Im a bit sick of the "silence before drop" i understand the mechanic, it's everywhere, too much. But the thing is that you can do this effect while mixing in live so it doesnt have to be in every track. I know that the build up is important and of course you need it, but there is multiple creative way to create tension so don't fall in the same trick everytime !
Great tips! Thanks for posting! One of my favorite tips is from DJ Rap: Turn your mains all the way down until you barely hear anything. Listen closely and whatever you hear the most, turn it down. Repeat. Then turn your mains back up and make slight adjustments as needed. This helps eliminate dominating sounds that break the mix. Also Deadmau5 does a lot of work on sonically separating sounds in his tracks, such that different sounds have bandpass, low pass or high pass to avoid stepping on each other. e.g. your clap should not have low frequency components, so filter out anything below 200hz, etc. :D
@@djestrela2 I guess it's really a matter of taste/choice; I certainly don't care for long breaks; I can't even think of any genre music I care for a long break - quick pauses I kinda tolerate, but prefer a mostly or all continual flow - I'm usually fine without any breaks.
He probably said such nonsense because he was generalizing based on his own experience, because he is so wise and knowledgeable. Obviously, this is the case in mass production, where the most unique musical productions flow from the assembly line. Also, because the audience knows 3 numbers in advance when and what part of the music should follow. The current up-and-comer, let's call him DJ Serial Killer, is trying to stand out by putting extra idle into music based on a recipe, because he expects a drop based on the same recipe to have a stronger effect... Then someone comes to introduce such a break, the audience is already sleeping, and then the explosion, which no one expected, took down the complex and half the county as well. 😏😌 ua-cam.com/video/TAs4G61bI-o/v-deo.html
Yes, I was wondering about that. I like the sound of wide basses but they may sound like crap in a club haha. And also, too much low end deadmau5 said that it will sound like a horrible roar/rumble in big club speakers. Not good. At the same time a too weak low end will sound lame in headphones.
@@Bonn5656the exact same sound coming from both speakers or headphones so everything sounds like it’s coming from the same place, it’s the opposite of stereo where you can hear where individual tracks are. Are you new to all this? Maybe you should start on some simpler videos until you’ve got the basics that everyone knows about
This was actually more informative than I expected it to be. I've been producing for about 30 years now and while I knew a few of the subjects you covered from personal experience there were a few points like "the exciters" that I'd previously overlooked. I'd been doing something similar but not quite to the extent you described. This video helped solidify some of my thoughts so thank you very much for sharing this.
"you cant play super energetic all the time" while showing a video from defqon where they play super energetic songs 4 days in a row and people have no issue keeping energy up lmao
One trick I found, adding on to the club simulating reverb, you can complete your whole song with the reverb on, only turning it off at the end or periodically to check the raw mix. It helps to pick out the sounds that don't really work in that dynamic and remove them before spending time on something that won't work for the club
thanks again for covering this topic again. this is such a stressful topic for me, because I don't have the experience of how the club sound systems react :)
Hey Alice i really enjoy your content keep it up. I ve got back to producing a bit heavily after a really long life break and when i see a video like this one and i already applied most of these techniques before i checked the video i know im in the right track on learning in a better way. But usually i find a lot of gems in your videos and you help a lot. Thanks for everything
Something that was explained to me about reverb is it's like shading in visual arts. You don't notice it when it's done well, but you absolutely notice it when it's too much or not there at all.
The point is that you have to use it consciously, just like the dynamics processors. As long as someone keeps turning the knobs on them because they think it's enough to rely on their ears, all without theoretical knowledge... Well, that person has no idea what they're actually doing...
