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35

Wave is an uncompressed or lossless format, whereas MP3 is compressed or lossy. Technically .wav is just a container format and can hold various types of compressed or uncompressed audio, but typically you'll see it containing LPCM uncompressed audio (the same as on audio CDs). With .wav files, you are essentially getting a raw bitstream representation of ...


12

Well this is a big question, so let me start with a big answer: http://www.amazon.com/Mixing-Secrets-Small-Studio-Senior/dp/0240815807/ref=sr_1_1?s=books&ie=UTF8&qid=1426508544&sr=1-1&keywords=mixing+secrets Now for the smaller answer more approriate to this format. A good mix starts with the arrangement before you even record. If the ...


9

Making everything audible in the mix is not always possible. Elements that share frequencies will mask each other. The most crucial part of the mix is not actually in the mixing phase itself, but in the composition, instrumentation, and arrangement phase. Experienced composers will give each element its space in the frequency spectrum, so there is little to ...


9

What you are trying to achieve is not a trivial task. If you want a good master it'll take more than some tips. I'll try to do some quick observations on some possibilities. There's nothing specific to Ableton Live, because there's nothing exclusive to Ableton Live in this subject. You want more loudness in your track. As you might know we can't just turn ...


6

The executive summary of Charles' very detailed answer is: Use WAV for recording and editing. Use your audio editor's native file format with references to the WAV files to keep disk space under control use MP3 for distribution. 44.1 and 160kbps is lots, unless your audience has a home stereo that is worth more than their car and ears to match.


6

Are there general rules or tips on how to organize VSTs? (...) I would like to know if there's a way to arrange VSTs properly, so that every plugin uses its full potential. There's no correct order. It's all about preference, what you want to achieve, and the context. You'll find a lot of suggestions, like putting time-based effects (like delay or ...


6

It's all about practice and experience. You have to train your ears, you have to know your tools. Producing is not the same as mixing or mastering, some skills overlap but they need mostly different skill sets. There are tools and techniques that will help you judge the frequency balance of a mix. You might eventually not need them at all, though some of ...


4

You will not learn any faster using the ultimate package. If anything, you may find it slower, as there are more options. As an artist, most of those options will never be necessary for you. Even some studios I work with never go near some options. Start with the cheaper version - it's what I use at home, as does the rest of my band. We only use the full ...


4

Well as far as I know that is what's referred to as a 'bass drop' (but I think that term gets thrown around for a few different effects). There are probably a bunch of ways to do it: a fretless bass can simply slide down the lowest string with some nice EQ and that's about all it takes (provided the bass is tuned low enough). The studio sound on your ...


4

There is no blanket answer to your question. It depends. "It depends" isn't very useful though, so let's try to dive a little more into it. Advantages and disadvantages Generally speaking: Sample: Less complexity, less flexibility. Synthesis: More complexity, more flexibility. But it's not that simple, and the weight of those cons and pros depend on ...


4

A DI box converts a high impedance, unbalanced signal to a low impedance, balanced signal. If plugging a high-impedance electric guitar output into a mixing board, then unless the board has dedicated high-impedance inputs, you'll want to go via a DI box. In your case, with the keyboard, the outputs are already (probably) low impedance, though they are ...


3

FLAC has nothing to do with FL Studio. Logic Pro X does not export to FLAC, either, for example. Generally an in-between program (possibly a mastering program) is used for such conversion. Any sequencer, including FL Studio can export to an uncompressed format such as WAV or AIFF, which are native, uncompressed formats. This is the highest possible ...


3

Think about what you want with your band. Are you looking to go and tour the world? Are you looking to play local clubs while you're all working? Something in between? Next, consider how important this album is to your goal. If this is just a demo, it's probably alright to release, and if you're constantly writing and will have something new next year that ...


3

It will depend on both the singer and the setting of the auto tuning. A well implemented auto tune will be very hard to notice even for the most trained ears, and the better the singer the smaller the corrections and the harder it'll be to notice it. There are two common artifacts that make pitch correction noticeable: Pitch correction becomes most ...


2

Once your music hits the public domain, it no longer belongs to you It belongs to your fans. Even if you do label it as a DEMO and release a good studio version later, some fans will prefer the DEMO. If your putting something in the public domain for all to see, its needs to be completed to a quality you all satisfied with as a band. If you release ...


2

When should I use one over another? The big advantage of using samples is that it's easier to make your hits sound like real instruments. If you sample a snare drum, and use that sample, it will sound more like the real thing vs. a synthesized snare hit, which will more likely sound synthesized. One disadvantage of samples is they may need to be ...


2

There are basically two classes of effects: linear ones and non-linear ones. From an idealized signal processing view point (discounting noise and quantization), the order of linear effects can be interchanged without a net change in the result. A lot of effects are also time-invariant: start your signal an arbitrary time later, and the result will be the ...


2

I have never used Fl Studio, but the wikipedia article has a list of notable users and, although I haven't heard any of their music (not trying to dismiss them - I'm probably just not their audience), they (or most of them) seem to have established and successful careers. It doesn't necessarily mean that they used just Fl Studio for all their music, but I'm ...


2

As a beginner you'll have enough to learn with only the Artist version. You can cross-grade at any time you feel you're out-growing it.


2

Are you recording "live" or building up the song track by track (perhaps in the mistaken idea that that's the "professional" way to do it?) Can the violin player hear the singer while playing her part (and is she LISTENING?) When good musicians are playing sensitively, very little "mixing" will be needed. A real stereo recording could be great - put the ...


2

You can try through several mics and see what difference they make in the presence of the singer. Working with equalizers, however, results in "unnatural" sound. While microphones also influence the frequency response, they do it in a pretty consistent manner. But it sounds like what you are basically trying to do here is putting lipstick on a pig. A ...


1

Here's what I woud try : 1) Eq - if you can reduce the more piercing tones of the violin (upper midrange?) it'll allow the voice to prod through a bit. This is probably simplest to try if you have parametric eq on your mixer. 2) Panning violins to each side - as Todd Wilcox suggested this can result in the violins still being 'in the mix' but the vocals ...


1

A stereophonic signal gives you a much better starting base since there is a simple correlation between the initial wave fronts and more information about the room transfer function. There are ways of removing the less phase-consistent elements you get in the reverb. However, the better you do this kind of reverb-removal, the more artifacts you get in the ...



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