What are your tips for max­imis­ing the power and en­ergy in your own tunes?

Computer Music - - Burning Question -

Andy Buchanan

“Some­times I like to use a lay­ered synth patch with both pad and lead type sounds, and au­to­mate the bal­ance be­tween them go­ing into or out of a sec­tion.”

Daniel Arends­dorf Bengt­sen

“Cut out the peaks on your sub bass with a lim­iter to make it fat­ter. Use tran­sient de­sign­ers and ex­citers on your drums (but not the kick) to make them punchier and more glued at the same time.”

Ste­fan Sido

“Play the damn in­stru­ment! Don’t quan­tise, al­low sub­tle tempo changes, never copy and paste cho­ruses!”

Lauri Pal­lo­nen

“Du­pli­cate, for ex­am­ple, a lead, pitch it up 12 semi­tones and toss a trance­gate af­ter it.”

San­dro Groove Mind

“Use mid/side EQ, cre­ate ghost chan­nels for sidechain­ing, don’t use to many FX.”

Rod­ney Spence

“Con­sole em­u­la­tion for ana­logue sum­ming and tape em­u­la­tion. They’re very sub­tle ef­fects on the over­all sound, but if done on the right sounds and in the right way, they can give en­ergy.”

Nick Abreu

“Master seper­ately for the al­bum and for tracks you spin live. We have a ten­dency to over­com­press to make an al­bum sound big and loud on a home stereo, but odds are, if you play your tracks live at a con­cert venue, the PA sys­tem will have enough power to give you the head­room your tracks need to be dy­namic.”

Emil­iano DiegoFranceskides

“Choose the right sam­ples – from pro­duc­ers who’ve al­ready got it right if nec­es­sary. Use a mul­ti­tude of com­pres­sors, all com­press­ing a lit­tle bit rather than a few com­press­ing loads. Re­sam­pling with dis­tor­tion.”

AnDrue Humphrey

“Par­al­lel com­pres­sion on drums… and other in­stru­ments, if it lends it­self well.”

Char­lie Grey

“I only ever re­ally use EQ to re­move an­noy­ing fre­quen­cies; sat­u­ra­tion and dis­tor­tion is bet­ter than boost­ing with EQ.”

Dance of the Atomic Struc­ture

“Some­times it’s fun to copy an evolv­ing tex­ture or pad track, ap­ply a ran­dom­ized sam­ple slicer and a band pass fil­ter. It adds a touch of rhyth­mic glitch.”

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