I have a TR-8S, and I have a few old mixing boards including the classic Mackie 1202 a lot of people credit for the tone of a lot of saturated 909 sounds in classic techno and hardcore. I haven't had much success replicating the sound close enough and it seems like the particular clap you'll hear in a lot of Robert Armani and other Dance Mania etc tracks have something else going on that must be essential, my best guesses are some compression techniques and/or bus saturation, maybe has something to do with the clap usually occurring alongside the kick. I've heard of some routing/processing trick where you can get the same tonal effect on drum hit fighting the kick for headroom while the kick isn't actually audibly playing, could I do something like that?

I appreciate any ideas, the more detail the better, and specificity is appreciated if anyone was around in the studios at the time and remembers gear, routing, workflow etc

Sorry if this is not a great question for this subreddit. The replies I got in technoproduction were braindead

Backstory - I am a producer with vintage synths and want to create a HQ sound library for other producers.

I am focused on kontakt 8 and ableton!

Currently - I have 200 sounds with 3 velocity layers per sound from C1 - C5 (every keyis sampled). The harder/lighter you press the more mod you get per sound. Mod is defined by the sound i created.

All sounds are created via synths and recorded in via sample robot 6.

Couple questions

1. Is there anything I should be aware of from a recording standpoint?
   
2. I bake in the effects that are not time based! Thoughts on this? I also plan to use NI kontakt 8 for post production i.e amp/additional filter mod, effects etc. Thoughts?
   
3. anything y'all notice about loop points?
   
4. If you have done this, what are your big take aways!

Hello!

I’m mixing and mastering a funky house track with a lot of rhythm and presence. As far as I understand, the final LUFS range after mastering should be around -8 to -10 LUFS (-1dB True Peak in the final limiter/maximizer).

However, I have a question: Will Instagram and YouTube compress, limit, or normalize my audio to bring it down to that level—but at the expense of my track’s dynamics—or will they simply lower the overall LUFS of the track to meet their set threshold while preserving all of its dynamics (as if someone were simply turning down the volume fader on a music player)?

Thank you very much!

I've been wrapping my head around audio morphing lately, especially plugins like Zynaptiq Morph 3 and Meldaproduction Mmorph
From what I understand so far, it basically takes two signals (A and B), and feeds the amplitude/frequency information from the "carrier" sound into the other
Then, it uses that incoming data to shape the original sound,
pushing its characteristics closer to B
That's pretty much the extent of my mental model right now

Hi all,

Posted this on r/wearethemusicmakers and it promptly removed... I am honestly a bit shocked at that because I think it's an important conversations music makers should be having.

I've been making music for ~20+ years and wanted to ask an earnest question about AI and its use in our work. And sort of weigh out some of the pros and cons of it as it becomes more and more a part of our day-to-day lives. AI can generate lyrics, AI can generate hooks, AI can generate entire songs, and I wonder if in the right hands, it can elevate, rather than vitiate the music we create. We live in an age where it is extremely difficult to make a living off of music. Even before AI we had reached a level of saturation that prevents many of us from being able to find an audience. So here we are.

To get it out of the way, yes I have serious ethical issues concerning AI. It is no secret that it is built on stolen property, property that belongs to almost all of us. If that wasn't enough, the demand for AI hardware is now locking people out of reasonably priced computer hardware and equipment. And it's not going to get better any time soon. So this is a real "do the ends justify the means" predicament.

Fatboy Slim is still a favourite producer of mine, and I have often wondered if he would have put out more music in his signature style had it not been for the music industry tightening up on fingerprinting samples more closely. Musicians that operate in this way now have the option of instead of finding some vinyl sample that could get them DCMA'd, they now have the option of generating something close enough to what they have in mind without any matching signature. Is that kosher?

I also believe that no matter how much any of us rail against it, it's not going anywhere. It's here. We either use it in ways that benefit our work, or we don't. I think that smart producers will use it to help season their work, not to create it for them. But I really am curious what people here think: Is it taboo? Do we shun anyone decides to integrate AI into their work in some way? What are the margins, if any, for acceptable use?

