Create For Yourself First: An interview with Kilroywash3r3
“My one piece of advice would be to make samples and sounds that you enjoy. Make the sample packs for yourself first.”
What’s the thing that made you start making music?
I moved to Alabama, and I had no friends. So I decided to start making music to fill up my free time, and it quickly became my favorite thing to do.
What is your creative process?
My creative process usually consists of me opening up an Ableton project and immediately working on a drum groove. Once I get a groove I’m satisfied with, I find a sample and try to look for moments that stand out to me. If can find a moment that sticks out to me, I’ll either chop or loop the sample. If nothing grabs me in the sample, I’ll find another to mess around with. That’s about it.
We've worked together on a Sample Flip Competition a while ago and since then you've been hosting regular beat battles on Instagram with your sample packs.
What's one piece of advice you have for artists who want to start creating and sharing samples?
My one piece of advice would be to make samples and sounds that you enjoy. Make the sample packs for yourself first.
Your sample names are always completely unhinged and hilarious. Where do you find the inspiration for these?
The names come from whatever is on my mind in the moment. I’m a very scatterbrained person, so there is a bunch of stuff just floating around in my head.
How do you handle creative block?
I usually take a break, try to push through it, or try something completely new.
You've got a strong sense of style. What aesthetics and visuals inspire how you dress?
I just really enjoy the aesthetics of the 90s, so tv shows, movies, and music videos from that era are what inspire me.
What has been the most challenging thing you’ve had to overcome as an artist?
Learning how to manage my time has been the most difficult thing for me as an artist, and it is something I have yet to overcome. Luckily, I’m getting better at managing my time and figuring out what is important.
What’s next for you in 2024?
I’m planning to get more music out this year. I have a project with Going Sumwhere that is very close to being complete. We just have a few things left. We’re actually planning to have some cassette tapes for this tape, so that is very exciting for me. I also just got a digitakt and I’ve been diving head first into it. There will be a lot more upbeat music made in this year for me.
Find Kilroywash3r3 on
Instagram | Spotify | Apple Music | Bandcamp | Youtube | Soundcloud | Website
Best Budget Microphone Clones (2024, Ranked)
We’ve traweled through the sea of online reviews, ads and articles in search for the best budget microphones for you. But who did we pick for our top 7? Click ‘Read More’ to find out!
In recent years, music production culture has really changed.
People are buying more software than ever, in part due to a backlash from software developers who have spoken out about their struggle to make ends meet in an age of normalised digital piracy. But alongside this blossoming of support, producers from all genres are beginning to buy more hardware.
Companies like Korg, Behringer, Roland, and Arturia have turned the once laughed at bedroom producer setup into something compact, powerful, and professional; as well as easily transferable to the live music setting. This has led to a huge amount of creativity and innovation in ‘bedroom music’, making the process more interactive and exciting for fans to watch - just search any of these brands on Instagram or Tiktok and you will find thousands of ‘WIP’ and live performances that are genuinely engaging. In our opinion, this is such a healthy development for online music culture and is helping to bridge the gap between digital communities and the physical world MUCH more quickly than any other innovation today.
But there’s one piece of hardware that isn’t quite catching up at the same rate - the microphone. When you ask the average person to think of a microphone, they think of the SM58 - a classic dynamic model by Shure that is known for its versatility and all-around use. But at nearly $100 for a microphone and cable, it’s not exactly something that everyone can afford…
So we’ve spent the last few months trawling through forums, conducting polls on social media, and even testing some of the most-hyped clones, to provide this list of the best budget microphone clones on the market today.
Sennheiser E385. Available at Amazon (UK / US / EU)
Dynamic Microphones
Sennheiser E835
The Sennheiser E835 is a great budget mic that has a very distinct wide cardioid pattern. As such, it offers minimum proximity effect issues and is quite forgiving if the performer goes a bit off-axis. This makes the mic really easy to handle and is ideal for home recording all types of instruments and voices. It can produce quite a clean, unobtrusive, and intelligible voice as long as you don’t push it to the limits; and this is a key point. The E835 gets a bad rep because it may produce some feedback (think horrible high-pitch screeching when you get close to a PA) in a live setting, but the levels would have to be pretty damn loud to mess with this formidable budget microphone.
There is also a cheaper model, the E285, which is also very good. Available on Amazon.
4/5
★★★★☆
Behringer XM8500 Dynamic Vocal Microphone. Available at Amazon UK, EU and US.
Behringer XM8500 Dynamic Vocal Microphone
This next microphone is marketed specifically for vocals but really works well for drums, percussion, foley, and reamping instruments too. At the measly price of £19, and with the hit-and-miss reputation of Behringer clone products, you might be inclined to think that this sounds terrible.
BUT… you’d be wrong.
The look and build quality of this piece of budget gear easily rivals Shure’s SM58 and even has a two-stage pop filter for reducing clicks and sibilance. There is a tiny reduction in the high-end compared to the SM58, which has a solid boost around 2KHz-12Khz, but this is something that is easily replicated with a bit of EQing. It’s also a nice weight and looks great in a studio or live setup.
This is a really competitive microphone that, for studio use and experimentation, ends up being a lot more interesting than a standard SM58 to play with.
4/5
★★★★☆
Pyle-Pro PDMIC78. Available at Amazon UK / US / EU.
