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Minimal house > Various tips > Flashcards

Various tips Flashcards

1
Q
  1. To enhance the energy of your tracks, add 1.___ to certain elements, such as basslines, riffs and, occasionally, percussion.

For example, if you have two hi-hats playing on the offbeat try 2.______. There are no hard and fast rules for length, though, so experiment 1ms at a time.

A

1.

pre-delay

2.pulling one slightly forwards

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2
Q
  1. Minimal tracks are inherently glitchy, as they use a variety of 1.____, _____. This makes it one of the only genres for which the default random preset on Audio Damage’s Replicant plug-in is ideal. Try using it on ___ lead lines for some truly stunning and unique effects.
A
  1. evolving and unconventional delays,flanging and other effects
  2. delayed ‘plinky’
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3
Q
  1. A classic trick for creating breakdown builds in minimal tracks is to increase 1.____until it causes it to really 2.___ Then, at the very peak of the build, carefully 3.___
A
  1. the rate and feedback controls on a delay
  2. scream.
  3. pull the feedback and wet level right down to zero.
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4
Q
  1. Sidechain gating can sound good with 1.___ but you can also use a 2.___ with huge amounts of 3____ as a substitute. Insert a sidechain gate so that you get tiny bursts of riff and delay, producing a sound that’s a little more interesting than a regular4.___. After that, add some more5___!
A
  1. pads,
  2. thin-sounding riff
  3. fast delay
  4. pad

5 rhythmic delay

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5
Q
  1. One of the best ways to come up with minimal riffs and percussion is to play 1.___ and then apply 2___(even to 3.__, although you’ll probably need to 4.____). Whenever you’re working on riffs, have a delay already 5.___.
A
  1. very basic patterns
  2. tempo delays
  3. basslines
  4. filter some of the low frequencies off the delays
  5. set up for experimentation
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6
Q
  1. Simple riffs need 1.___ to keep them… well, exciting. Try setting a2.___on your bassline, copy an 3.____, transpose it up 24 semitones and then draw in a pitchbend line from the bottom-left to the top-right of your MIDI CC editor for a 4.___ to use in 5.__.
A
  1. exciting production
  2. pitchbend range of 24
  3. eight-bar part
  4. four-octave rise
  5. breakdowns
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7
Q
  1. Tempo-based 1___ is a useful tool for breaking up a track and helping it flow between 2.___. Gradually switch between fully dry and fully wet towards the end of 3.__, then pull the wet signal out a split second before the 4._____.
A
  1. ping-pong delay
  2. sections
  3. eight bars
  4. start of the next section
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8
Q
  1. We often put effects on individual channels but forget that we have a perfectly applicable 1._____ – and minimal house is ideal for some 2.___ action. Try assigning a high-pass filter, tempo delay or low-pass filter across your 3.___ and apply it judiciously.
A
  1. main output too
  2. output bus
  3. main out
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9
Q
  1. The only thing better than using individual processing is using them in 1.___. Try dropping down to one delayed synth part, pitchbend it down over one octave, insert a sidechain gate to the main output, and trigger it with eight short notes for a 2___ effect.
A
  1. combinations
  2. rhythmic, turntable-breaking
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10
Q
  1. If you’re using a certain sound to duck all the others through your sidechain bus and you already have ducking compression applied to the channel, it will also1._____! Create an identical channel to the 2.___, 3.__its output and use that as the 4._
A
  1. be ducking the track you’re using to trigger the effect
  2. trigger
  3. mute
  4. source
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11
Q
  1. Minimal house is meant to sound 1._ and 2._, so apply loads of 3._ and 4.___ tremolo alongside some 5.___ tremolo. Stereo wideners will also add to the vibe. Be careful not to overdo the effect on 6.__ sounds, though, as this could seriously effect the balance of your mix (although it can sound cool in 7.__)
A
  1. spacey
  2. tripped-out
  3. panning
  4. tempo-based
  5. manually timed
  6. bass-heavy
  7. drops and breaks
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12
Q
  1. Minimal house requires crazy effects, so before you start, create a couple of 1.__ with the craziest reverb and delay settings you can come up with. We’re talking ducking, panning, low-cuts, compression, more compression, widening, EQ, enhancers and maybe even a little gating. Then use automation to generate 2.__ with them.
A
  1. effects buses
  2. short bursts of sound
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13
Q
  1. Whenever any element is sounding too 1_, reach for a pitchshifting or chorus effect. Try layering a riff with a 2.__ version 3.___ by 4._, then throwing across a nice 5.__ plug-in. This will turn anything into an all-spinning, all-dancing backroom blaster.
A
  1. sensible or straight
  2. quieter
  3. detuned
  4. five semitones
  5. five-voice chorus
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14
Q
  1. Glitchy effects, such as the ones Audio Damage’s Replicant produces in its default mode, sound much better, groovier and less disruptive if you place them 1.__ a delay, as the repeats 2.__. This even works with heavy 3.__ over the 4.__ – place a tempo delay on the output and only raise the 5.__when you need to.
A
  1. before
  2. put back the groove and roll
  3. edits
  4. whole mix
  5. wet signal
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15
Q

