All language subtitles for 12-10 - Shaping Sounds With Effects And Processing - deadmau5 Teaches Electronic Music Production

This is a cardinal sin of EDM Rainier this is this is what I hate about dance music

I know I'm going to get some hate for this but

I have it

Trust me I don't use it all the time but I do have it

Men that's just life

But you get stuff like this

And I'm not saying it's evil and don't get it I I find some use for it

But this thing called Nexus right by the Vengeance sound

And then all it is is like

This instrument where you can

Even go to town and I'm just going to click my mouse

Twice there

It's cool for what it is but

I mean that and then put a kick drum under it it's like

You could almost pass out office at tune you know I'm in a lot of dudes do that

Sure I don't blame them

But and that's good for learning is it's good for using stuff but you know like

But just sit there and

I don't know like

F******

Dance pattern to

And it is this brings up a really important point the point is is that

You know guys that

Sign artists like me

And other dudes then any in there also producers to I I just don't happen to be You No Label managers all but

I can tell

You know when someone's using up reset because I've used that since before I've heard it a million times I I know what it does mean

I know what it sounds like so

You know what I'm hearing this like

I hear this preset and I'm like wow okay well

Obviously didn't put a lot of effort into that and it's not very creative and stuff like that while it might sound great

Valic LeeAnn and it's all that is just I'm like okay well

If I know how it's done everyone else is going to know how it's done I know the

Young

Kids today aren't stupid you know they know the software I'm a lot of them do

The addition of effects can happen right

At the earliest age where it's like you know I want to kick

Or like you know this

Bass drum here you know it's like

I don't know it would sound really cool if I you know slammed it with some kind of distortion unit or so

Something so it would be like

Uat

Distortion

I've got this

Yeah

But that's how I want my dick to sound so that's like

Really over-the-top

Kind of

Distortion but I mean actually it's funny that this is Illustrated the way that it is because more often than not I will

Going to collect a lot of Boutique distortion pedals

Performance

Guitar and stuff like that wall

I can physically

You know

Route

The output into a distortion pedal like this but

One that's not dspn actual distortion pedal and then out of the distortion pedal back into the

Computer to give it

That sound but

You know done with a guitar pedal in and that's something you could do really early on because

Do guitar pedals like what 30 bucks of garage sales

Kids band

Broke up for whatever

Distortion pedals boss

Distortion stuff

Any guitar pedals are

Grateful

Computer song

You know they're all low impedance so you got

Be careful about how much

You know I'm

How much signal you're getting it but who cares

You know it's an effect and it's analog and it'll come back clip to help it clipped how might actually be a good thing

In some cases but

And other cases like a Reverb pedal you don't want to clap unless

Kind of sound you're going for because analog distortion

Very unlike

Digital Distortion analog Distortion would sound

More like

That then

Digital distortion

Dental distortions

Horrendous

And it's not

Really desired but analogues

Greatness

Soar saturation

In and getting that kind of thing out of an effect pedal is is

Just really good because

Beymen

Someone else has this plugin

And

Probably someone else has this Kick Drum that I use so someone else could recreate exactly what I'm doing right here

No problem man

And in that school for learning but it's not cool if I'm going to put that out

You know because it's like then everyone can sound like me

But truly

Create your own type of sound

The way to do it is just bike

Crappy outboard stuff

Nnn

Mix-and-match an experiment with outboard mixed with your

Inboard plugin

There's absolutely nothing from stopping you from loading up your favorite soft scent and then routing it into a guitar pad

Battle and out of the guitar pedal into the thing giving it an entirely different sound that

No way that plug-in could generate

You know on its own

So

Little things like that that make

The difference

I don't understand what what

Fat bass means I like I can on I understand what a thin sound and versus a

Thicker sound but I don't know

What what kids mean by the space Sounds fat

But if you if you want a really full body thing a lot of that has to do with limited

Meaning that the lower notes you play

On a bass or with a bass synth

Time to have you no stronger amplitude

Where's your kind of go up the amplitude goes down a bit

And if you start limiting

And turning up the input on that you're you're you're

You're limiting

Less and less as it goes up the volume staying consistent so you're getting a nice

Consistent sound across

Spectrum in the base

So I

For example if I

I'm not sure how noticeable

It'll be here but if I take

A bass sound

Trimester

Okay now I have

Stuff on the message already sent

So we can see what a lemon is going to do if we go back up to

Samsung

Covid-19

I would use a hard marijuana

But

Moana

So you can actually see the harmonics

Getting squash so what you're hearing is a consistent volume

But ask that as the oscillator start to line up you're going to start to clip a bit and then in some case

Places in that in the cycle

Going to start ducking out some of the harmonics because they're being louder but if I go up in frequency I don't have that problem

So it was technically quieter so this no even though it sounds the same is actually quieter

Then

Straight up

Amplitude for you that's what happened so so limiting is going to keep that consistent

So if I limit that like just out of control

Stop there Aldi's as long as it is limiting happening that means the volume is going to be consistently at Zoo

So the higher the frequency you go with a note meaning like the

Fire pension scale you know the more determination you're going to get on the signal when going into eliminar