Thank you so much for making and sharing these videos with us!! I watch a LOT of educational music production videos, and yours truly provide a unique insight -- very helpful and engaging! I had never heard of you prior to finding one of your videos a few weeks ago, very lucky stumble! -- and your music is absolutely fantastic! That much im sure you already knew, but i was late to the party so i figured id say that here now too 😅🥳
You are wonderful.. because of your high level competence and experience in this field... much respect.. even I'm not a DJ or play in clubs.. it is very interesting and understandible knowledge that I don't want to miss ... I'm just a tech nerd who knows how to program a 303 or 909.. and how a modern sequencer works like cubase or cakewalk... keep up the high qualitry content and what you are doing... it is lovely.. I hope I can see you playing music in a club some day
THESE ARE AMAZING!!! Two questions if you will=> - Clubs differ around the world, even in the same town. How do you find the optimum mix that would work in all of them or at least all of them? - What would be difference between HOOK and the LEAD? They are boıth melodic elements so, how do you differentiate?
Thanks for great tips, hearing the comparison from the track and how it sounds in the club, less is more, i test the track in mono also & test my track in headphones and loud speakers before it goes onto radio, or re I imagine In the crowd, Im DJ myself & how Will they react, they react to your energy and vibe,it’s depends on the track and your crowd, Trance need longer build ups to build tension don’t forget your -14 LFU, so don’t hit red
The tip about club reverb is interesting, but if we force ourselves to not put too much reverb in case the track is played in clubs, there is a risk the track sounds too "dry" when played on radio/CD ? I suppose the DJ's don't play a special version of commercial songs just mixed for clubs?
Hej Alice and everyone. I Said before that i am trying to make music and mixes but it is hard when the music ear is not top notch. So i made like this i take a ( gitarr stämnings hjälp ) i put it on one speaker and voilà it accuratly shows me the Tones so now i can make right Tones when building a mix or reloop. Hopfully this can help other beginners like me also. Best regards Michael. Ps thanks for your work Alice 👍🎶👏
Dear Biskuwi, I like your videos...but even much more your music. Could you do more personal videos about your creative process and how you've built some of your masterpieces? Cheers from Paris
Interesting topic, Alice, and for me, what's most interesting are the technical differences between mixing/mastering for a living room and a club. You did touch on that with some comments about reverb, but I would certainly like more content in that direction. So, how do you deal with EQ and compression when mixing for clubs, for example?
your stuff is a fresh air out of similar channels on this platform... well done.. i always learn a lot and i enjoy the overal presentation.. very cool... if i ever do a festival again, you are my top priority... thank you
Also, make sure to ram everything in the limiter. Dynamics are to be avoided at all costs. Everything needs to be equally maximally loud on pure amplitude levels. This means any breaks or intermissions without rhythm backing, like a-capella parts or synth buildups, must be turned up to absolutely brain-meltingly, tweeter-coil-smokingly high levels. Corollary, the bassdrum needs to violently flatten everything else audibly with every beat so that said everything else needs to pump back up after every beat. Remember, if sidechain compression isn't yet conveying a sensation of having toilet plungers pumping on your ears, you are not using enough of it.
Great video, it seems like we are all making music with the same 10 vocal samples off splice though ☠️ even loopmaster has all the same vocals haha, I think we need to start giving some singers more business
may I add: be conscious about your high end. some crash- or clap heavy parts can really hurt in the club if they got sausaged to the levels you need for your bass. this is a mastering issue, but can also be a DJ mess-up or bad resonant rooms. so not always 100% under your control, yet something to keep in mind.
its not only a mastering issue. the mix might sound fine on its own but the limiter brings up the high end a bit so it becomes too much. i master my own tracks so i return to the mix and reduce the levels of things becoming too loud in the highs as a result of the compression from the mastering chain.
@@FreeDooMusic I think we mean roughly the same, you said it better. I haven't mastered not mixing mixing and mastering, yet. yeah, the earlier in the chain you catch the problem, the better.