01 – KEEP IT SIMPLE:

Minimal tracks live by simple and easy-to-listen1.__, so keep your 2.___ as simple as possible.

A
  1. arragements
  2. basic groove pattern
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16
Q

01 – KEEP IT SIMPLE:

Even if there is just a bassdrum by 4-on-the-floor, and a clap on every second step followed by one percussion hit in the offset, this could already be enough as a 1.__ and makes your track more pleasant

A
  1. main groove construction
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17
Q

02 – MAKE THE RIGHT CHOICES:

More important as the basic drum pattern are the sounds, which you`re using – so 1.__ . All used sounds should 2. ___. or 3__

A
  1. choose your drum and percussion sounds wise
  2. fit well together, or
  3. better enrich each other inside the arragement
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18
Q

02 – MAKE THE RIGHT CHOICES:

Tool-Tip: Wave Alchemy Complete Drums

Also synthesizer-based ____ sounds can be a great option. From fm percussion till short tonal percussion or filter drops – they will give your drum pattern a new additional or complete new taste.

Tool-Tip: ___

A
  1. synthesizer-based percussion sounds
  2. CFA-Sound DSP-Drums
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19
Q

03 – USE THE GOOD OLD BASICS:

One of the most preferred drum sound sources is the goold old Roland 1.___ – all what you need in easy to find in there. Add the right amount of 2. ____on the 3.__ and it will surely fit well into your track. If more punch is needed, add a 4.__ or 5.__ on the 6.__, or take directly a 7. ___ as a punch-enhancher.

A
  1. TR-808
  2. compression and eq-work
  3. 808 kick
  4. short attack
  5. click sample
  6. top of the kick
  7. processed 808 rimshot
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20
Q

04 – THE MAGIC WHITE:

Noise is 1__sounds in minimal tracks, which can be used in many different ways. As source sound for a long 2.__or fast 3._, as background sound in the mainpart with a 4__ effect on it, or also as subtile 5__ under the riff, pluck and bass sound.

A
  1. one of the essential
  2. riser
  3. downlifter
  4. sidechain
  5. layer
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21
Q

03 – USE THE GOOD OLD BASICS:

Many of you have surely thinked about the source of the typical minimal percussion, which you can hear in nearly every second minimal tracks. The answer is already written above. Take the three 1.____of the 808, give each a different2.__ and build your percussion line, that`s it!
Tool-Tip: D16 Nepheton

A
  1. conga drum modules
  2. pitch
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22
Q

04 – THE MAGIC WHITE Noise :

. Play it straight-line with one or two short notes in your groove pattern, add some automation on the 1.__ – or play the noise on 2.__notes with a 3.__ effect on it – that will create a thrilling main part.

Tool-Tip:4 ____

A
  1. release
  2. long
  3. rhymic
  4. Xfer LFO Tool
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23
Q

05 – BRING IN SOME DIRT:

Sometimes some parts in our track could sound too clean, if this happen grab a 1.___ and bring in some decent 2. ___ by reducing the 3.__or go a step further for more dirt through reducing the 4.__,

A
  1. lofi effect
  2. noise character
  3. bit-rate
  4. frequency rate
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24
Q

05 – BRING IN SOME DIRT:

if your lofi effect allows it – add directly a 1. ___ on it to cut down the typical 2.___ . So you get easily a nice amount of lofi dirt without having the typical harsh digital taste.

