Space?

[superstardj01]

Hi,

How can i give each sample in a tune ive made its own space to make it sound more polished?

[thecontrolcentre]

Good mixing.

[MogwaiBoy]

At your disposal:

- Panning, left to right
- Volume, quiet to loud
- Reverb, front to back depth
- EQ, opening frequency spaces

[Mister Natural]

I'd also add the old adage : less is more (fewer instruments/voices/processing)

[Unaspected]

Low pass filters can also be used to add depth.

In general you'll want to reduce frequency masking to create space. If you are working with sounds that clash but also operate separately elsewhere in the track, you can use an envelope follower to control a peak filter so that one signal only attenuates masking frequencies in another signal when played together.

[annode]

Ultimately it all comes down to compression.
Acquire a good understanding of how compressors work and why they do those things.

[simon.a.billington]

At your disposal:

- Panning, left to right
- Volume, quiet to loud
- Reverb, front to back depth
- EQ, opening frequency spaces

- Compression & Transient Shaping
- Harmonic Saturation
- Doubling

This will help with adding presence to instruments as well to help them to cut.

Not everything is usable or relevant, but it is really a little bit of several things that makes the difference.

There are tools around that can help stream line this process, providing you have the budget for it.

[xoxos]

you want your sound to be shinier not polisheder

all of these posts are good advice but they are different. i rarely use compressors.

i mean, i can read your post and reinterpret it as 'definition' or 'character'. some sounds i use aren't there to stand out and can be very obscurely defined, but work in combination - 'presence' for me is often about some perceptible high frequencies. but aural composition isn't hard and fast, your creation may have its own set of rules. staying flexible in definition helps to adapt conception to what you've actually got in samples. the more techniques you have in play can lead to more options, hopefully ones you know how to avail.

[Hermetech Mastering]

Experience

[simon.a.billington]

If you've got a few dollars to spend and don't mind a simplified/streamlined solution you could always try the Greg Wells Signature Series, Parallel Particles or the Black Box HG-2

If your tracks/samples are already harmonic rich adding more harmonics probably won't help. Subtractive eq, reverb, delay are probably your best bet then.

[xoxos]

music is a spectral event, meaning time and frequency.

it is also a cultural event, meaning representation.

it is also a bunch of other kinds of events constructive complexity, CMD paradigm and all.

so, if you make space in one kind, it has space. if you make space in frequency, it has space. it may not have space in time as well as frequency, but space in frequency is still space, and perhaps strongly so.

and so forth, the sound may have strong semantic definition, eg. in a room full of people talking, a fart *may* have similar spectral and temporal characteristics, but may be singular in a cultural context, same for swearing.

third example, space in time, but common spectrality. still well defined. eg. call-response form, when repeated, you expect something at a certain time, and expectation gives space, definition, to a sound.

so there is as much space to be found as there is space you can create. introduce a new context, introduce a new dimension to exhibit.

[Mister Natural]

^ I LOVE your posts Rurick ! Your language regarding this electronic music of ours is so very poetic & inspirational

thank you for your contributions up in here

peace

[JerGoertz]

^ I LOVE your posts Rurick ! Your language regarding this electronic music of ours is so very poetic & inspirational

thank you for your contributions up in here

peace

Yeah, too I like xoxos' perspective a lot of the time. Thanks Rurick, interesting stuff.

[xoxos]

so you know what's interesting about the music industry right

like the 'beautiful era' oscillator - right under your nose but never seen.

people ignore eg. adze/stoooner despite the simple and obvious concept of applying a fourier transform ot the sample, which makes it much more versatile than any other sampler, up to the top of the industry.

what's more i tell you -

take your percussion sample. do a rudimentary fft of a louder part of the sample, eg. the front part, take the magnitude, and

instead of being your basic buttfuck who only does things out of a book, you apply a simple random number and write new phase information.

because of fourier theory, you are left with a strip of audio of say.. 4096 samples, that loops seamlessly. unless you get a really fortuitous string of random numbers or have very sparse spectral weights, the result will be a continuous sounding block of noise with the spectrum of the sample. like a block of noise that sounds like the snare drum.


now, you take your original percussion sample and analyse the amplitude contour of the sample in time. you use this envelope to amplify the signal in the block o noise file, and start playback of the file at any point, to generate an animated version of the sample.

simple.

you could control the sample playback to create recallable variations. and of course, many spectral functions can be easily performed in analysis. after the source file is analysed, the actual sample playback is about as inexpensive for cpu as normal sample playback.

but where is this in the market? it's such a basic idea and it works to bring animation to sample quality realism.

[andymcbain]

Ultimately it all comes down to compression.
Acquire a good understanding of how compressors work and why they do those things.

Erm, does it? Could you elaborate?