Great tips ! When using the club simulator preset, do you listen in mono (preceding it with eg a Utility with mono on). Assuming that most club systems are mono ?
the first example, adding the vocal in the break ruins the drop. as the vocal of the song says if want to be my lover, you got to love the bass. an old method is record scratching for the ircha ircha or schra shawich then boom boom boom. but if you ad the vocal there in that place your vocals are now off beat and out of sequence in addition to modifying lyrics. another thing that could be done is a 1/8th bar of full silence for a dead drop... or if you wanted to do an effect, for the tones following a drop, a rewind would be prefect there before the boom boom boom. because the they synth organ already does the - -_ _==_ with the words... so it goes, - -_ _==_ if you want to be my lover... - -_ _==_ you got to love the bass, - -_ _==_ empty, then rewind, bomm bomm bomm. sample it, check it... u'll see im right. 2nd example with the hitat, that is just wrong. as there was no other use of hitat so it is rythmitically out of precusison sequence. because even if you were to have a clash of a symbol in the 2nd example. there is no soft hit, there is no ribbon ringing, as you would need that formerly to build into clash of a big symbol. yes you can do the same thing with a percussion hitat. going tat, tat, tat, tat, tat tat tat, tat tat tat, drop, then tat tat tat tat tat tat, bomm bomm bomm. but not formerly having the buildup, on top of the drop with a delayed to the beat drop. so problem in the 2nd example is drop delay drop. whcih is good if you want to throw off your audiance. so instead of a 96/98bpm too 99-108bpm jump. so instead of doing a 5-10 bpm esseclations to get people amped, the double delay with a bigger drop to faster pace can double going +10-+15bmp being closer to 106-113bmp. where a single drop is a normal beat increase goin up too about 105bpm which can be done between songs or within a song. but where adding something in the double delay breaks the double jump, to hit 109bmp. so the whole point in the double break is a delay to prepair the hearts for going faster, as half way threw the first song you get a double jump and really sets the pace for the show, getitng up too getting up too 122 or 125bpm at the start of 2nd song aka 1st song transitions. then the second song should be shorter then the long first with double break, then by time you hit the 3rd song 2nd transitions you are at 132-134bpm. where 90% of most eletro dance music is in this bpm range. ie. 6min song with 2min intro, 3.2min song, then 4min song. first 15min instead of 20-24min, and ur already at 134bpm. then you do smaller 2.4min song a transition piece with +2 or +5 where its going faster but doesnt seem like it. then when you start song 5, you can scratch song 4 segments into the intro. this is called pushing the top. then you cut loose and let the song run full speed then 22min you are at 154bpm. at the half way marker of a full set. because you dont wanna do a double drop with delay when you get up to high bpm. because it breaks the flow. you are correct about the tone, reverb, and echo effect. as this is something every live performance has to be mindful of pending if it is a airplane hanger, open stadium, or if its in a bombshelter. ect ect. different venues has different effects. something else to also consider is material of the venue. because an airplane hanger is mostly tensile metals and vibrate alot and have different waw effects for base tones and can sound like buzzsaws with too much. where an open field in a stadium with dirt and grass with a stone collusum isnt the same as burning man desert on lime rock. where inside a bomb shelter is vast rebarred concrete and doesnt move. as not only do you need correct tone, reverb, and echo cancelations. but you also need appropriate waw effect to make the walls vibrate with every pulsing beat. where instead of speakers, sometimes the solution if no-cone 1ohm transducers installed into the grounds, to really make the earth shake. where if the walls dont bounce and the titties dont shake... it aint gonna be a good show. where just getting more speakers does not solve the problem, and at times can make it worse. as hearing the music isnt enough, you have to feel the music move you! and that is how you get the binzine and dopamine to flow naturally from the crowds hippocampus. because music, is, a healing element! bomm bomm bomm!
i remember when people use to say doing double beat drops were terrible. and then tiesto did a penta beat drop, with those buzsaws. da, da, da, da...silence on the 5th... repeat 5 times BOOM BOOM BOOM BOOM BOOM BOOM repeat then stall. then coppied by avicii doing revert flipback bends. but nothing was as good as that first live Flight 643. ua-cam.com/video/QblQ3GqM5CI/v-deo.html the drop sequence runs for a full minute then stalls for 15sec... building it up even more the entire time. and hearing it live when it was 12min42sec... magnifico' why hes one of best.
