is fair to say that the average right-handed drummer has a kit much like the following (lefties use a mirror image):

    * Kick drum(s) - Usually in the center of the kit. Usually played with right foot (for single bass), or both feet (for double bass).
    * Snare - Placed either in the center, or slightly to the left of center. Usually played with left hand.
    * Pedal hi-hat - Placed slightly to the left of center. Usually played with right hand. Also played with left foot.
    * Ride cymbal - Placed to the right of center. Usually played with the right hand.
    * Toms - Laid out from high pitched to low pitched, left to right. Played with both hands.
    * Crash Cymbals - Arrayed throughout the drum set, wherever they fit and are easily accessible.

      Why go through this in such detail? Visualizing the layout of the drum kit while sequencing drums will help you to determine whether a given rhythm can actually be played. When I'm sequencing a drum track, I grab a pair of drum sticks and "air drum" (pantomime) each section to see if it can be played. I've found that playability in the real world equals increased realism in the sequenced world.

How many hands and feet?

      I can't tell you how many drum sequences I've heard that couldn't (or wouldn't) be played by a human drummer. It's important to remember that a drummer generally strikes no more than 4 instruments at once. For example, most drummers will not try to hit their hi-hat and ride while simultaneously hitting a crash cymbal, snare, and kick drum. Stick to the "No more than 4" rule, and you'll be well on your way to creating convincing drum tracks.

Drop a hit?

      No, I'm not referring to that! Dropping a hit is something that drummers do all the time. It can also be called replacement. As an example, let's say a drummer is playing eighth notes on the hi-hat as part of a basic 4/4 rhythm. If the drummer wants to hit a cymbal on one of the eighth notes, he/she would simply replace a hi-hat hit with a cymbal hit. In other words, the drummer drops a hi-hat hit and replaces it with a cymbal crash. You can increase the realism of your drum parts by dropping those hits that are being replaced with other hits.

Velocity, Velocity, Velocity

      PEOPLE THAT TALK IN ALL CAPITALS GET BORING VERY QUICKLY. SO DO DRUM SEQUENCES THAT HAVE NO DYNAMICS. Playing with dynamics means playing with a wide variety of soft to loud hits. Adding dynamics to your sequence will dramatically improve its feel. Except for the very worst pounders (who shall remain nameless), most drummers learn from an early age to use dynamics. They learn that alternating loud and soft beats adds feel and energy to a drum part. When sequencing drums, you create dynamics by using MIDI Velocity.

      Almost all MIDI sound generators (drum machines, samplers, etc.) respond to MIDI Velocity. In general, a high velocity value will result in a louder sound. Many samplers will not only increase or decrease the volume based on velocity, but they can also trigger a different drum sound. In booth cases, you imitate the dynamics of a real drummer by using changes in velocity.

       Listen to this mp3 example, which uses the Sonic Implants Large Ambient Blue Jay Drums. You can also download the MIDI file used to create the example. In the first four measures, all the instruments use the same velocity for each hit. Then there is a four measure transition which directly compares the difference between 'same velocity' and 'varied velocity'. Specifically, the first two measures use all the same velocity, while the second two measures make generous use of varying velocity. After the transition, there are twelve measures of drum groove using lots for variations in velocity. I think you will agree that the first section sounds a bit stilted and mechanical, while the second section has a more human feel, as well as more tonal variation (a result of the different samples being triggered).

      Sonic Implants Blue Jay Series (and Session series) drums are excellent for illustrating how important dynamics (varied velocity) can be to a performance. A drum's tone varies greatly depending on how hard it is hit (go bang on a real drum and you'll see!). The Blue Jay and Session drum kits feature multiple velocity layers for each drum. Using several samples for each drum, assigned to different velocity layers, allow the Sonic Implant drums to reproduce a continuum of drum tones, from soft hits to hard hits. These differences in tone allow you to create dynamic, convincing drum performances.

      So, alternate those velocities and use dynamics in your drum sequences to make them come alive!


      I could write for days about timing. Keeping time is certainly an important aspect of playing. The rest of the band often relies on the drummer to establish and maintain a song's tempo. As you delve deeper into drumming, you will learn that many drummers purposefully play with tempo in order to create certain effects. Learning about these drummer-centric effects will allow you to introduce some looseness and feel into your sequencing, and help get away from the dreaded "perfect-time drum machine" sound.

