These days, musicians make extensive use of music technology, not merely in recording their music but also in how they master and produce it. It is almost standard practice at present for even the superstars to employ artificial mastering and mixing techniques in their work. Assessing how they use these techniques will help you to understand how to make top quality mp3 WAV beats yourself.
The two phases in mixing tracks are the recording or sampling of the actual sounds, and then mixing and mastering them into the final track. Sometimes, musicians use live instruments to record the track, but others simply put the entire track together using synthetic techniques. To draw a distinction, backtracks are those which are sung or dubbed over by the live musicians, while a track itself is the entire song or piece of music. Musicians might follow these two steps in that order, or use them interchangeably as they work on and perfect a track.
If you are making beats, and nothing else, then you are probably going to use mostly software to do so. This software is not new, and there are various brands. It is not sensible to recommend a specific one, since you will need to assess them and decide for yourself what you prefer.
The standard format of these programs is for the user to arrange samples (recordings of instruments or other desired sounds) to form the track, much like construction units. At the same time, the user can edit or tweak different aspects of the sound.
Inexperienced people sometimes do not understand how to mix a track using such software. They then mix tracks which are not usable for their intended purpose, such as public performance or as backtracks for live musicians. There are several reasons why this happens.
One of the most significant is the way that not all speakers are the same. People who mix their tracks on a PC might be using ordinary PC speakers, which are typically smaller and low in their bass output. The user cannot determine the true bass power of the track on these speakers and so they try to compensate for what they perceive as low output by amplifying the bass component of the track. They find out how wrong they are when the track is played on a much larger, more powerful public speaker system - the track is incomprehensible, the speakers distort, or they are destroyed by the excessive power of the track. This is known as "blowing" the speakers.
You should therefore try to stay aware of the power output of the speakers that you use to mix. A track that sounds low power on them might actually be entirely adequate when played on a PA system. Some tactics, such as part doubling (using two identical channels for the same sample) or the more standard amplification options, are usually not necessary, or should only be used if you know what you are doing.
The famous pop musician Nelly Furtado once reported that the speakers started to smoke during a rehearsal session. It might sound strange, but speaker equipment does, in fact, have the capacity to damage itself. There is no automatic or built-in limit on its output, so you should never try to compensate for weaker equipment or sound output during mixing.
The two phases in mixing tracks are the recording or sampling of the actual sounds, and then mixing and mastering them into the final track. Sometimes, musicians use live instruments to record the track, but others simply put the entire track together using synthetic techniques. To draw a distinction, backtracks are those which are sung or dubbed over by the live musicians, while a track itself is the entire song or piece of music. Musicians might follow these two steps in that order, or use them interchangeably as they work on and perfect a track.
If you are making beats, and nothing else, then you are probably going to use mostly software to do so. This software is not new, and there are various brands. It is not sensible to recommend a specific one, since you will need to assess them and decide for yourself what you prefer.
The standard format of these programs is for the user to arrange samples (recordings of instruments or other desired sounds) to form the track, much like construction units. At the same time, the user can edit or tweak different aspects of the sound.
Inexperienced people sometimes do not understand how to mix a track using such software. They then mix tracks which are not usable for their intended purpose, such as public performance or as backtracks for live musicians. There are several reasons why this happens.
One of the most significant is the way that not all speakers are the same. People who mix their tracks on a PC might be using ordinary PC speakers, which are typically smaller and low in their bass output. The user cannot determine the true bass power of the track on these speakers and so they try to compensate for what they perceive as low output by amplifying the bass component of the track. They find out how wrong they are when the track is played on a much larger, more powerful public speaker system - the track is incomprehensible, the speakers distort, or they are destroyed by the excessive power of the track. This is known as "blowing" the speakers.
You should therefore try to stay aware of the power output of the speakers that you use to mix. A track that sounds low power on them might actually be entirely adequate when played on a PA system. Some tactics, such as part doubling (using two identical channels for the same sample) or the more standard amplification options, are usually not necessary, or should only be used if you know what you are doing.
The famous pop musician Nelly Furtado once reported that the speakers started to smoke during a rehearsal session. It might sound strange, but speaker equipment does, in fact, have the capacity to damage itself. There is no automatic or built-in limit on its output, so you should never try to compensate for weaker equipment or sound output during mixing.
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