Pyle-Pro PDMIC78
Our personal favorite whilst researching this article is the infamous Pyle PDMIC78. A quick Google search shows conflicting opinions about this piece of gear, with many different reasons for its inferiority to its high-end equivalent; the Shure SM57. But to fair to Pyle - a quick scan of these forums shows that a lot of the complaints rely on some pretty questionable home experiments… so this got us interested in trying out this microphone ourselves.
When we first ordered this microphone, it took about a week and a half to arrive. We didn’t know what to expect, so set out expectations REALLY low. We read so many reviews about having to resolder components, dodgy cables, high noise floors…
But the PDMIC78 definitely did not disappoint!
This microphone has a great cardioid pattern, dealt with proximity effect low-end effectively and has a great frequency response for both male and female vocals.
On drums, it sounded great too. Especially a snare or kick style transient sound, but also had a really nice frequency response to bright percussion like tambourines, chimes, and maracas/egg shakers. This is a seriously underrated clone of the SM57. Don’t take our word for it though, check out this comparison of the original SM57 and the PDMIC on a snare drum.
This microphone is £19 currently on Amazon UK, comes with an XLR-jack cable, and sounds almost identical to an SM57 (if not better).
5/5
★★★★★
Looking for more options?
These budget microphones above are replacements for two classic microphones - the Shure SM57 and SM58. These are used for everything from live performances to intimate studio sessions, for all types of instruments and voices (even for amps and synthesizers too). But some other Shure products, like the SM7B, produce a more open, nuanced sound, which is perfect for podcasting or tactile recordings.
Here are a few of them…
One of the best budget podcast microphones, Rode Podmic, available via Amazon (UK / EU / US)
Rode Podmic
You may look at the price tag on this particular model and think ‘why is this a budget microphone’? Well, we included it because it is such a strong alternative to the famous vocal microphone, the Shure SM7B. Used by famous streamers, podcasts and studios alike, the SM7B has a hugely loyal and dedicated fanbase who proclaim that it is the best all-around microphone for capturing professional audio that is neutral, nunanced and ready to go. But comes at a price: $389 from most retailers, to be precise.
Great all-around microphone, perfect for vocals and for percussion. Warm, balanced low end with a built-in pop filter to curb sibilance and other unwanted recording artifacts.
5/5
★★★★★
Samson Q2U
Q2U combines the convenience of digital and analog audio capture into one dynamic microphone. With XLR and USB outputs, the Q2U is the first choice for home/studio and mobile recording, as well as stage performance. The Q2U is simple to setup and outshines microphones that cost more than twice the price. It comes with a mic clip, desktop tripod stand with extension piece, windscreen, XLR cable and USB cable... A package with everything you need to start recording right out of the box.
The best thing about this microphone is the types of output you can have. You can take this out to a park, set up with just your laptop or your phone (Android & iOS) and record professional quality audio at any time, anywhere. It doesn’t look great, and definitely needs a bit of EQing and extra accessories, so we haven’t given it the highest rating. But if you’re just using this for gaming, home production or field recording, it’s a serious competitor with any other high-end model!
3/5
★★★☆☆
Zoom ZDM-1, available via Gear4Music (UK / EU / US)
Zoom ZDM-1
The final choice on our budget microphone list was the Zoom ZDM-1 podcasting microphone. Although it is marketed specifically for vocals, this sturdy all-in-one pack records all types of instruments and voices with ease and clarity.
The best thing about the Zoom ZDM-1 Podcast Mic is the bundle you receive when you purchase it (pictured above) — a microphone, headphones, a tabletop mic stand, a mic cable, and more for the same price.
The Zoom ZDM-1 dynamic mic and its custom windscreen help you record your voice with full, broadcast-quality tone and minimal noise from breaths and room ambience, while the ZHP-1 closed-back headphones ensure transparent audio reproduction for critical listening. The XLR cable you receive with it ofa surprisingly good quality and all of the accessories seemed to fit firmly with a real professional-looking finish to them. Not bad for 119$!
4/5
★★★★☆
Mixing: Reverb
Reverb is one of the most widely used effects in the world, yet most of the time, using it feels like a guessing game. In this article, we will teach you how to use reverb, which reverbs work well with different sounds, and help you understand what each parameter does - improving your production skills forever.
Reverberation, or ‘reverb’, is defined as a persistence of a sound after it’s produced.
Reverberation is created when a sound or signal is ‘reflected’ off of different physical objects, within a space. As numerous reflections build up, and then ‘decay’, sound is absorbed or reflected by the surfaces of objects.
Objects like furniture, people, and even air affect the tone and length of the reverb sound.
Each ‘reflection’ can be imagined as a short echo, whose tone and length is shaped by the object it ‘reflects’ off. Reverb is many small reflections, reflecting again and again off of different surfaces until the reverb ‘decays’ (fades away).
Imagine playing music from your phone. How does the music change if you place the phone in a wooden box? How does the sound reflect off the wood? How does this sound differ from for example, placing your phone in a metal box?
A graphic that shows the amplitude (volume) level of reverb over time, from initial sound (source signal), to the early reflections, reverb tail and decay over time. source: Mastering The Mix
How Do I Use Reverb?