      The first effect to talk about is dragging. Drummers will often drag (slow) the tempo of one drum while playing the rest of the kit in tempo. This is most often done on the snare. Listen to your favorite slow songs, and you may be able to hear the drummer dragging the snare. Great drummers seem to be able to play the snare just a little late, but not enough to confuse the tempo of the song. In sequencing drums, you achieve this effect by sliding all the snare drum hits forward a few ticks (ticks are also known as pulses-per-quarter-note, or timing resolution). Other instruments can be dragged as well. I sometimes hear the hi-hat or ride dragged, and sometimes the kick drum. The key is to drag one or two instruments, while keeping the rest in tempo.

      The next effect is rushing (or leading). In fast songs, or to build tension or excitement, drummers will often play one instrument ahead of the beat while keeping the rest in tempo. The tips and techniques for this are the same as dragging, except you would slide the instrument in the opposite direction in time.

      Sometimes drummers will speed up or slow down the whole tempo of the song. The entire band follows these tempo changes. This can be heard in ballads, where a drummer might slow the tempo down temporarily (1 measure or so) when transitioning from a verse to chorus. This can also be heard in progressive music, where new sections of a song may have an entirely different tempo. Changes to the entire tempo of the song require you to alter the tempo map in your sequence. Most sequencers provide a way to alter the tempo, either gradually over time, or instantly. When slowing down or speeding up for one measure (as in the ballad example) keep the change subtle (change only a few beats per minute). Any more than a few beats and the change may stand out too much. Of course, this is music, so be creative! Try everything!

General Randomization

      My specific technique for sequencing drums is to compose them in perfect time, apply timing effects (see above), then apply a subtle timing randomization to the entire drum sequence. The key to randomization is subtlety. Apply too much randomization, and your track will sound sloppy and amateurish. Again, just a few ticks in either direction (ahead of the beat or behind it) will do the trick. I've noticed that randomizing the track helps separate the individual drum sounds since less of them are occurring at the exact same time. This also seems to increase the stereo image of the drums as well. I could be way off on this, but I trust my ears. Trust yours too!

Last thoughts

      I hope these tips will help you create more realistic drum sequences. After a decade of sequencing, I've learned what works best for me. However there is not just one, right way to create music. Instead, find the way that works best for you.

Keep on creating!

Jeffrey Ryan Smoots, Sonic Implant Endorsee

Jeffrey Ryan Smoots is a composer and guitarist with multiple CDs in his collection. You can hear his music and learn more about his work on his website at:

Sunday, September 26, 2010

***How To Get A Placement***

Please note this was originally posted by  Jackpot ProductionZ from the link to the thread will be posted at the end of this post

I posted this in another thread but I don't think it will get any real recognition so I'll re-post it here. Now keep in mind....there's hundeds of ways to get a placement. Sometimes it may take a long time and sometimes it is very quick, sometimes it may be 6-9 months before you get another placement once you've placed, others it could take a few years. Politics & relationships play a big factor as well.......

All of you anti-industry cats who think you're above the system might as well quit today and not even waste your life chasing something you fundamentally aren't even prepared to work for......

For others, this is some insight to answer a few questions on how some placements can happen.......

"Here's a scenario of how a placement can happen."

Let's say it's 2009 right? Let's say you moved to Los Angeles in January and you have no idea what to do and know nobody. You signup with Ascap and they send you some information about up & coming Ascap events coming up. You go to 2 of the Ascap events in February. Now let's say you have your DEMO CD with you when you go, you dress accodrdingly and keep professional at all times.

You meet a person who is managing a couple artists and producers and you present your DEMO to them. They call you back a few days later and tell you they are feeling your music and would like to sit down with you and talk about possible management. So you go sit down with them and details get discussed and after a week of having the contract looked over by your lawyer you sign.

The manager invites you to a few studio sessions at a very well known studio. During those sessions you run into Fergie, Will I Am, JR Rotem, Jasper Cameron & a rep from Interscope. Your manager formally introduces you to these people as they come and go as his new producer, tells them you're hot and that you could be the next big producer. Your manager pays for a couple studio sessions for you over the next couple weeks and you meet more and more people and get your name circulating throughout that studio.