I'm throwing a festival (Oct 2024)! Tickets here: www.mercurialtones.com/event-details/mercurial-tones-boutique-festival
💗💗
I couldn't believe it when I clicked on the link and saw Andrea Botez at the top of list: I had no idea she was a DJ / music-maker!
Im a bit sick of the "silence before drop" i understand the mechanic, it's everywhere, too much. But the thing is that you can do this effect while mixing in live so it doesnt have to be in every track. I know that the build up is important and of course you need it, but there is multiple creative way to create tension so don't fall in the same trick everytime !
that makes managing fx tails a pain
I like it I don’t think it’s too bad
Great tips! Thanks for posting! One of my favorite tips is from DJ Rap: Turn your mains all the way down until you barely hear anything. Listen closely and whatever you hear the most, turn it down. Repeat. Then turn your mains back up and make slight adjustments as needed. This helps eliminate dominating sounds that break the mix. Also Deadmau5 does a lot of work on sonically separating sounds in his tracks, such that different sounds have bandpass, low pass or high pass to avoid stepping on each other. e.g. your clap should not have low frequency components, so filter out anything below 200hz, etc. :D
I have no idea how I got here and I have no clue what you are talking about, but you are drop-dead gorgeous! Subscribed!
Great tips! One other is from deadmau5: keep your bassdrum lowends short or you will end up with resonating boooom boooom booooms in the clubs 😊
unless you make techno then this is desirable on many tracks that have a rumble kick style vibe
boom is for the car when you are cruising down 6th street waking up all the chicken heads
@@soulpath1 yeah, but when you listen to properly produced techno, you will feel waves of bass, not a static low-end, so the rule still applies.
"Too long breaks is the vibe killer" - Bene Gesserit EDM
This is not the case in Trance music.
@@djestrela2 I guess it's really a matter of taste/choice; I certainly don't care for long breaks; I can't even think of any genre music I care for a long break - quick pauses I kinda tolerate, but prefer a mostly or all continual flow - I'm usually fine without any breaks.
He probably said such nonsense because he was generalizing based on his own experience, because he is so wise and knowledgeable. Obviously, this is the case in mass production, where the most unique musical productions flow from the assembly line. Also, because the audience knows 3 numbers in advance when and what part of the music should follow. The current up-and-comer, let's call him DJ Serial Killer, is trying to stand out by putting extra idle into music based on a recipe, because he expects a drop based on the same recipe to have a stronger effect...
Then someone comes to introduce such a break, the audience is already sleeping, and then the explosion, which no one expected, took down the complex and half the county as well. 😏😌
ua-cam.com/video/TAs4G61bI-o/v-deo.html
For people looking for “exciters” mostly they are called fills / drum fills if you want something from splice or another sample bank
Free drum fills or "breaks" are all over the internet too!
Risers... hesitaters... anticipaters..anticipates... fallers...
Excellent video, you explained things so well. Was really super cool to see the effect of the transitions on the audience in the club setting
OMG the bass on that collab with Andrea sounds amazing!! I hope you release the whole song :)
Wishing you all a happy easter
Happy Easter ❤
Very instructive as always. Thanks for sharing great content Alice.
Awesome video as always you a great teacher thank you 🎉
7:50 i wanna know where to find that music plsss
Always check ur tracks in mono before release!
Yes, I was wondering about that. I like the sound of wide basses but they may sound like crap in a club haha. And also, too much low end deadmau5 said that it will sound like a horrible roar/rumble in big club speakers. Not good. At the same time a too weak low end will sound lame in headphones.
What do you mean in mono, on one side of the headsets on left only for example?