To get the most out of using reverb effects, it’s important to understand how to use each control to shape the space you’re making. Each room has a shape - and they each affect the way sound reflects and bounces around within them.
Once you master the six parameters we mention in this article, you’ll be able to use reverb to add depth, space & width to your mix.
Apple’s updated look for ‘Space Designer’, the most popular reverb plug-in in Apple’s Logic Pro music production application.
Source: Apple
Early Reflections
These are the first reflections of a sound after it hits a wall, or a surface.
They’re clear, defined and happen before the full reverberation of a sound - so before the ‘decay’ These early reflections then bounce around the room and form the reverb tail.
a simplified graphic of how a sound creates early reflections and reverb, and how the sound interacts with the environment over time.
Source: Orchestra Music
Decay
As the sound reflects off different surfaces and materials, reflections build up and bounces around within the space. The sound eventually reaches the walls and then reflects back to your ears.
All these reflections together tell your brain the shape and size of the space you're in, or the reverb you’re placing your audio in. The decay time is how long it takes for those sounds to ‘decay’ (slowly fade) away. Decay time is measured in milliseconds (ms) or seconds (s).
this chart shows the volume changes from the initial sound source, early reflected sounds and collection of many reflected sounds.
credit: hyperphysics
Pre-Delay
Controlling the ‘pre-delay’ amount on your reverb plug-in changes how long it takes for the sound to produce those first reflections. Pre-delay is represented by time (seconds), and changing the value of this parameter shifts the position of the sound in the room; specifically how far away the sound is from the listener and the back wall of the room.
The larger the room is, the longer the pre-delay will be, as the signal travels further before reflecting off of different surfaces in the room (walls, ceilings, tables, etc).
Room Size
When you’re designing your reverb sound, there’s more ways than just ‘decay time’ to control the size of a room. The room size in digital reverb usually extends the time between reflections, as well as the duration of each reflection, giving an artificial boost to the size of your reverb.
Room Size can also be controlled by different parameters on digital reverbs, such as ‘Room Shape’, ‘Spread’ and ‘Spin’.
This graphic shows the average reverberation time (in seconds) of spaces that music is typically heard in. Source: Commerical Acoustics
Damping
Damping is probably the most misunderstood parameter of reverb effects. The damping effect is created when sound bounces off surfaces in a room, such as the floor, ceiling or curtains.
If the surface is hard, like a glass window or metal table, the reverberation will be bright and ‘hard’. With softer surfaces (e.g. wood vs concrete), the reverb will lose more high-end frequency information, resulting in a warmer sound. This means if your reverb sounds thin or too bright, you can use a damping effect to bring out the midrange and bass.
Diffusion
Diffusion is how dense the reflections in a reverb are, and how quickly they decay away into silence. Low values result in being able to hear early reflections more clearly. High values result in a more washy, smooth sounding reverb.
Mixing: Compression
Compression. It’s earned a reputation for being one of the hardest audio engineering tools to figure out. What is compression? How do we use it? What does each type of compression do? Valentin is back with another quick 10-minute guide to help you master music production’s most misunderstood audio effect.
What is Compression?
Compression is used to manage dynamics in music, which plainly means it changes difference between the loudest and quietest parts of audio. You can use compression to affect a single recording, a group of instruments, or a full track. It is used in music production for specific audio engineering purposes, as well as a creative tool.
In this article we’ll explain exactly what a compressor does, how they work, how to use them and the different ways each type of compression affects audio.
How do I use Compression?
Compression is generally used to reduce the dynamic range of audio, which professional audio engineers and producers say makes the track sound ‘tighter’ or ‘glued together’. By reducing the dynamic range of an audio track, the audio sounds more consistent, balanced and is more engaging to listeners.
When using a compressor, they usually have these 4 simple controls:
Ratio, Threshold, Time (Attack + Release) and Output.
Compression allows you to make the quieter parts of a recording louder. This is very helpful with live instruments and vocals, where some parts may be unintentionally quieter within the recording.
Compression also helps reduce the volume of parts of a recording or track that might be too loud and stand out. This is what we mean by ‘reducing the dynamic range’ - the loudest and quietest parts of a recording become closer together, reducing the overall difference in volume.
Here’s the basic stock compressor you can find in Ableton Live 11:
Ableton Live 11’s stock basic compressor, called ‘Compressor’. credit: Ableton
A compressor will always have these 4 controls:
Threshold
The compressor’s ‘threshold’, in simple terms, is the limit you set for the compressor to start affecting the audio.
When the audio goes over the ‘threshold’ limit (for example -14.9dB), the threshold for compression will be passed and the audio will be affected. This is when the audio running through the compressor starts being ‘compressed’.
Audio beneath the ‘threshold’ limit will not be affected by the compressor. However, because the peaks (highest volume bits) of the audio have now been turned down by the compressor, the quieter parts will now sound like they are louder.
This is because the difference between the quietest parts, and the loudest parts of the audio, have been reduced.
The threshold value (top left) is represented by the blue line.
The volume reduction by the compressor is represented by the yellow line. The total volume reduction at any time can be seen in the bottom right corner, also in yellow.
2. Ratio
The ratio determines how much the audio signal above the threshold will be turned down.
For example, if the ‘ratio’ of the compressor is ‘4.00 : 1’, it means this: if a signal exceeds the threshold by 4dB, it gets turned down to only 1dB above the threshold.
