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.
These programs all work on the same basis - they use samples, or recordings of sounds and instruments - as the building units in assembling a track. They also allow their users to manipulate every aspect of the track.
You need to have experience in mixing tracks to use this software properly. If you mix the tracks wrong, you won't be able to use them for their intended function, whether that is performance in public or for a vocalist to sing to. There are some common reasons why this is so.
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 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.
The superstar vocalist Nelly Furtado was once reported as saying that during a practice session the sound was so loud that the speakers started to emit smoke. This sounds like a celebrity joke but it is a reality in track mixing. Speakers do not have an automatic limit on their power output and they are able to blow themselves. You should never try to make up for the low output of your mixing speakers.
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.
These programs all work on the same basis - they use samples, or recordings of sounds and instruments - as the building units in assembling a track. They also allow their users to manipulate every aspect of the track.
You need to have experience in mixing tracks to use this software properly. If you mix the tracks wrong, you won't be able to use them for their intended function, whether that is performance in public or for a vocalist to sing to. There are some common reasons why this is so.
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 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.
The superstar vocalist Nelly Furtado was once reported as saying that during a practice session the sound was so loud that the speakers started to emit smoke. This sounds like a celebrity joke but it is a reality in track mixing. Speakers do not have an automatic limit on their power output and they are able to blow themselves. You should never try to make up for the low output of your mixing speakers.
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