Tool-Tip: D16 Decimort

A
  1. lowpass filter
  2. rate reducing artifacts
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25
Q

06 – GOING DEEP:
The 1___ is the most fundamental part of every minimal track, and maybe also the most simpliest one.

A

1.bassline

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26
Q

06 – GOING DEEP:
The bassline is the most fundamental part of every minimal track, and maybe also the 1. __ one.

A

06 – GOING DEEP:

the most simpliest part

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27
Q

06 – GOING DEEP
In nearly every minimal track you hear a very subtle and unflashy bassline, similar to a normal 1. ____. There is nothing magic behind that.

A

sub bass

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28
Q

06 – GOING DEEP Bass:
Take a basic synthesziser with a good basic sound and filters,make it with ___.

A

with 1 or 2 different but intergrated notes/layers

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29
Q

06 – GOING DEEP - Bass:

Use a square or saw, combined with a sinus wave, which plays 1.___ lower.

A

one octave

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30
Q

06 – GOING DEEP - Bass:

Turn attack and decay to 1.__, sustain to 2.__ followed by a very 3.__ release, close the 4.__ to bring the sound on a very sub-like character. As last step , 5.__ it and done.

A
  1. zero
  2. 100%
  3. short
  4. filter
  5. sidechain
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31
Q

But if you want a bassline which stands out a little bit more than usual, use the 1.___, so that the bassline comes slighty in front and can also get a more percussion like taste if needed.

A

use the filter envelope of your synthesizer with a short decay so that

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32
Q

06 – GOING DEEP - Bass:

Some musicians going a different way, instead of a basic synthesizer they prefer the already mentioned 1.__

A
  1. 808
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33
Q

808 bass:

Set two of the three tom modules on a 1.___, so that both are harmonizing to each other. Additional add an 2. ___in the effect chain, turn the 3.__ till you reach the lower frequencies

A
  1. different pitch value
  2. lowpass filter
  3. cutoff down
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34
Q

07 – MORE DETAILS:

the basic drum pattern should be straight and simple, for a more complex drum arragement and even more details, 1. __ sounds will be the best option.

A
  1. small and very tiny sounds
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35
Q

07 – MORE DETAILS:

1.___ will work very well, especially because their main frequency domain is in the highend, so they won`t intrude deeper percussion and bassline region.

Tool-Tip: Sounds of Revolution Clicks & Glitches Vol.2

A

Short clicks, glitch fragments or cutted high hats

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36
Q

08 – USE THE FULL WIDTH:

Next to the golden rule, keep the deeper frequency range below ___ hz always mono,

A

300hz

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37
Q

besides frequencies below 300hz, all above that frequency should be used in the ______.

A

full width of the stereo panorama

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38
Q

Set the percussion elements on different panning values, through the simple rhythmic structure it will work well. You can also use 1. _effects on synth sounds or 2._ effects. Or just add a simple ping-pong delay effect with synced time value, this will 3. _ and helps easily to 4._

A
  1. tremolo effects
  2. delay
  3. enrich the sound picture
  4. make some sounds more interesting
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39
Q

09 – TAKE A COMPLEX BREAK:

For breaks in the arragement, a ___ sound will be necassary.

A

pad

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40
Q

09 – TAKE A COMPLEX BREAK:PAD

Their you should prefer a more decent sounding pad patch, which creates a 1. __ or a 2. __, so your track gets also much more 3. __with a break point followed by a complete new sound picture.

A
  1. light ambience
  2. new a athmosphere
  3. interesting
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41
Q

09 – TAKE A COMPLEX BREAK:PAD

To make the pad sounds more exciting you should add some light, but complex and rhythmic 1. __

A

1.modulation

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42
Q

09 – TAKE A COMPLEX BREAK:

With a rhythmic modulation on the pad sound during the break, you will preserve a to intense crossover from the 1. __pattern down to the break, so it will be still a small amount of rhythmic there – and the break in all will sound more 2.__.

Tool-Tip: FXpansion Etch

A
  1. main groove
  2. rich on details
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43
Q

10 – BRING IN SOME WORDS:

The last great detail could be some additonal vocal sounds in your track. From 1. ___ with a rhythmic pattern or down to 2.____ with this special vintage charm and dirt, both will work great in every minimal track and makes the track even more unique and outstanding.

