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Digital Audio Workstation Bias (DAW Bias for short) is real, and it'southward a trouble. Notable signs of someone with DAW Bias are: blaming the DAW for the music made in that DAW, making sweeping statements about the capabilities of a DAW (without spending time to actually learn it), and randomly blasphemous people out on the internet for not using their DAW of choice.
The most common and 1 of the most dissentious forms of DAW Bias is FL Studio Bias. This is marked by the belief that only amateurs and people without talent use FL Studio, and is usually accompanied by being a low-key hater of Hip-Hop and EDM. Countless smash hit records have been made in FL Studio. It's a great tool in all forms of electronic production, including Music For Moving picture, Experimental Rock, and of class Hip-Hop, EDM and Electronica.
Nevertheless, behind many biases are a grain of truth. DAWs are complex and reading manuals is boring. This leads to a lot of mistakes that are simple to fix, but ofttimes go unchecked. I mix a lot of records that were produced in FL Studio and in that location'south a few stand out mistakes I call back need to be addressed.
Help terminate DAW/FL Studio Bias today!
Mistake i: Clipping Your Master Aqueduct
Let'south exist honest, we all want our productions to be more than thumpy, and a large part of that is making the playback level loud and proud. However, at that place is a proficient way to do this, and a not-and so-good way to do this. The almost common mistake I see is people overloading either their individual channels, or their primary aqueduct.
What does overloading mean? In the digital world we have alevel ceiling, and once a sound exceeds that volume level it distorts. While we get the signal louder by turning information technology upwardly, upwards, and up, we also lose punch and create a tonal quality that is usually worse than what we started with.
Unfortunately, it'southward very easy to practice this. Why? Considering most of our drum samples are starting outnormalized to maximum book. Pulsate sample producers want their drums to appear as loud as possible, and then they maximize the level of the sample. That means when we program this sample into FL Studio, there is no more room to turn it upwards without distorting!
Deceptively, FL Studio's internal channels use 32 fleck depth which is a scalar aamplitude organisation. This means that within the program your sounds won't clip. Yet, once you lot export to a fixed bit depth like sixteen or 24, or convert your consign at 32 to an mp3, any overs suddenly become clips. If you terminate upwardly in the red it won't be a probleminside FL but could be pretty gnarly one time printed.
Solution: Turn your sample level down right at the beginning and turn your monitoring level upward if you want that thump while you're producing. By doing this, you exit yourself room to plow things upwardly or downwards. Watch for those picayune red squares at the top of your channels. If they evidence upwards, that means you've overloaded the organisation.
But how practice y'all make the playback loud? On your principal channel place a device chosen a Limiter and usethat to turn up your levels. The limiter volition foreclose clipping. And while information technology may seem counterintuitive, by turning things downward at the very starting time you will really take an easier time getting things even louder at the finish.
Mistake 2: Ignoring Velocity, Time Showtime and Swing
FL Studio has a ton of capability — even within the master sequencer itself. Only alas, many aspiring producers don't go fifty-fifty a few steps further to explore these capabilities. While I don't retrieve it's necessary to learn every nuance of FL Studio (although … why not?), I think in that location are three that are an absolute mustwhen producing music: Velocity, Time Offset and Swing.
Music is dynamic — pregnant it changes. If everything hits exactly the same, exactly on the beat, it sounds like robots fabricated it. Which in some circumstances tin be ok. Freezepop has made an entire subgenre of their ain from strictly quantized, robotic sounding music. The perfect sequencing of Muse'south "Madness" is effective. And the hi-hat rolls in Trap kind of work, somehow. However, well-nigh music benefits from dynamics and pocket (changes in level and timing).
Past default, FL volition put a striking at a designated velocity on the verbal timing of a beat. But if yous open up upwardly the sequencer window you tin find that all of this is adjustable. Just past doing something as elementary as drawing a contrast in velocity between your "big beats" (the really of import drum hits you desire to accent) and "inside beats" (the less important ones that simply help the groove along) can make a profound departure.
Making some micro-timing adjustments can give the tape an exciting experience. If you desire something relaxed and groovy similar the kind of Hip-Hop we like to smoke wee … err … relax to, drag those snares ever so slightly late. If you want something really upbeat and exciting, put whatsoever is on the second quarter annotation (probably a snare/clap) exactly on grid or a piffling late, and put whatever is on the fourth quarter note (probably also a snare/clap) ever so slightly early. And I'm talking merely subtly enough so that youfeel it, not so much hear it.
Congrats, you're in a whole new world of thinking now.