A higher ratio will mean the audio is more heavily compressed.
A lower ratio means the audio will be more gently compressed.
Ableton’s ‘Glue Compressor’ with an example of fast, heavy compression settings.
3. Time (Attack + Release)
The ‘time’ controls set the speed, or rate, that the compressor kicks in. These speed controls determine the time it takes for the audio to be ‘compressed’ when the volume is over the ‘threshold’.
Put simply, the ‘time’ of the attack sets the speed at which the compressor starts compressing, and the ‘release’ is the speed that the compressor stops compressing, or ‘releases’ the audio.
The higher the attack value is, the longer the compression effect is delayed. A lower attack value means the compression kicks in quicker. Attack is measured in ms (milliseconds).
Similarly, the ‘release’ time represents the speed that the compressors stops compressing. A short ‘release’ time means the audio recovers from compression quickly. A longer ‘release’ time meaning there’s a longer delay before the audio returns to it’s pre-compression levels. Release is also measured in ms (milliseconds).
If you’re still having trouble understanding this…
Imagine the compressor as a hand, holding onto something and squeezing it. - the ‘attack’ is how quickly the compressors grabs hold of the audio. The ‘ratio’ is how hard the compressor squeezes. The ‘release’ is how long the compressor takes to let go.
4. Output
After compressing a track, the sound will have lost a little volume, so the output control is used to compensate for this difference in volume.
Remember: compression reduces the peaks in an audio track. You use the ‘output’ to raise the volume of the quieter parts, so the overall volume of parts of the audio is more balanced.
Now, the quieter bits sound louder.
The output is not used to simply increase the volume of audio. It used to recover the volume lost by compression.
Extra:
Compressor Types
VCA (Voltage-Controlled Amplifier)
This compressor is known for its precise, clean and rather gentle compression. Its purpose is to give a "glue" effect on the track or on an instrument bus. The settings offered are generally: threshold, ratio, attack, release and output gain.
Ableton’s Glue Compressor is a basic VCA compressor. It offers a basic, easy-to-use VCA emulation - perfect for any compression needs.
2. FET (Field Affect Transistor)
FET compression was essentially designed to emulate the sound that a tube could make but with greater reliability. Instead of using tubes as detectors, it uses field-effect transistors. It's a compressor with rather fast time parameters which makes it perfect for use on high transient sounds (like drum sounds). They generally offer input, output, ratio, attack and release controls.
the most famous FET compressor - the 1176. This is UAD’s 1176 plug-in, widely considered to be the best digi emulation. credit: UAD
3. Optical Compression (Opto)
An optical compressor uses a bulb and a photocell to reduce the gain. As sound passes through the bulb, the photocell detects audio above the threshold and triggers a reduction in gain. The amount of gain reduction depends on the strength of the signal level.
The speed of the Optical Compressor is much slower than the FET, which makes it much more suitable for sounds with less transients, such as bass or string instruments.
The most famous Opto compressor - Teletronix LA-2A. This compressor, famous for vocals, bass and drums, has been used on records such as ‘Hips Don’t Lie’ by Shakira and the ‘Nevermind’ album by Nirvana. credit: UAD/Teletronix
4. The VARI MU Compressor
This compression uses tubes in the detection circuit. The attack is slower than the FET or VCA, but it can be adjusted as required using the "time constant" parameter. The best known compressor is the Fairchild Model 660 or 670. It is most widely know and popular for use in audio mastering.
Final Thoughts
How do you apply all that theory then?
The best way to learn how to use compression quickly is simply to play with a compressor. Find a song that you know uses a lot of compression, like this one by Flying Lotus, and check your own track alongside it. Using this technique, called ‘Reference Mixing’, you can quickly figure out what sounds right, and what doesn’t.
And lastly, compression is difficult to master. Don’t worry if you can’t figure it all out straight away. Just keep experimenting, reference your mixes against other tracks, and after some practice, you’ll have the key to more energy and loudness in your tracks.
Written by Valentin Cavanna & Saul Bell
Edited by Saul Bell
Mixing: Equalization
What is ‘equalization’? How do we use it effectively in music production? This useful short breakdown of all you need to know, the first in a series by French producer Valentin Cavanna, explains all the essentials in using equalization when recording, production, mixing and mastering professional audio.
This is a short article, written by Abbey Road Institute alumni Valentin Cavanna, designed to give a quick and efficient overview of the process of equalization.
What is Equalization?
Equalization is the process of adjusting the volume of different frequency bands, within an audio signal.
Each equalizer generally consists of these fundamental parts:
1. A frequency selector - also known as a “band”.
2. A gain control - to ‘amplify’, or ‘attenuate’ the desired frequency (turn up/turn down).
3. A Q factor - to change the shape of the ‘band’, making frequency correction more precise and targeted.
A standard equaliser ‘EQ Eight’ in Ableton Live 11. ‘Frequency’ is represented in the top left, ‘Bands’ are numbered 1-8 and an example of ‘sharp’ Q resonance is represented under Band 3.
It is preferable to apply equalisation to each track in order to remove unwanted frequencies, and avoid ‘frequency masking’.
‘Frequency masking’ occurs when two sounds are played at the same time and share similar, or nearby frequencies. The louder, more dominant sound may partially mask the weaker or less dominant sound.
