Does it bother you that you loose the panning information from those separate tracks? I always do those LFO things on the panning, what I quite like. That’s hard to do in the DAW afterwards.
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surely there are loads of (free even) auto panner plug ins in the world?
in Ableton, there’s one built in.
sure, I know ableton in and out. There are multiple ways to do some panning there.
What I do in the DT is for example a LFO on some panning, that is triggered per MIDI note.
This then plays together with some other stuff, which I have to fake somehow from scratch in the DAW.
“This then plays together with some other stuff”
well now I’m intrigued!
some nerding around per project.
for instance:
- track1 Mid part of sample moves from left to right, track2 Side part does some complementary stuff
- call and response articulation in complementary samples
- highlighting in layered textures
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Nah. I do panning in the dt and can replicate it pretty easy in the daw. I also have Bitwig and can do some crazy panning mods in there.
I explained everything in the long post I made about it.
I’ve read your long post, but you added a newer post so I was curious if there were new things you did / discovered to improve the mix. According to this answer the answer is no
That’s pretty much it. Each song is different so I’ll do different things depending on what I want to hear. But the core concept of making the stems sound glued like the DT is what I wanted to explain.
So you mix your DT tracks with amp and sample volume right? If you mix with track volume it will be lost on overbridge if I remember well.
Yeah plus different levels of overdrive per pattern.
oh sorry I didn’t mean the track, just the clean session (without audio) to take a look / hear the delay, reverb (interested about the IR profile you mentioned) and compression settings. Screenshots could do as well, if you’re not comfortable with that. Thanks for the details description as well!
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huh???
I had the same experience with the DT and other grooveboxes. I’m a fan of its unique sound and i feel like that’s a huge part of the reason to use it in the first place.
Sound selection, leveling, panning, and EQ per track should get you 80-100% there anyway. The DT has that and more so it’s more than enough tools for a clean mix
I didn’t read everything, but in my experience people often do the following when mixing in the DAW:
- EQ things to sound harsh and unpleasant, for example by boosting between 4000 and 8000 Hz
- Attenuating frequency spectrum areas that would’ve provided all the lustre
- Compress in a way that makes feel things small and confined
In other words, nothing good Synthesizers usually sound already pure, it’s not like a guitar amp or real life drum kit that was poorly mic’d …
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Tough, but fair.
I don’t think I’ve ever EQ’d anything after recording and successfully gotten it to sound better. I record it straight out of the box, and if I don’t like it, I change the sounds and record it again. It’s repetitive, but all told, for me it’s faster and has more positive outcomes than screwing around with EQ curves.
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Yeah I barely Eqd at all either. My hi hat was a little crisp but looking at the session, there was hardly any EQing done in the DAW. I didn’t do much besides shape the aesthetic of the sound to be more lofi and use the compressor technqiue I discussed prior.
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Elektron reverb Med Decay L.aif (675.2 KB) Elektron reverb Med Decay R.aif (675.2 KB)
Here are the impulses I made. Feel free to use them!
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Awesome, thank you!
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Would just like to point out that the DT compressor can take sidechain from a track that has it’s volume turned all the way down in master (don’t mute, just turn volume down)
So keep a clean project with just the sidechain source, route sound through the DT inputs, record the output 
Edit: i imagine you can do this with ”stems” and routing to delay/reverb from inputs in master section as well
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