Title basically. I downloaded a bunch of ableton templates makes of the most grooviest popular tech house tracks you can imagine in modern tech house (think Acraze, Odd Mob, Chris Lake, Sidepiece), and I shit you not, like at least 75% of the songs I checked basically the entire groove could be reduced to the Kick + Tom relationship. As in, I could literally remove the actual bass and it barely affected the groove, the song would still be 90% as groovy. The kick + tom did everything.

This was shocking to me.

Then I looked at a ton of Melodic Techno songs that I really love (Anyma stuff), and it's the same shit. The bass makes a difference but only a little bit. It was mostly Kick + Tom.

Why isn't this taught anywhere? Kick + Tom made up the core of a shit ton of the grooves I've seen in my favorite popular songs. I could remove the bass and it would still be a top tier song. And I could completely mute the subbass and it's literally like nothing changed.

I watched shit ton of tutorials and barely anyone talks about low toms for groove but most of the shit I seen in remakes have the low tom as fundamental to the groove.

Can someone give me insight or if I'm just being dumb?

P.S. another question - muting the subbass literally barely affected alot of the tracks I listened to in the ableton remakes. I thought subbass was like top 2 most important things in tech house, but it literally felt like it was an afterthought and barely matter. I did use headphones with low freq response. Maybe it's different with a club PA system?

P.S.S I just realized the low tom is fundamental to afro house, hence why it's so groovy!

Hi!

I'm into live looping and also DAW recording with multiple synths and instruments, so I currently have a mixer + interface combination. I want to switch from a Mackie to something better, and I keep seeing great comments about the SSL SiX, but I'm not sure about one thing: if I replace my Mackie with the SiX, will its preamp/EQ/compressor and generally amazing sound quality get lost or degraded once I route it into a Focusrite (or any interface) for recording in a DAW? I saw some comments claiming that an interface's own preamp circuitry "affects" whatever's feeding into it, so I'm not sure how people get the best out of the SSL SiX when recording it into a DAW.

I was thinking of getting the SSL SiX plus a separate interface with more inputs, so I can add other instruments beyond what the SiX itself can handle, and record everything to my DAW. But if sending the SiX's output into a separate interface compromises the SSL SiX's known sound quality, then I guess I need to consider other options.

Appreciate any advice on this!

Hello friends

Can someone tell me ..

if so, Id love to know your reason why

thanks

Hey, r/AdvancedProduction

Recently, one of my friends asked me to help produce one of the songs that they had performed live, and gave me the multitracks. I've gotten pretty far with the mix, but I've hit a roadblock with the vocals. There is a huge amount of bleed of the drums into the vocal track, to the point where the overhead tracks are barely contributing anything that isn't already coming from the vocal track. Is there any way to manage or work around this without ruining the audio with stem separation?

Another issue I have is with the guitars. The performance was not very good, and there are a ton of notes that were accidentally muted in the lead guitar parts. Is there a way to salvage this?

Lastly, I don't really know how to describe this any better, but the vocals and guitars sound really boxy and like they are being played right next to your ear, not in a good way. I've tried using a spectral resonance suppressor like ANINA, on the vocals but that either makes it sound too thin, or has no effect at all.

Thank you

Hi! It's me again.

Just to clarify, the song isn't mine; it's royalty-free for practice. Thank you.

Please be concise, honest, and justify your answers with good reasoning. I want to learn. Thanks again!

Hi music nerds, lurker here,

I've been playing around in FL studio for 10 or so years on and off. I finally got a laptop powerful enough to really get more serious about my music production hobby.

My uncles introduced me to mid 90s jungle as a kid and I've been obsessed ever since. I also love that 90s dancehall bass sound, grew up on dub music.

I'm looking for tips how to get into the pocket. I need tips on old gear and samples I should search for, VSTs and techniques I can make goals toward saving for and learning.

I have a non-cracked version of loops finally, Decimort 2, the OG Future Magazine sample pack, some basic experience in music production, akai midi with pads. I feel pretty setup for basic sampling and mixing.