As a result, the masked sound may seem less present (like you have turned down the volume) to our ears.
This is due to our auditory system's processing of sound frequencies. Some frequencies are also more sensitive to our ears than others.
When two sounds share similar frequencies, the louder sound may occupy more of our auditory system's attention, making the softer sound difficult to discern. It will appear quieter.
Summary: ‘frequency masking’ makes your track sound quieter.
graphic showing a crossover of frequencies (red) between two sounds which shows ‘frequency masking’. credit: writeproducemusic
Frequency Bands - Explained
Here are the different frequency ranges and a quick description of how we perceive each of them:
‘Subsonic’:
~20 Hz
(vibration-only, ‘sub’ - you feel these frequencies)
‘Low Bass’:
20 Hz - 60 Hz
(bass, kick drum resonance)
‘Mid Bass’:
60 Hz - 120 Hz
(toms, bass guitar, ‘energy’ in bass)
‘Upper Bass’:
120 Hz - 240 Hz
(fundamental energy of most instruments)
‘Low Mids’:
250 Hz - 2 kHz
(timbre, colour, tone of instruments)
‘High Mids’:
2 kHz - 6 kHz
(sensitive frequencies of the human ear, make sounds present & clear)
‘Highs’:
6 kHz - 15 kHz
(frequencies related to ‘brilliance’, ‘clarity’, ‘sheen’, ‘sharpness’)
‘Air’:
over 15 kHz
(impression of airiness, light + bright)
a useful chart that details the most important frequency ranges of acoustic instruments. One for the engineers & instrumentalists!
‘Colour' & ‘Tone’ with EQ
Some equalizers are used to add ‘colour’ to your mixes, such as the PulTec EQP-1A or NEVE 1073 equalizers.
They add additional harmonics (extra complimentary frequencies) to the audio that bring richness and saturation that would be near impossible with standard equalisation.
Before modifying the frequency ‘bands’ in an equalizer, it is important to ask yourself the following questions:
What elements is the sound competing with?
What other elements does it need to fit in with?
Where do you want the sound to be in the mix?
What ‘colour’/’tone’ should the sound have?
UAD’s ‘Pultec EQP-1A Tube Program EQ’ plug-in, a popular ‘colour’ EQ. Based on the first program EQ, the Pultec EQP-1. credit: UAD
Equalizing Vocals: Quick Tips
When recording or editing raw vocals, there are few extra elements to consider when using equalization.
Firstly there are ‘pops’. These happen when vocalists create a loud ‘popping’ sound on ‘p’ consonants. They can arise anywhere from 500Hz-1KHz in vocal performances. They are removed as they are loud and disturb the balance of the mid-range frequencies of a track.
Secondly, there is ‘sibilance’, which is created when a harsh ‘s’ sound is made by a vocalist. These usually exist in the 3-6 kHz frequency range. They cause a bright, sharp sound within the mix which disturbs the high-frequency elements of a track.
Tip: you can use a plug-in called a ‘De-Esser’ to remove these, or use equalization as discussed earlier.
We use a ‘pop’ filter to counter pops & sibilances. credit: Lewitt
Final Considerations
It’s important to apply equalization in context, i.e. with all the tracks playing at the same time. It will also be easier to cut the frequencies of an instrument when the elements at the bottom of the spectrum are playing, as it will show you if ‘frequency masking’ is happening within your mix.
Sometimes though, solo EQ is necessary - but… that's in very specific cases! For example, when you want to eliminate bad resonance at a specific frequency in a recording for example.
Once you learn the basics, it’s ultimately up to you how you use equalization. The process of manipulating frequencies with EQ can produce a wide-range of interesting effects that open so many avenues for creativity.
Learn the basics, and then have fun!
—
Written by Valentin Cavanna
Edited by Saul Bell
Mastering the Mix: A Comprehensive Guide to Perfecting Audio Production
Ever wanted to get to grips with the basics of mixing & mastering? Check out this handy guide, the first in a three part series of articles, that easily and simply explains exactly how to mix each element of a track professionally.
learn how to make your music-making time more productive and fulfilling. credit: Ableton
When I first got into music production, finishing tracks was easy. No feeling is better than listening to your first completed tracks and imagining what could happen next: hearing them on the radio for the first time, working on them in a professional studio, winning a music award... But then, something happened.
Pretty soon after I started uploading tracks, I developed mixed feelings. Specifically I started to notice differences between my tracks and ones by more successful artists - my tracks sounded quieter and had a sort of ‘stuffy’ or ‘cramped’ sound. All the elements seemed ‘unbalanced’. I'd notice myself turning up the volume to listen to my tracks at the same level as other artist’s releases.
At this point, I knew something in my method was wrong. but looking online for answers was basically a minefield of textbook-sounding names for a bunch of things I either didn’t care about, or that intimidated me.
This is where music production started to seem boring and tedious. And for a while, this completely destroyed my creative drive.
So we’ve put together this handy guide to help you achieve better mixes in just 10 minutes with the help of @ICECOLDFINGAZ 👀
This is one the easiest mistakes to make when you first start mixing and mastering your own audio.
Unless it’s in very specific circumstances…
Subtractive EQ is always best.
This is because generally, EQ is about balance.