@@Bonn5656 Same signal from both channels, you can do it by putting a utility on your master and tap the mono button
Just with one monitor is considered mono?
@@Bonn5656the exact same sound coming from both speakers or headphones so everything sounds like it’s coming from the same place, it’s the opposite of stereo where you can hear where individual tracks are. Are you new to all this? Maybe you should start on some simpler videos until you’ve got the basics that everyone knows about
This was actually more informative than I expected it to be. I've been producing for about 30 years now and while I knew a few of the subjects you covered from personal experience there were a few points like "the exciters" that I'd previously overlooked. I'd been doing something similar but not quite to the extent you described. This video helped solidify some of my thoughts so thank you very much for sharing this.
Thanks
Thank you for the super ❤️
"you cant play super energetic all the time" while showing a video from defqon where they play super energetic songs 4 days in a row and people have no issue keeping energy up lmao
I just stumbled on your channel. Awesome insights. Followed your Spotify link and realized I have had some of your songs in my liked playlist.
Cool 😎
"when and how to remix/re-arrange a track for your DJ set" could also be an interesting video
i just start mixing ..ua-cam.com/video/hf8KFrzVeh0/v-deo.html
Great vid as always! Simple, effective, straight to the point!
This is killer thanks for the perspectives - the music AND video production are top notch!
WOW. First video of yours that Im watching and I'm blown away by your sound. You immediately gained a new subscriber Thank you for sharing!
One trick I found, adding on to the club simulating reverb, you can complete your whole song with the reverb on, only turning it off at the end or periodically to check the raw mix. It helps to pick out the sounds that don't really work in that dynamic and remove them before spending time on something that won't work for the club
thanks again for covering this topic again. this is such a stressful topic for me, because I don't have the experience of how the club sound systems react :)
Can we give a big thumbs up for the track at 3.40... Mayan, that one hits you right in the face and stomach!
Really great video, Alice!
Face and stomach??? Nah, I want it to hit me in the anterior wall of my left kidney.
the octave increase after a release in hi cut fr a drop is actually impressive, sounds lit 🔥
Excellent video skills, this is very well produced!
Hey Alice i really enjoy your content keep it up. I ve got back to producing a bit heavily after a really long life break and when i see a video like this one and i already applied most of these techniques before i checked the video i know im in the right track on learning in a better way. But usually i find a lot of gems in your videos and you help a lot. Thanks for everything
great tips! never thought about the reverbthing in clubs. nice one!
Something that was explained to me about reverb is it's like shading in visual arts. You don't notice it when it's done well, but you absolutely notice it when it's too much or not there at all.
The point is that you have to use it consciously, just like the dynamics processors. As long as someone keeps turning the knobs on them because they think it's enough to rely on their ears, all without theoretical knowledge... Well, that person has no idea what they're actually doing...
REALLY good video!! using your own tracks to show winners and losers is AWESOME!!
Your videos feel like watching a magician revealing her secrets. That's so awesome, thanks for sharing your knowledge! Love your tracks on Spotify :)
You looking so happy when you explain something.
Like your tips, thx for it
Thank you so much for making and sharing these videos with us!! I watch a LOT of educational music production videos, and yours truly provide a unique insight -- very helpful and engaging!
I had never heard of you prior to finding one of your videos a few weeks ago, very lucky stumble!
-- and your music is absolutely fantastic! That much im sure you already knew, but i was late to the party so i figured id say that here now too 😅🥳
You rock !
I found your guide to structuring the music really interesting
( Subscription left here )
✌
The “club simulator” idea blew my mind!!
You are wonderful.. because of your high level competence and experience in this field... much respect.. even I'm not a DJ or play in clubs.. it is very interesting and understandible knowledge that I don't want to miss ... I'm just a tech nerd who knows how to program a 303 or 909.. and how a modern sequencer works like cubase or cakewalk... keep up the high qualitry content and what you are doing... it is lovely.. I hope I can see you playing music in a club some day
i rarely make edm anymore but i watched you when i started (with edm) and i still watch cause you have great info regardless of genre!