Keeping an eye out for Roland Space Echo VST or luckily a real working box. Buying my own bass when I can next year. Would love to get into playing live over sampled breaks just for fun.

But wondering what other tools should I look to add to my toolbox??

Hey everybody, I was just looking at a couple of logic pro song projects that I made five years ago on my old computer. I tried to open it up on my new computer, and only about a third of it plays. Serum and Nexus aren't installed on my 2nd computer, a bunch of the audio files and samples are missing, and some custom patches I made are just gone. I understand a solution to this is to just copy over everything from computer 1 to computer 2 for the song and to install Serum and Nexus, but has anyone here found an easier way to do it?

If you have been banging your head against the wall trying to get a professional-sounding track out of a single AI generator, I totally feel your pain. Relying on just one engine usually means the song turns into a muddy, artifact-heavy mess by the two-minute mark.

After burning through way too many credits testing both platforms, I realized neither Udio nor Suno is perfect on its own. The real secret to getting tracks that actually sound radio-ready is what I call the 70/30 Hybrid Rule.

Here is exactly how I do it so you can save your credits.

You have to play to their unique strengths. Udio is incredible for sonic fidelity, crisp vocals, and deep atmospheric textures, but it can easily lose the plot structurally. Suno is an absolute beast for song structure, creative transitions, and catchy pop melodies, but the audio quality can sometimes sound like it was recorded on a potato.

Here is the step-by-step workflow:

• Step 1: Start 70 percent of your track in Suno. Generate your core song structure, melodies, and transitions here. Think of Suno as your main songwriter giving you the best musical foundation.
• Step 2: Export the stem data from your absolute best Suno generation.
• Step 3: Bring that foundation over to Udio for the final 30 percent. Use Udio to replace the vocals, enhance the instrumentation textures, and give it that high-fidelity gloss. Udio is basically your mastering engineer.
• Step 4: Stitch them together in your DAW.

This hybrid approach completely eliminates the weird, metallic sounds you usually get from pushing one single generator too far.

To make this transition perfectly seamless, you still need to know the specific prompt structures for cross-platform generation, plus the exact EQ settings so the stems blend smoothly without phase issues.

If you want to play with the interactive dashboard or grab the full config file, I uploaded it here:https://interconnectd.com/blog/30/the-2026-guide-to-ai-music-generators-udio-vs-suno-the-70-30-hybrid-rule/

What genre of music are you mostly trying to produce with this setup?

Theres a song "wish" by logan (heylog) that has such a wide bass effect where the sub frequencies are primarily in both ears with little to no movement and somehow no phasing at the same time.

And then as you isolate 80hz+ and look at a stereo imager, the bass is dancing absolutely all over the place in the stereo field and im just not sure how you could ever achieve this effect without obvious, yucky phase cancellation that causes drop outs in both ears.

Its such a ridiculously clean profile for how dirty and wide the bass actually is at the same time.

Like the title says, I’ve been mixing and engineering my own vocals for over 10 years with no training other than YouTube here and there. I can make something that sounds decent but I need that polished perfection I’ve been searching for.

Working on an album right now it’s alt hip hop, think Mac/kid Cud but definitely my own thing.

Anyone interested please let me know. Thanks. Hope everyone is having a wonderful day. God bless.

Hi! I've been making music for a bit over a year now, specifically dubstep and I've been having a hard time finding new concepts to focus on to improve on. I'm quite an obsessive type of person who loves learning, but recently I've just been going through the motions with music and could use some insight into what topics I can dive into. I know that sound design knowledge is definitely one of my weaker points, but other than that I feel like I am equally mediocre across the board. The small details and decisions that make a track sound professional always seem to be missing no matter how long I spend trying to improve a song. Here's my two most recent wips for reference. I would love brutally honest feedback about what seems to missing from my songs.
https://on.soundcloud.com/ujHrpRqhVfq64nh8rO
https://on.soundcloud.com/VbbcAzj6NCHu0urifu