Subtractive EQ = Subtracting frequencies (turning them down)
Additive EQ = Adding frequencies (turning them up)
Sometimes though, you’ll need to remove specific frequencies.
As we mentioned before, some frequency ranges, like 180-250Hz, cause common problems that make your track sound unprofessional and unfinished.
Here’s a graphic that explains which frequencies create common problems, and where to boost to give a sound something extra.
Get to know how to describe frequencies. credit: Mastering the Mix
a useful way to visualise volume changes in your mix. credit: Mastering The Mix
Gain staging can be defined as:
the process of managing and organising the volume levels of each element of your track.
Using the template below, you’re ensuring each element is at the ideal level to be mixed and mastered effectively.
By creating a limit for each kind of sound (i.e. kick, piano, bass) within your track, you can more easily decide on what needs to be loud, what needs to blend in, and what needs to be quiet.
It sounds simple, but this is the hardest part of mixing any project.
quick template for you all to use here in your DAW. credit: Jim Lynch Codes (Youtube)
It’s natural to think if you want hear an element of your track more, you should turn it up…
But, without each element being at different volume levels, nothing sounds loud.
Without clear volume differences between each element of your track, your mix sounds unbalanced and all elements appear to be at the same volume.
This is why by making a conscious decision to gain stage your project, and by having the correct headroom (-6dB on the master fader), you set yourself up to make a clean, loud and balanced mix. It also makes the mastering process as easy as possible for you too.
Going a bit deeper into this, if you over-EQ each element of the track, you can run into a lot of more advanced audio issues, such as ‘phasing’. We’ll explain this more in another article.
More importantly, this is a waste of time. You don’t want to listen to a track too many times - you’ll simply get bored of it.
As well, you’ll lose your objectivity. We all know what music should sound like. But by over-listening to a track, you get used to it sounding a certain way, and it’ll become harder to hear what needs to be improved.
Finally, this is a really important bit of advice.
When applying all processes in music production, whether you’re a beatmaker or an engineer recording bands/instrumentalists, moderation is key.
Moderation is applicable to every element of the music-making process. Do you want all the sounds to be in the centre of the mix? Do you want all the sounds to be in the same frequency range? Do you need all the sounds to be the same volume?
Once you ask yourself these questions a few times, the process begins to become a habit. And once you build a solid foundation of music production projects that apply this habitual process, and you’re happy with the output, you can begin experimenting.
And this is where the creativity and fun really begins.
last thought - a handy guide to visualising fundamental parts of audio mixing. credit: Renegade Producer
SP404: Customization
SP-404, SP-303, Akai MPCs users - we’ve put together all the best stores for customizing your sampler, as well as tutorial videos on how to do it, into a handy step-by-step guide.
Over the last few years, it seems like everyone knows someone who has got a 404, or one of the extended SP family.
Picking up where Roland’s popular SP-303 sampler left off, the original SP-404 was launched in 2005 with a sleek, silver design that stood out against the other samplers on the market; not only for its look, but its portability, workflow, and (still very competitive) in-built effects.
But this isn’t what makes the revival of the samplers like Akai’s MPC or Teenage Engineering’s Pocket Operator interesting. These bits of music tech are leading the push towards a way of approaching music production that rejects the Digital Audio Workstations (DAW) such as Ableton Live, Logic Pro X or FL Studio.
Instead, artists are offering a new vision of music production; one that invites raw, in-the-moment creativity they and their fans find much more exciting.
So we’ve put together all the best stores for customizing your sampler, as well as tutorial videos on how to do it, into a handy step-by-step guide.
Cremacaffè Design
(OG, SX, A)
With a humble beginning in 2013, Cremacaffè began making lightweight compact stands to improve the experience of using electronic devices such as samplers and laptops.
Fast forward to 2023 and the current collection of accessories stocked now by Cremacaffè easily makes it the best independent store around for customizing your SP-404.
Handmade, unique and always well-designed, Cremacaffè embodies everything we love about small businesses - starting with locally sourced and repurposed materials, the design team build products that every SP user needs.
included: faceplate stickers, fabric pouches and classic Cremacaffè wooden stands (+ a real x-ray faceplate protector!).
SHOP HERE:
UK / US / EU / ROW
Style Flip
(OG, SX, A, 555)
StyleFlip is one of the most popular sites for SP404 customization and is where you can really make your SP-404 design your own.
The best thing about Style Flip is the design-your-own feature on the website, which lets you print your own image onto a 3M Adhesive vinyl sticker. This might sound difficult to apply to your SP404, but actually it’s pretty easy.
The Style Flip custom vinyl sticker is available for the OG, SX, and A models.
StyleFlip’s design-your-own feature on their website. credit: StyleFlip
MPCStuff
(OG, SX, A)
MPCStuff is one of the original sites for all of your sampler customization needs. It does pretty much every sampler you can think of there - plus spare parts, stands and carry cases for your sampler.
Specifically for the SP samplers: here you can pick up SX, A and OG blank faceplates, as well as replacement pads, knobs, and lots more.
SHOP HERE:
Permanent Lab
Independent store based in Japan. They’ve got a really clean look and stock unique SP-404SX/404-A faceplate stickers for a reasonable price.
Features 4 ‘simple’ colors, 4 ‘baby’ colors, and some dope silver/gold/black knobs that I haven’t seen anywhere else.