Tool-Tip: Resonance Sound Vintage Movie Vocals

also look for creative commons vintage movies?

A
  1. short chopped vocal fragments
  2. voice cuts of old time movies
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44
Q

All in the groove:

It is vital that every ____ has a place in the groove.

A

rhythmic element

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45
Q

All in the groove:

Be critical when 1. __ and 2. choose ___ carefully.

A
  1. adding elements
  2. choose samples carefully
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46
Q

All in the groove:

Start with the __and ___ and bring in other elements around them.

A

kick and bassline

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47
Q

All in the groove:

Start with the kick and bassline and bring in other elements___.

A

around them

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48
Q

All in the groove:

One good technique is to imagine_____. Introduce one sound and then counter it with another a few beats later.

A

the elements in the groove having a discussion with each other

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49
Q

All in the groove:

One good technique is to imagine the elements in the groove having a discussion with each other. Introduce one sound and then_____.

A

counter it with another a few beats later

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50
Q

Kick & Snare:

Generally the key with Minimal House beats is to keep ____ so the high frequency elements can ‘breathe’ and inject life into the groove.

A

the kick nice and deep without too much mid or high-end energy

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51
Q

Kick & Snare

Generally the key with Minimal House beats is to keep the kick nice and deep without too much mid or high-end energy so the ____.

A

so the high frequency elements can ‘breathe’ and inject life into the groove

52
Q

Kick & Snare

Choosing drum sounds that ___ is also extremely important

A

fit each other well

53
Q

Kick & Snare

Choosing drum sounds that fit each other well is also____ –

A

extremely important

54
Q

Kick & Snare

Choosing drum sounds that fit each other well is also extremely important – if the kick is heavy the snare should feel ___.

A

light and toppy

55
Q

Kick & Snare

if the kick is heavy the snare should feel light and toppy. For this reason ____ sounds can work particularly well.

A

808 and 909

56
Q

Mono vs Stereo

It is always advisable to keep the_____in mono as these backbone elements of the track are often the most prominent and many club systems are still wired in mono.

A

kick (and other bass elements)

57
Q

Having a ___ on hi-hats and other percussive elements helps keep the beat interesting and merges the rhythm nicely with synth loops or fx patterns.

A

stereo spread

58
Q

Keep effects ____, especially reverbs and delays.

A

changing constantly by automating them

59
Q

Evolving effects

Turn up reverb sends occasionally on___ to give your track big reverb splashes at key points.

A

percussion tracks

60
Q

Evolving effects

Turn up reverb sends occasionally on percussion tracks to give your track big reverb splashes at__.

A

key points

61
Q

Evolving effects

Turn up reverb sends occasionally on percussion tracks to give your track big reverb splashes at key points. Automate the reverb ___ too.

A

size

62
Q

Evolving effects

Put a 1.__ delay on the melodic hook and automate the 2.__ and 3.__ .

A
  1. Short slapback
  2. Feedback slider
  3. Delay times
63
Q

You can make deep minimal basslines by using nothing but an ______.

A

808 kick sample with a long decay

64
Q

Ride the 808

___the kick so that it combines well with your main kick drum .

A

Tune

65
Q

Ride the 808

have volume envelope with the attack turned 1.__, so you keep the boom and not the 2. __ of the kick.

A

slightly up

snap

66
Q

Ride the 808

Adjust the ___ to get the right length.

A

decay

67
Q

Ride the 808

Add a little pitch envelope to the sample with pitch ___.

(This kind of wobbly sound is heard in many minimal productions today.)

A

shifting either slightly up or down

68
Q

Try looping percussive sequences at ____ bars,

A

odd numbered

69
Q

Odd bars:

Try looping percussive sequences at odd numbered bars, like the third or seventh bar, instead of at ____ for interesting, ever-evolving percussive lines.

A

the regular 4/4 marker

70
Q

Odd bars

Try looping percussive sequences at odd numbered bars, like the third or seventh bar, instead of at the regular 4/4 marker for__

A

interesting, ever-evolving percussive lines.

71
Q

Odd bars

To build towards a drop insert a ___ for an instant building carpet of sound.