So you can see it it's slamming it there but it's not going to slam it higher up

But now you're hearing a consistent volume

You know so that's why limiters are like really important in NN dynamic

Control because

Now if I disable this whole thing

See how it now it's not

Fat

I guess you know but not saying cuz you're going to play bass like

6 OCTA

Between those lower notes you know if you're even going up 5 semitones or down

By some accounts from your route you're going to hear that differ

Pricing is not going to have that same consistency

Shape

It properly you know you're going to want to

Put a limiter on it

I'm just using the

The prowl for an example

Because it illustrates a nicely but if you use

Same thing

Crank up the game and you see the limiting going on right here you know so

It doesn't sound like much in terms of reduction but it's actually 6th Dome 12db the reduction there

But now my sounds consistent you know Milo nuts are playing in the same power that the higher ones

And then you can have just you know one

For the base Channel not your master track before your base Channel or

Some bass notes you're going to get that nice big

Fat

Waze

There are so many different types of Reverb in and waste process Reverb

If impulse Reverb

Plate Reverb

I'm sad just

Play Reverb in Halls

There's a million different types of these things and it's all about you know and just kind of playing around with which one

Calls for that kind of job like for a snare

Or some

Quick little type thing I I find that you know simulated or real plate Reverb

Kind of sound

Great on those kind of things as opposed to

A pattern

I sent that needs a really long Lush Riverbend all use some you know

I'll either use the Eventide or

Evan Titus

Basically

Kind of Eventide and lexicon

AR

Basically the two kings of Reverb I when it comes to creating Lush

You know

Creative Reverb kind of things

So what I'm doing now is I'm running in and out of a

Eventide Ultra Harmony tureng Ultra harmonizer

My bypassing is

So I'm using this effect

Which is a defect but running back into the computer

But the cool thing is suicide

Go ahead and

Process the dry and wet level of that affects in the computer

You know it's just like using a plug-in but you know you've got it over here

So

It's an effect like

Using an Ableton Reverb or something like that but these tend to be higher quality so you know you're going to get

A lot more

Warrenton

Outdoor Pine and that's something that you

You can experiment with you know

Long after you've made you do plenty of

No successor or whatever with

You know working with just digital instruments and digital effects

So it's just an added bonus it's not an SS

Unison is is is kind of a cool thing for you know stereo Imaging which basically means

Taking a copy of siletz

Let's go back to our Oscars

When one trick to do

Would be

Securus here I have a a sound just needed some monophonic signal I recorded in Stereo by accident

I should have recorded in mono it doesn't matter

I want to give a little more space to that what I could do is I can clone that sound

And then maybe like delay it

Slightly

Cellebrite like in time so it's going to play a little more late so you can hear the same thing twice

So now if I take one and Panet hard-left and I take the other one hard right you're going to get this kind of

Interesting fact and then you know and then you can put an effect on the sum of the two channels to just kind of you don't give it a little more present

But I wanted it really mono because what's actually happening

Particular case is that

I have a delay that's going to bounce the signal back

Forethought true

I had

Other

There is a way overdue it yeah if you have to

To try really hard but there's no

Such thing as

Too much color wear too much color needs to be you know but

There are

Points in a track where sometimes no effect and just having a dry signal if something is

It's good because it's it's drawing attention just to that one thing that sticking out like

Sore thumb in your mix

The rule of thumb with audio really is like s*** and s*** out so if you got like shity input

It's going to be shity output

But that rule can kind of be been

With the use of processing within a. Tutu you know

Curver shape you sounded you know

Having translate while on your monitoring system now

You hear that

This is like I guess I'm kind of buzzsaw sample and as you start to

Go down

You hear that

That weirdness

That's aliasing

Aliasing is a big No-No when it comes to

You know

Working with audio signal really bad aliasing anyway

And what did that means is that the waveforms that you're hearing are not being reproduce they're not being Rico

Created within that sent

What what they did is they recorded small little wavetables they're called and they Loop

Women cycling

And then ask they pitch up

They start to sort of sound better but if they pitch down the actually sound worse because you playing back the same wavy

Spinning it out

And then you're hearing all the crap

Data that was in there

Sophie play it at a root note it'll sound good because start to slow down the pitch of it or are

Tune down the picture of it

Stop bringing up all these aliasing artifacts

Show me the school in the sense that you know someone made that for you too you don't just go in and dive in and say have entranced

TJ and that's awesome and I can hit one note and put a bass drum on it and that's my tune

It's good for making like you know temporary

Foundational thanks but if you if you want to get funny with it too it's like

If I took

Lono

That sounds crappy alias

Okay well alright

If I say what I'm doing here is I'm going to what's known as an external audio effect right so what I'll do is I'll go out

Through my IO

Now

What I could do is hook up an external distortion

Usually be one of these little

Tchibo pedals

For simplicity's sake Iva

I've got a rack now

Distortion already pre-wired into my

Let me just drawn note in here

Going to play this one now

Distortion unit

I could

Make some really interesting sound out of that

You know I've taken this

Kind of crappy sound and made it even more crappy but

Now it's being processed through Distortion unit now

That's a

That's a pretty high-end Distortion unit but you can get like a boss

Guitar pedal and go in and out

With the crappiest of sense

And then you know

Give it a whole new shape and sound and then yeah it'll keep

Dudes on their toes I had to get that sound now you know like what is that Amanda

Awesome artists are really good at just hiding crappy crap and turning it into gold so

In in in this kind of post-processing since it's not necessarily Shedinja doubt it's

You know s*** in process than gold out

You know so

That's like really something to note that you know it's okay to use

Shity plugins it's okay to use massive presets it's okay to

You sire

Serum presets all that s*** but

If you processing it

You know in a in a really creative clever way you can you can just really rash

Alarm at 4

I use that s*** on everything that's my Frank's Red Hot