*UPDATE* have reached out to the store to confirm if they deliver to customers outside of Japan. Will update you here when I get an answer!
SHOP HERE:
Ultra3200
(OG, SX, A)
Although this is one of the newer shops in the scene (and cheaper), don’t be fooled into thinking this translates to ‘lower quality’ - because it doesn’t!
Ultra3200 is one of the best providers out there, printing some of the most unique and appealing faceplate stickers. The colorful anime/retro gaming styles are instantly recognizable and stand out confidently in a crowd, with many other different design styles to choose from.
They also have a great selection of hip hop & beat culture-themed stickers too!
Check out their range via their online webstore or their popular Etsy store.
PavelxPowers
PavelxPowers has graced many SP-404s with his bright, clean faceplate sticker designs. Their eBay store makes the process easy, showcasing all the different colours they stock next to each other for comparison.
They don’t just make accessories for the 404 either - Pavel’s xpowersdesign store also provides custom faceplate designs for Boss SP-202, the 404’s older brother, the SP-505, the MPC One + MPC 1000 as well as cases to frame and protect the Teenage Engineering’s ‘PO’ range. Check out their store here.
SHOP HERE:
Want extra accessories and cables for your SP-404?
Check out our SP-404 accessories article here.
State of Flow: An interview with Madaliso
“Finding that state of flow, where everything flows together naturally, is the most important aspect of my creative process.”
What is your creative process?
Finding that state of flow, where everything flows together naturally, is the most important aspect of my creative process. The magic occurs when you're in that state of flow. When I have a significant amount of time to be creative, I set up my OP-1, Yamaha reface keyboard, SP 404, and digital camera to film the process. The sample chopping capabilities and audio processing of the OP-1 make it my ideal sampler of choice, allowing me to swiftly explore and experiment. It becomes my playground for slicing samples, igniting that first burst of creativity.
Your cassette player is a key part of your beat videos, what equipment do you use in your creative process?
When it comes to my creative process, I use a range of tools that help define the distinct sound and vibe of my music. At the centre of it all is my trusty DAW Ableton, which serves as the central hub for creating and producing. In addition, I use instruments like the OP-1 and SP 404 in my setup to add their own distinct flavors and effects to enhance the overall sound of my beats. Not to mention my love for cassette tapes! I have a couple tape recorders that I mostly use for referencing sounds and enjoying that warm, vintage tape feel that I like.
I use plugins and the Roland SP with its wild effects to enhance the texture and depth of my beats. At the core of it all, though, Ableton acts as the basis upon which I create the skeleton of my beats, assuring their structural integrity. Then I use my samplers, both hardware and software, to create additional layers that define the distinct character of my music.
The whole hardware vs. software dispute does not rule my creative process. What actually matters to me is discovering tools and techniques that allow me to immerse myself in that state of flow. Whether it's the tactile feel of the OP-1 or the flexibility of software, it's all about facilitating that flow state, when ideas flow and creativity thrives.
How important is the visual element of your work, (beat videos and album art) in conveying your artistic vision?
The visual aspect of my work is extremely important in communicating my artistic vision. Growing up in Rome with roots in Zambia, art has always been a deep passion of mine. Aside from music, I love films, cinema, and various forms of visual art. Recently, I've been diving into the link between pictures and sound, and how they complement each other in today's musical landscape.
I get my inspiration from watching independent African and Asian films, which typically have distinct storytelling and visual styles that speak to me deeply. Afro Surrealism, abstract art, and minimalism have also influenced my artistic outlook.
‘Afro Surrealism Cinima” taken from Aarklight Art
What I've realised is that my artistic vision extends beyond music alone. I strive to connect with people through various creative mediums, making use of the power of visuals to add depth and significance to my work. I am constantly looking for new ways to connect with and inspire others by exploring various artistic channels and challenging myself creatively. Art genuinely flows through my blood, and I am dedicated to expressing my artistic vision and connecting with people on a fundamental and meaningful level.
How do you handle creative block?
My biggest struggle isn’t really creative block, it’s more so finding a sufficient amount of time to create and enter the flow state. Back in the day though I did have creative blocks but the way I got out of it was to find other ways to channel my creativity. I have a real need to be creative, it’s what keeps me grounded.
What’s an album recently which has changed the way you think about music?
"Supreme Clientele" by Ghosteface Killah is one album that recently has had a significant impact on me and reshaped the way I think about music. I wouldn’t say it’s changed the way I think about music, but it’s had a massive impact for sure. I first heard it in December of last year, and it was a life-changing moment for me. I clearly recall being in Zambia, traveling through the stunning landscapes on my way to the Victoria Falls with my family while immersed in the album. The production, mixing and raps - my cup of tea, for real.
In addition to "Supreme Clientele," two more albums have lately been on regular rotation for me. "Off-Piste" by Greg Foat and Art Themen is the first. The second album is "11" by SAULT. This album is a genuine aural voyage, flawlessly combining genres and including thought-provoking lyrics. It has challenged my preconceived conceptions of what music can be and opened my mind to new avenues of creative expression.
What has been the most challenging thing you’ve had to overcome as an artist?