Is the the track we hear at the 'club reverb' part released? It sounds so good! And thanks for the great tips!
Found it, it is Dune, Andrea Botez :)
hi :) new to your channel.. could you pls share what is the song at 7:00 :) absolutely loved it
Welcome aboard! ✨ it is “biskuwi - Inside My Head “
THESE ARE AMAZING!!! Two questions if you will=>
- Clubs differ around the world, even in the same town. How do you find the optimum mix that would work in all of them or at least all of them?
- What would be difference between HOOK and the LEAD? They are boıth melodic elements so, how do you differentiate?
Super useful composition tips hidden here too. the Live footage of how it works is brilliant!!!!!!
Thanks for great tips, hearing the comparison from the track and how it sounds in the club, less is more, i test the track in mono also & test my track in headphones and loud speakers before it goes onto radio, or re
I imagine In the crowd, Im DJ myself &
how Will they react, they react to your energy and vibe,it’s depends on the track and your crowd, Trance need longer build ups to build tension
don’t forget your -14 LFU, so don’t hit red
Wow. You are amazing. Thanks for all your work and advice.
Great video Alice, thank you!
The tip about club reverb is interesting, but if we force ourselves to not put too much reverb in case the track is played in clubs, there is a risk the track sounds too "dry" when played on radio/CD ? I suppose the DJ's don't play a special version of commercial songs just mixed for clubs?
i think it's all about balance
Hej Alice and everyone. I Said before that i am trying to make music and mixes but it is hard when the music ear is not top notch. So i made like this i take a ( gitarr stämnings hjälp ) i put it on one speaker and voilà it accuratly shows me the Tones so now i can make right Tones when building a mix or reloop. Hopfully this can help other beginners like me also. Best regards Michael. Ps thanks for your work Alice 👍🎶👏
Dear Biskuwi, I like your videos...but even much more your music. Could you do more personal videos about your creative process and how you've built some of your masterpieces? Cheers from Paris
Interesting topic, Alice, and for me, what's most interesting are the technical differences between mixing/mastering for a living room and a club. You did touch on that with some comments about reverb, but I would certainly like more content in that direction. So, how do you deal with EQ and compression when mixing for clubs, for example?
its helped me immensely. Now the 6 people who hear my track will know it would sound just as crap in a club
Alice, please release this ID, I totally need it!
thank you! Though which one? 😊
@@Alice-EfeIt's all superb but I fell in love with this piece 2:16
You should make a club simulator plugin with acoustica or someone of this sort... great demonstration!
Great advice sir. ty.
your stuff is a fresh air out of similar channels on this platform... well done.. i always learn a lot and i enjoy the overal presentation.. very cool... if i ever do a festival again, you are my top priority...
thank you
Good as always! 😊
Sounds really f.... good!
3:12 - Yup, EVERY club I ever went to!
Also, make sure to ram everything in the limiter. Dynamics are to be avoided at all costs. Everything needs to be equally maximally loud on pure amplitude levels. This means any breaks or intermissions without rhythm backing, like a-capella parts or synth buildups, must be turned up to absolutely brain-meltingly, tweeter-coil-smokingly high levels. Corollary, the bassdrum needs to violently flatten everything else audibly with every beat so that said everything else needs to pump back up after every beat. Remember, if sidechain compression isn't yet conveying a sensation of having toilet plungers pumping on your ears, you are not using enough of it.
I fear the irony may actually be lost on some...
@@silkwesir1444 Sadly, yes, as aptly demonstrated by too many exhibits in contemporary club music.
