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.
The two phases in mixing tracks are the recording or sampling of the actual sounds, and then mixing and mastering them into the final track. Sometimes, musicians use live instruments to record the track, but others simply put the entire track together using synthetic techniques. To draw a distinction, backtracks are those which are sung or dubbed over by the live musicians, while a track itself is the entire song or piece of music. Musicians might follow these two steps in that order, or use them interchangeably as they work on and perfect a track.
Mixing beats usually involves the use of software, mostly or exclusively. The software has been on the market for decades, and is not limited to one specific manufacturer. It is important to experiment with different programs so that you can decide which one you want to use.
The standard format of these programs is for the user to arrange samples (recordings of instruments or other desired sounds) to form the track, much like construction units. At the same time, the user can edit or tweak different aspects of the sound.
But using these programs successfully requires a certain degree of experience. Your tracks will be useless if you don't mix them as you are supposed to, whether for public performance or recording purposes. There are some obvious causes of this.
One such reason is that the equipment that you use to mix your tracks needs to be appropriate. Many PC speakers are extremely low power and have practically no bass. The temptation then is to amplify the bass excessively. When the track is played in public, however, the bass is so heavy that it either distorts the speakers or, in rare instances, damages them (this is known as "blowing" the speaker). You may not realize how powerful the samples are if you are not using powerful speakers when you mix your track. The track is then useless.
You should therefore try to stay aware of the power output of the speakers that you use to mix. A track that sounds low power on them might actually be entirely adequate when played on a PA system. Some tactics, such as part doubling (using two identical channels for the same sample) or the more standard amplification options, are usually not necessary, or should only be used if you know what you are doing.
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.
The two phases in mixing tracks are the recording or sampling of the actual sounds, and then mixing and mastering them into the final track. Sometimes, musicians use live instruments to record the track, but others simply put the entire track together using synthetic techniques. To draw a distinction, backtracks are those which are sung or dubbed over by the live musicians, while a track itself is the entire song or piece of music. Musicians might follow these two steps in that order, or use them interchangeably as they work on and perfect a track.
Mixing beats usually involves the use of software, mostly or exclusively. The software has been on the market for decades, and is not limited to one specific manufacturer. It is important to experiment with different programs so that you can decide which one you want to use.
The standard format of these programs is for the user to arrange samples (recordings of instruments or other desired sounds) to form the track, much like construction units. At the same time, the user can edit or tweak different aspects of the sound.
But using these programs successfully requires a certain degree of experience. Your tracks will be useless if you don't mix them as you are supposed to, whether for public performance or recording purposes. There are some obvious causes of this.
One such reason is that the equipment that you use to mix your tracks needs to be appropriate. Many PC speakers are extremely low power and have practically no bass. The temptation then is to amplify the bass excessively. When the track is played in public, however, the bass is so heavy that it either distorts the speakers or, in rare instances, damages them (this is known as "blowing" the speaker). You may not realize how powerful the samples are if you are not using powerful speakers when you mix your track. The track is then useless.
You should therefore try to stay aware of the power output of the speakers that you use to mix. A track that sounds low power on them might actually be entirely adequate when played on a PA system. Some tactics, such as part doubling (using two identical channels for the same sample) or the more standard amplification options, are usually not necessary, or should only be used if you know what you are doing.
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.
