Happy creating, hopefully you can get some time in to try these out at the weekend. 😎

Cheers Wes 😎

There a lot of free midi arp tutorials in my playlists. I have a month series of trance arp videos. 😎

😝 cheers dude 😎

😎 Appreciate it, have a good weekend too 👍🏻

Thanks @@demishellen

Dissonance is something I have been wanting to explain but the workload and being out of action recently I have not got round to scripting this one yet. Delays can be seen as extra notation at different times and gain levels. So the more we have going on the more we have to manage. Using delay settings that compliment each other will work better than just using random settings. It's all about the context but delays add more layers. If you have 4 tracks which are plucks and leads, adding delay to each is essentially doubling them to 8 layers. Bit of an extreme scenario but it gets the point across of being creative and mindful 😎

Communication

That can be the case is some instances depending on the music being created. However the low end needs to be checked especially when the track is played louder, any unnecessary low end movement makes the woofers work harder and worst case scenario of frequency masking will be huge issue. My workflow on leads and plucks usually requires no information in the low region as if I cannot hear it then why leave it unattended adding to potential issues later in my mix. 😎

@@demishellen But that's the thing! Masking in the low frequencies is nowhere near as likely as you think it is, and if it is, the problem is the sound source, not the post-processing. Basically, the solution is to simply not make your lead play low notes, since that's literally what would be causing the frequency clashes. Also, leaving the low end of your leads and your plucks is literally what gives them warmth. Putting a low cut, even a subtle one, is not only going to remove that warmth, but also distort the transients to an unpleasant degree, since all low cuts by definition add significant amounts of post-ringing artefacts. And you also don't have to worry about that low rumble accumulating to affect the kick and/or bass too much, and if they do, again, the problem is in the composition and sound selection, not in the post-processing. Finally, I have never heard of "unnecessary low end movement" causing problems for woofers; woofers are literally designed to handle those frequencies. What may actually cause problems for woofers, is playing highly compressed audio at unity level; there's a reason why live mix engineers have such contempt for bass music DJs. So in this case, the solution is simply to not master above -14 LUFS, since live PA systems are built to withstand transients going above 0 dB, while sustained audio hovering slightly below 0 dB will quickly wear those systems down very quickly. In short: "We'll fix it in post" is a bad habit.

"simply not make your lead play low notes" it's not what you think, it really is extra space that contests with what else that is going on. True if a thing is not happening in that range, then you are right, but rarely is that the case. Often there is movement in that range, and in that space.@@UnfortunatelyTheHunger

@@UnfortunatelyTheHunger You can low cut without removing the warmth. Things don't have to be black and white. Indeed it's a common problem for producers, especially newcomers to hi-pass too much their elements making things sound thin and cold. Anyway everything depends on the context, we should judge with our ears. I was just working on a track and I had a fast plucky arpeggio playing during the verse. It sounded absolutely great and then I saw that I didn't EQ it at all, so I tried to make a simple hi-pass up until 120hz, it somehow killed the energy, so I left it clean.

@@UnfortunatelyTheHungerlol are you a signed record producer? Probably not… so I think Demi’s knows what he’s talking about.