Great video, it seems like we are all making music with the same 10 vocal samples off splice though ☠️ even loopmaster has all the same vocals haha, I think we need to start giving some singers more business
Wow! What is that track from The club reverb part? Sounds 💥💥💥
Good info. Subscribed.. will dig through more of your videos later.
may I add: be conscious about your high end. some crash- or clap heavy parts can really hurt in the club if they got sausaged to the levels you need for your bass.
this is a mastering issue, but can also be a DJ mess-up or bad resonant rooms. so not always 100% under your control, yet something to keep in mind.
yeah, left some clubs already cause their mixes REALLY hurt in the ears cause the highend was just wayyy too loud and crash-heavy
its not only a mastering issue. the mix might sound fine on its own but the limiter brings up the high end a bit so it becomes too much. i master my own tracks so i return to the mix and reduce the levels of things becoming too loud in the highs as a result of the compression from the mastering chain.
@@FreeDooMusic I think we mean roughly the same, you said it better. I haven't mastered not mixing mixing and mastering, yet.
yeah, the earlier in the chain you catch the problem, the better.
Very good video. Thank you.
Very insightful! 💯
Great tips !
When using the club simulator preset, do you listen in mono (preceding it with eg a Utility with mono on). Assuming that most club systems are mono ?
oh but they dooo lol. great stuff, great vid, that bathroom test never dissapoints...thanks.
The "club simulator" got me! hahaha jokes aside, it's an amazing tool!
Super smart & Super music!
Great video. Super useful.
What is the song you play in the reverb section?
3:08 sounds like a name for the edit: Trackname (Club Simulator Edit / Remix)
good video thanks for the tips ;)
Wow great stuff yalcin....Can you also do the How to Prepare a good DJ set topic too.,,thank you
in the groove example, at 5:00, the track that's more difficult to groove to, doesn't have side chaining on the kick.
Having a strong mono mix will get you 80% of where you want to be, all of the key elements need to be present.
Hi Alice. Could I learn the name of the song at 07:05? Thank you for contents.
It is an unreleased ID. It will come in June on Ritter Butzke Records. 😊
So your adding a pre build much like I have done with a White noise riser
Amazing vocal tips
What track at 7:50, @Alice-Efe?
great stuff thanks
Whats the site with the vocals where you chose Tina?
Ali this is Genius!!!!!!!!❤❤❤❤❤
the first example, adding the vocal in the break ruins the drop. as the vocal of the song says if want to be my lover, you got to love the bass. an old method is record scratching for the ircha ircha or schra shawich then boom boom boom. but if you ad the vocal there in that place your vocals are now off beat and out of sequence in addition to modifying lyrics. another thing that could be done is a 1/8th bar of full silence for a dead drop... or if you wanted to do an effect, for the tones following a drop, a rewind would be prefect there before the boom boom boom. because the they synth organ already does the - -_ _==_ with the words... so it goes, - -_ _==_ if you want to be my lover... - -_ _==_ you got to love the bass, - -_ _==_ empty, then rewind, bomm bomm bomm. sample it, check it... u'll see im right.
2nd example with the hitat, that is just wrong. as there was no other use of hitat so it is rythmitically out of precusison sequence. because even if you were to have a clash of a symbol in the 2nd example. there is no soft hit, there is no ribbon ringing, as you would need that formerly to build into clash of a big symbol. yes you can do the same thing with a percussion hitat. going tat, tat, tat, tat, tat tat tat, tat tat tat, drop, then tat tat tat tat tat tat, bomm bomm bomm. but not formerly having the buildup, on top of the drop with a delayed to the beat drop. so problem in the 2nd example is drop delay drop. whcih is good if you want to throw off your audiance. so instead of a 96/98bpm too 99-108bpm jump. so instead of doing a 5-10 bpm esseclations to get people amped, the double delay with a bigger drop to faster pace can double going +10-+15bmp being closer to 106-113bmp. where a single drop is a normal beat increase goin up too about 105bpm which can be done between songs or within a song. but where adding something in the double delay breaks the double jump, to hit 109bmp. so the whole point in the double break is a delay to prepair the hearts for going faster, as half way threw the first song you get a double jump and really sets the pace for the show, getitng up too getting up too 122 or 125bpm at the start of 2nd song aka 1st song transitions. then the second song should be shorter then the long first with double break, then by time you hit the 3rd song 2nd transitions you are at 132-134bpm. where 90% of most eletro dance music is in this bpm range. ie. 6min song with 2min intro, 3.2min song, then 4min song. first 15min instead of 20-24min, and ur already at 134bpm. then you do smaller 2.4min song a transition piece with +2 or +5 where its going faster but doesnt seem like it. then when you start song 5, you can scratch song 4 segments into the intro. this is called pushing the top. then you cut loose and let the song run full speed then 22min you are at 154bpm. at the half way marker of a full set. because you dont wanna do a double drop with delay when you get up to high bpm. because it breaks the flow.