Then one day your manager tells you that Akon is in the room next to yours and him and Akon have a good relationship and that he'd like to invite Akon to listen to a few of your tracks. Akon kindly accepts, your manager pumps you up to Akon to show confidence in your music. You play 5 or 6 tracks for 45 seconds each. Akon tells you he is really feeling the 3rd track you played and if you could send that over to him he'd love to write to it.

Your engineer mixes the track a little and gives it to Akon. 2 weeks later you learn that Akon has demo'd up a song to your track. You're excited and hope he keeps it. During this span you meet more people at events, studio sessions, concerts, etc. 4 months later you learn your song has made the cut for Akon's album and they send over the paperwork, split sheets, etc. Akon's album is released in December of 2009 and goes platinum, you are now getting some nice publishing checks.

Your track gets some mention around Akon's camp and others and the Interscope rep who met you a couple times over the course of 2009 wants to sit down with you and offer you a $75,000 Publishing Deal through Universal Music Group.

You accept after a couple weeks of deliberations over numbers of commitments and percentages. During these couple weeks you learn that a song you wrote to one of your tracks was playing in the studio when Tiffany Evans walked by and she asked if she could have it. You now have more leverage for your offer from UMG and they raise it to $100,000 and 12 commitments. You sign and your manager uses his relationships to try to get you on as many projects as possible.

You get your Pub Check in May of 2010 for $40,000 of your $100,000 for landing 2 placements. You come to find out your song on Tiffany Evans has been chosen for a single.......

And the cycle continues.......

There's millions of ways to get placements, get on, etc, this is just one of many possible scenarios.......

Link to original thread :

Friday, September 24, 2010

Share your links !!!!!!


feel free to leave your links in a comment and we can try and follow/add as many as possible.

New Orkut Music Production Community

Click HERE to join become a member uses gmail so i think you just have to use your normal email to login and you should be good to go.

Wednesday, September 22, 2010


Dont know if any of you already use this but its really handy for storing files and freeing some extra space on your pc,  its basicly free online storage with the option to upgrade, the link below is a referal link that i own basicly if you sign up using my link we both get extra free space
For every friend who joins Dropbox, we'll give you both 250 MB of bonus space (up to a limit of 8 GB)!

Sunday, September 19, 2010

Noblewordz : DustyAnalog FREE Drum Kit

Noblewordz : DustyAnalog FREE Drum Kit
Please note: this kit was created by member Noblewordz you definatly dont want to let this one slip.  

Aight, this was originally a kit I made for myself, its samples that I got my hands on recorded from a Ludwig kit, they were clean when I got them so I added a little dirt to them, some lite saturation and tube warmth, I haven't compressed them or done much EQ so you can still mould them, its perfect if you want a gritty sound. Its not a large kit but all the sounds are good.

I've also got a custom made 808 kit in the works, nicely saturated if I get a good response I'll upload that as well.

Thursday, September 16, 2010

JontBeats Monster Kit ........Coming Very Soon !

Ok, so i have decided to release a monster kit for you all however it wont be free, i will put out some sample kits to give you all an idea of the quality (which i promise is top notch) at the moment it contains 9 separate sample packs, the size is currently over 500mb which is half a gigabyte, just one of the kits inside has well over 60 kicks on its own, if your a member of and you are reading this then you know the samples i release are always quality and usually always free.

Whats your reason for this? : I put alot of time and effort into recording layering etc.. some days i spend hours doing all this so i can give these sounds to other like minded people.

The plus side to this idea is the following: Updates, the kit will be updated every month, no exceptions unless something happens that i cannot foresee, you will recieve your update (providing you pay) for free , the purchase is a once off fee im not going to try and make any one pay extra for a version two or three or different style kit you buy once, then you get the updates forever.

what will be in the update ? . . . more sounds, samples, presets for vsti's, different styles of samples, they wont be just for hip hop or trance, there will always be something in there for every type/genre of music. 

Please check back later for more information.

Wednesday, September 15, 2010

Compressors - limiters - enhancers

Just a quick link i came across while browsing just downloaded these and im gonna give them a shot later on, they look promising though so

Tuesday, September 14, 2010

Check out this site for those of you who love samples reviews or just a great audio/production site theres tons of samples there ran by Obitheincredible from

Sunday, September 5, 2010