One of the most challenging things I have had to overcome as an artist is letting go of my ego. It was a life-changing experience that offered me mad blessings. By setting my ego aside, I've been able to discover true satisfaction in the creative process, free of the fear of competition. This does not imply remaining in my comfort zone; on the contrary, I am always striving to challenge myself creatively. I’ve been creating music in various forms since I was 11. Along the way I’ve faced a lot of external and internal pressure to "make it" in the industry. However, I've learnt that achieving balance is essential. Balancing progress and innovation while being faithful to my creative vision helps me to achieve fulfillment and delight in my work.
I once supported Oddisee in Brighton a few years back and something he said really stuck with me. “you'll know when you perfect your craft, it's not your peers that validate it nor those that you hold in high esteem.”
What's one useful piece of advice you’d share with other artists?
Never stop learning, and aspire to make sure you work towards having a clear creative vision. With that comes embracing and accepting change.
What’s next for you in 2023?
My main focus this year has actually been finishing music. I’ve got a harddrives worth of unreleased beats and raps which I'm currently working towards getting out into the world. Stay tuned. But for real, I'm trying to create and nurture creative connections with other creatives.
I'll be Dropping RIDING VOL II this year, the first single ‘Lusaka Nights’ is out now!
Find Madaliso on
Instagram | Spotify | Apple Music | Youtube | Twitter
Becoming TikTok’s Viral Beatmaker: An Interview with VANO 3000
“I will say that my experiences have humbled me more as an artist and I don’t take anything or anyone for granted. It’s taught me to hold the ones close who accept me for who I am.”
You’re best known for your song ‘Running Away’ which was part of the viral Adult Swim [AS] TikTok trend in 2021. Can you tell us more about how this happened?
I uploaded the track “Running Away” with a video of myself eating a sandwich on a street corner in NYC. I had a special feeling about the song and wrote "Produced by VANO 3000" on the left of the TikTok video so people would know where it originated. The same night I watched [adult swim] (as usual) and thought to myself wow this would sound dope on the channel.
My method of manifestation is, envision, actualize and then create a replica of the idea so that it can exist and then grow into its intended purpose. With that being said, I decided to create my own Adult Swim bump with "Running Away" to a clip that I took of Spiderman walking in the 42nd street subway of NYC. Initially, the sound blew up amongst skateboarders and I thought “wow that’s really cool!” The next day the track exploded and people started getting really creative with their version of Adult Swim commercials.
We first met you when you came through to our London Beat Social. Where do you see the future of live music going and what do you think will define beat culture in the years to come?
I see the future of live music becoming a lot more digital. I describe myself as a virtual artist and have a vision of creating concerts remotely that anyone in the world can take part in. What will define beat culture in the future is pushing the boundaries of so-called genre. Mixing different styles to create new refreshing sounds that will be appreciated among all cultures.
You’ve been integral to the design of the SP-404 MK2. Is it true that you worked alongside Roland to contribute ideas and processes into the hardware?
Yes. During the process of creating the design of the SP-404 MKII, Roland contacted me to ask my input of what I loved best about the previous version (SP-404A). They wanted to know what can be done to improve on its function and design. They reached out to me because they've watched me use the SP-404 in an unconventional way compared to most other producers. I feel that the MKII compliments my style of beat making a lot better due to the changes that were made. Once everything was finalized Roland sent me the very first MKII with a customized face plate and VANO3000.com imprinted on the bottom.
What’s an album recently which has changed the way you think about music?
Donuts by J Dilla has always been an album that I’ve studied (specifically his manipulation of tempo and blending sounds). J Dilla gave me a different outlook on how music production is “supposed” to be done. Another album that I love and have studied intensely is The Love Below by Andre 3000, a lot of people don’t know that he’s an incredibly skilled producer. His style is just super next level and ahead of its time.
From LA to London to Tokyo, you’ve been busy in 2022 exploring the world. What city has inspired you most and where do you want to go next?
I find inspiration in every city that I go to, I make it my mission to learn something wherever I go. Japan elevated my perspective of design, they are very much forward thinkers and it is shown all throughout their country. A very popular fashion magazine in Tokyo (Nylon) reached out to me for collaboration and I’m looking forward to expanding my brand with their vision. I want to go back to Japan.
With the huge success you’ve seen in the last few years, was there any stress or anxiety that came with it? What are some ways that you keep your mind clear and focused?
There definitely has been some challenges along the way personally. I’ve dealt with the loss of friends and people treating me different in general. I will say that my experiences have humbled me more as an artist and I don’t take anything or anyone for granted. It’s taught me to hold the ones close who accept me for who I am. Ironically, beat-making is what keeps my mind clear and focused. The freedom of expression through music gives me all the peace I need.
Alongside making new music, we know you’ve been working on a clothing brand too - tell us all about it!
I’ve been working on a lifestyle and skateboard brand called Sockify that will focus on clothing and skateboard parts. I haven’t released anything yet but I’ve done photo shoots with skateboarders around the world to start creating awareness around it. In a sense, this is my way of thanking the amazing skateboard community for always showing love and staying true to their ethos. I don’t think people realize how important skateboarders are to culture in general. They are relentless and always pushing the boundaries, they’re also huge on brand loyalty which is a beautiful thing.
What can we expect from Vano 3000 in 2023?
In 2023 you can expect another VANO 3000 summer anthem, more brand partnerships + live shows and of course, new music!