A

ping-pong delay

72
Q

Stabs:

When choosing a sample as a raw sound, look for ______;

A

complexity

73
Q

Stabs

When choosing a sample as a raw sound, look for complexity; _____

A

something which is rich in harmonics and overtones

74
Q

Stabs

When choosing a sample as a raw sound, look for complexity; something which is rich in harmonics and overtones – an _____ is the classic example.

A

obscure jazzy chord

75
Q

Stabs

When choosing a sample as a raw sound, look for complexity; something which is rich in harmonics and overtones – an obscure jazzy chord is the classic example. ____ sounds also work well.

A

Vocals and organic

76
Q

Stabs

Try running your sound through a___ to add some dirt, then apply a low pass filter controlled by an envelope to give the sound some shape.

A

bit-crusher

77
Q

Stabs

Try running your sound through a bit-crusher to add some dirt, then apply a ___ controlled by an envelope to give the sound some shape.

A

low pass filter

78
Q

Stabs

Try running your sound through a bit-crusher to add some dirt, then apply a low pass filter controlled by an ____ to give the sound some shape.

A

envelope

79
Q

Stabs

Try running your sound through a bit-crusher to add some dirt, then apply a low pass filter controlled by an envelope to ____.

A

give the sound some shape

80
Q

Stabs

after bit crusher and low pass filter controlled by envelope, _____ will really start to bring the sound alive and give it the classic punchy-techy sound.

A

Saturation and compression

81
Q

Stabs

Saturation and compression will really start to bring the sound alive and give it the classic ___ sound.

A

punchy-techy

82
Q

Stabs

Assign____ parameters to various controls to get as much variability in the sound as possible

A

tone-shaping

83
Q

Stabs

Assign tone-shaping parameters to various controls to get as much ____ as possible –

A

variability in the sound

84
Q

Stabs

Assign tone-shaping parameters to various___ to get as much variability in the sound as possible

A

controls

85
Q

Stabs

the velocity mapped to the volume, cutoff and decay for example, and the mod wheel to a pitch LFO and reverb send. Some 3/16th delay will help give a strong rhythmic emphasis to the stabs ….all this helps to - to get as much _____ –

A

variability in the sound as possible

86
Q

Stabs

Some 3/16th delay will help give a _____ to the stabs.

A

strong rhythmic emphasis

87
Q

White hats

Make a free-flowing techno hat pattern by using a white noise oscillator playing a ____ pattern

A

shuffling

88
Q

White hats

Make a free-flowing ____ pattern by using a white noise oscillator playing a shuffling pattern (short 16th notes with some triplets thrown in) with the volume envelope decay/release controls constantly changing using automation.

A

techno hat

89
Q

White hats

Make a free-flowing techno hat pattern by using a____ oscillator playing a shuffling pattern

A

white noise

90
Q

White hats

techno white noise hats.- a shuffling pattern (explain)____

A

short 16th notes with some triplets thrown in

91
Q

White hats

Make a free-flowing techno hat pattern by using a white noise oscillator playing a shuffling pattern (short 16th notes with some triplets thrown in) with the volume_____ controls constantly changing using automation.

A

envelope decay/release

92
Q

White hats

Make a free-flowing techno hat pattern by using a white noise oscillator playing a shuffling pattern (short 16th notes with some triplets thrown in) with the volume envelope decay/release controls _____ using automation.

A

constantly changing

93
Q

White hats

Make a free-flowing techno hat pattern by using a white noise oscillator playing a shuffling pattern (short 16th notes with some triplets thrown in) with the volume envelope decay/release controls constantly changing using ____.

A

automation

94
Q

Less is more

Your track is destined to be rocking a___ . If you cram in every idea and then some more, the track will soon sound messy on a ____.

A

big club system

big rig

95
Q

Less is more

Your track is destined to be rocking a big club system. If you cram in every idea and then some more, the track will soon____on a big rig.

A

sound messy

96
Q

Less is more

. At some point you should sit back and selectively _____ that don’t add much to keep everything simple.

A

delete parts

97
Q

Less is more:

At some point you should sit back and selectively delete parts that don’t ____ to keep everything simple.

A

add much

98
Q

Less is more

. At some point you should sit back and selectively delete parts that don’t add much to___

A

keep everything simple.

99
Q

Less is more

This is minimal dance music: having a few_____ is your ultimate aim.

A

choice elements that work well together

100
Q

Less is more

This is minimal dance music: having a few choice elements that work well together is ‘one of your’

A

your ultimate aims.