It's also worth playing with the Swing slider. Simply mess with information technology, you lot'll hear what it does. There's a whole new world of potential grooves out in that location. Swing Trap? Somebody better do it, or I volition.
Mistake 3: Stagnant Arrangements
Music is progressive. If you lot start at point A, go to point A, and so end at point A, y'all haven't told a story. Yous've merely repeated a sentence. No one is trying to hear that. People want arc, drama and excitement. Don't make a two bar loop, copy it eight times, copy it iv more than times with one new element on top of it, and so go dorsum to the original loop eight more times and call it a verse – chorus – poetry. It's 2017 — c'mon now.
Create variations of your original loop and bring them in and out during the verse. When you go from the poetry to the chorus, put in something to build tension and make the listenerwant that chorus to kick in. Don't forget an intro and maybe a bridge. Fifty-fifty if you're just making a beat and there'southward no lyrics yet, give the lyricist some energy to go off of. Brand a format to aid them tell their story!
Mistake iv: Missing The MIDI Functions
FL Studio is centered effectually its wonderful step sequencer. Information technology likewise has MIDI adequacy that allows you to plug in a keyboard and play a role in real time. The best producers know this and take full advantage of being able to both play alive and programme by sequence.
Even if we go under the hood and meticulously sculpt every note velocity and scrap of timing, it still doesn't account for all the possibilities 1 tin can create by simply playing a part in real time.
Mistake 5: Not Optimizing Your Export
After spending hours to days to weeks producing a song, don't driblet expressionless at the cease line! When exporting, we want the absolute highest quality file nosotros can impress out. For this I would just directly up copy these settings:
- Nether "Project Blazon" select "Full Song" and "Exit Remainder".
- Select "Wav" and under "Wav Bit Depth" select 24-scrap. I generally recommend not printing 32-fleck bladder unless y'all will be doing further treatment to the runway yourself — like if you are going to pull the file back into another DAW to practise your own mastering for example. Very few sound playback systems accept 32-float and will either refuse the file or convert information technology to a non-floating flake depth. Consider a 16-bit version if your distribution website or digital platform specifies 16-chip as a requirement and at that place won't be any mastering done outside of FL Studio prior to uploading, or if you are printing to a CD.
- Under "Quality" select the highest resampling rate y'all can choice. Currently that number is 512. Enable "HQ For All Plugins" and "Disable Max Polyphony". If you are exporting to 24 or sixteen $.25, enable "Dithering" as well.
Mistake vi: No "Re-Recording" Mix or No Individual Trackouts
This one is for folks who are selling instrumentals online. When advertising your production on your sales page, I completely suggest making a heavily compressed, pumped up, loud version of the instrumental. Your potential customers don't sympathise the process of product, they just know what they hear and they look the record to exist loud. Still, when it comes time to record the vocals for the production, that's an entirely different story.
In social club to get the vocals to blend well with the music, whoever is recording and mixing needs space in the tape. If the record is slammed, whether through pinch, limiting or difficult-clipping the master channel — at that place is no more room. In order to make the vocals piece of work, the engineer will take to make concessions. And once again, counterintuitively, the final product will probably beless loud than it would have been had the engineer been given aless compressed file to begin with.
One time a vanquish is purchased, make an alternate version that is less compressed to assistance the process. Your proper noun is going on this record and over the long term, everything that can assist the success of the song benefits you!
Y'all know what'south ameliorate than a less compressed mix? The complete individual trackouts of each audio element.
This one takes a fleck of judgement. If y'all don't know whose hands the instrumental is going to end upward in for mixing, you may want to stick with the 2-track (only the beat, without the trackouts). Nonetheless, if you know that a badass engineer volition be treatment the mixdown, give u.s. the versatility to brand the record the best information technology can exist.
In order to do this, under "Miscellaneous" in the Export card, select "Split Mixer Tracks".
Now, once again, here's a scrap of subjectivity. There is also an option labeled "Enable Insert Effects". With that selected, all the processing like EQ and pinch you accept on your sounds will be printed into the trackouts. Personally, I'one thousand an abet for enabling that button. Information technology'southward your song andyour sound. Mix engineers are non here to reinvent your music — we're here to make information technology sound incredible. As long as you like what y'all did, you'll love what you lot go dorsum. However, if you lot are new to producing or unsure of your choices in furnishings, it's ok to get out them off.
With these things in heed, FL Studio is as every bit good (if non better in some regards) as whatsoever DAW out there. And so go make your music and let haters stand in the night.
Source: https://theproaudiofiles.com/fl-studio-is-badass-if-you-dont-make-these-7-mistakes/
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