you are correct about the tone, reverb, and echo effect. as this is something every live performance has to be mindful of pending if it is a airplane hanger, open stadium, or if its in a bombshelter. ect ect. different venues has different effects. something else to also consider is material of the venue. because an airplane hanger is mostly tensile metals and vibrate alot and have different waw effects for base tones and can sound like buzzsaws with too much. where an open field in a stadium with dirt and grass with a stone collusum isnt the same as burning man desert on lime rock. where inside a bomb shelter is vast rebarred concrete and doesnt move. as not only do you need correct tone, reverb, and echo cancelations. but you also need appropriate waw effect to make the walls vibrate with every pulsing beat. where instead of speakers, sometimes the solution if no-cone 1ohm transducers installed into the grounds, to really make the earth shake.
where if the walls dont bounce and the titties dont shake... it aint gonna be a good show. where just getting more speakers does not solve the problem, and at times can make it worse. as hearing the music isnt enough, you have to feel the music move you! and that is how you get the binzine and dopamine to flow naturally from the crowds hippocampus. because music, is, a healing element! bomm bomm bomm!
i remember when people use to say doing double beat drops were terrible. and then tiesto did a penta beat drop, with those buzsaws. da, da, da, da...silence on the 5th... repeat 5 times BOOM BOOM BOOM BOOM BOOM BOOM repeat then stall. then coppied by avicii doing revert flipback bends. but nothing was as good as that first live Flight 643. ua-cam.com/video/QblQ3GqM5CI/v-deo.html the drop sequence runs for a full minute then stalls for 15sec... building it up even more the entire time. and hearing it live when it was 12min42sec... magnifico' why hes one of best.
It depends on a speaker system. If you have Function1, it cancels oit all the delays and reverbs
fake news
Nice tricks!
Bravissima!❤
Have you got a link to your latest Ableton Template with the playground etc. Thank you
what's the beautiful song called at minute 6? This is amazing
biskuwi - Inside My Head ✌️
@ thank you so much
Does anybody know the track Id at 8:18? Thanks (:
ua-cam.com/video/VWeptDZNtjk/v-deo.html
@@Alice-Efe Thank you (:
Been awhile Alice, love the hair.
I'm still stupid enough thinking that any good track is a success, no matter of technicalities.
That's exactly the face I make when I listen to techno 0:46
Hey, where/when will be your Kate Bush Remix will be released? Thanks in advance!
Alice is a great Man, great man voice haha
what is the name of the track ? DL link ?
Can you link your Massano System remix?
You're looking awesome blonde! Nice video!
Useful🎉🎹👍
i'd love to attend one of your sets. Im in the UK
I LOVE YOU
Tried to download the preset , it said broken and I couldn’t load it on ableton
you mean the link is broken?
@@Alice-Efe yeah it said that preset couldn’t load , the file is broken. Thats the message I got in ableton
@@ricknox469 Try downloading again. and you are having the latest version of 11?
@@Alice-Efe I tried downloading again, still the same issue and yes I have the latest version of 11
I have the same problem. I sais, it can only load audio effects, maby were installing it the wrong way?^^