The use of technology, software and electronic devices is part and parcel of modern music, and even the most popular musicians use these techniques liberally in their tracks. They either use them to produce the actual sounds, or in the mixing and mastering of the released music. By looking at how they do this, you can understand how to produce better or top quality mp3 WAV beats.
In making synthetic music, there are two steps. The first is the recording or production of the actual sound. Some musicians use live instruments, while others produce the sound entirely using technology. A backtrack is merely used as backing for live performance, while a track is the entire piece or song. The next step is to master or mix the track so that it can be released in its finished form. Some music involves these two steps simultaneously, or alternating all the time.
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.
Usually, these programs will present you with a layout of the track that allows you to add or remove samples (pre-recorded sounds, such as instruments) as building units, as you desire. You can also edit or manipulate the sounds in different ways.
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 important factor is the speaker equipment that you use to mix your tracks. If you are using a computer, the PC speakers might be small and low-power, without much bass. This encourages people to "over-amp" or excessively amplify the bass of their tracks. The disaster starts when the tracks are played on a much larger system, such as a public PA system: the bass is so powerful that it makes the track inaudible, the speakers distort, or they are even destroyed (they "blow"). Inexperienced users do not always understand how much power a sample has until it is played on a more powerful system. Their tracks are thus unplayable.
You should always try to maintain awareness of the relative power of the speakers that you are using to mix your tracks. Sometimes, a track might sound weak on the speakers at home, but on a professional PA system it is perfect. Tactics such as part doubling (mixing a double channel for a specific sample or instrument) or "amping" should be used sparingly, since they are seldom necessary.
Nelly Furtado, the legendary pop singer, once stated that she managed to make the speakers smoke during a practice session, literally. Despite assumptions otherwise, speakers can indeed destroy themselves. They are not made with any restriction on the power of their output, so you should not mix your tracks to compensate for the relatively smaller speakers that you are using at the time.
In making synthetic music, there are two steps. The first is the recording or production of the actual sound. Some musicians use live instruments, while others produce the sound entirely using technology. A backtrack is merely used as backing for live performance, while a track is the entire piece or song. The next step is to master or mix the track so that it can be released in its finished form. Some music involves these two steps simultaneously, or alternating all the time.
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.
Usually, these programs will present you with a layout of the track that allows you to add or remove samples (pre-recorded sounds, such as instruments) as building units, as you desire. You can also edit or manipulate the sounds in different ways.
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 important factor is the speaker equipment that you use to mix your tracks. If you are using a computer, the PC speakers might be small and low-power, without much bass. This encourages people to "over-amp" or excessively amplify the bass of their tracks. The disaster starts when the tracks are played on a much larger system, such as a public PA system: the bass is so powerful that it makes the track inaudible, the speakers distort, or they are even destroyed (they "blow"). Inexperienced users do not always understand how much power a sample has until it is played on a more powerful system. Their tracks are thus unplayable.
You should always try to maintain awareness of the relative power of the speakers that you are using to mix your tracks. Sometimes, a track might sound weak on the speakers at home, but on a professional PA system it is perfect. Tactics such as part doubling (mixing a double channel for a specific sample or instrument) or "amping" should be used sparingly, since they are seldom necessary.
Nelly Furtado, the legendary pop singer, once stated that she managed to make the speakers smoke during a practice session, literally. Despite assumptions otherwise, speakers can indeed destroy themselves. They are not made with any restriction on the power of their output, so you should not mix your tracks to compensate for the relatively smaller speakers that you are using at the time.
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