101
Q

infinite pads:

Soundscapes and pads give ___ to a mix and play an essential part in intros, outros and breakdowns.

A

depth

102
Q

infinite pads

Soundscapes and pads give depth to a mix and play an essential part in ___ and ___.

A

intros, outrosand, breakdowns

103
Q

infinite pads

To make extending pad sounds insert your chosen pad sample, then insert the same loop again after the first and____ it.

A

reverse

104
Q

infinite pads

to create Instant ever-changing pad variations: 1, 2, 3.

A
  1. insert your chosen pad sample
  2. insert the same loop again after the first and reverse it
  3. Join the two together using your sequencer’s crossfade function.
105
Q

Wobbly synths

To create the classic ‘moving tuning’ synth line,

  1. pull up a ____on your preferred synth
  2. and ______ so that it moves slowly up and/or down.
A
  1. sawtooth wave
  2. automate the tuning knob
106
Q

Wobbly synths

To create the classic ‘moving tuning’ synth line, pull up a sawtooth wave on your preferred synth and automate the tuning knob so that it _____.

A

moves slowly up and/or down

107
Q

Wobbly synths

Another way To create the classic ‘moving tuning’ synth line, :

assign ____ to the tuning of the oscillators.

A

an LFO

108
Q

Wobbly synths

the classic ‘moving tuning’ synth line,

This kind of technique is also often heard used on other elements such as____ and even ___.

A

percussion

basslines

109
Q

Tidy percussion

Keep percussion hits _____by adjusting the decay of the samples according to the groove of your track.

A

neat and tidy

110
Q

Tidy percussion

Keep percussion hits neat and tidy by adjusting the___ of the samples according to the groove of your track.

A

decay

111
Q

Tidy percussion

Keep percussion hits neat and tidy by adjusting the decay of the samples according to the ____.

A

groove of your track

112
Q

Tidy percussion

Keep percussion hits neat and tidy by adjusting the decay of the samples, Also remember to check the decay of your ____sample.

A

kick drum

113
Q

Tidy percussion

Also remember to check the decay of your kick drum sample. Too long a decay and the kick will 1.____ and too short a decay will 2.__

A
  1. interfere with the bassline
  2. not yield enough punch.
114
Q

Tidy percussion

In general the percussion hits in minimal techno are ____

A

short.

115
Q

Tidy percussion

Too long a decay on the___will interfere with the bassline and too short a decay will not yield enough punch.

A

kick

116
Q

Tidy percussion

Kick drum: ____a decay and the kick will interfere with the bassline and ____ a decay will not yield enough punch.

A
  1. Too long a
  2. too short
117
Q

The mighty whoosh

____ hits and sweeps are common in minimal techno.

A

Plain white noise

118
Q

The mighty whoosh

Plain white noise____ are common in minimal techno.

A

hits and sweeps

119
Q

The mighty whoosh

Slap a ____ over a white noise effect with your kick drum feeding the sidechain input for some solid pumping action.

A

compressor

120
Q

The mighty whoosh

Slap a compressor over a white noise effect with your kick drum feeding the ___ for some solid pumping action.

A

sidechain input

121
Q

The mighty whoosh

Slap a compressor over a white noise effect with your kick drum feeding the sidechain input for some solid ___ action.

A

pumping

122
Q

The mighty whoosh

. Remember to ______ on the white noise sound to keep your mix clean.

A

cut out low frequencies using a hi-pass filter

123
Q

The mighty whoosh

Remember to cut out low frequencies using a hi-pass filter on the white noise sound to____

A

keep your mix clean.

124
Q

Complex rhythmical textures: something much more complex than a stuttering sound.

can you remember how to do this? explain…

A
  1. Take a vocal sound, ( or something similar? )
  2. set it looping but with a relatively short loop size.
  3. map the loop start position to a rhythmical step sequencer.

This means the start point of the loop will jump around in sync with the steps in the sequencer, by however much you set on each step. Immediately you will notice your sound has transformed from a stuttering sound, to something much more complex.

Try sending the cutoff to the step sequencer also, and maybe the sample rate too – you’ll quickly start to see how incredibly rich complex sounds can spring out of nowhere.

125
Q
A

Minimal house (3 decks)

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