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Basic A wrote: Stereo enhancers on elements they wont hurt, everyone always seems to forget about stereo enhancers because we caution against them so hard on masters and bass instruments and shit, but, on leads and top end percussion and what have you...

Dont underestimate what colored compression and subtle saturators,ect. can do either man. keep the vintage warmer off your master but that muffucka is gold in the busses.

Pads. Pads can fill out octave frequencies your other instruments dont get too without drawing focus away from whats important. Same with atmospheric sounds n all that raz.

Delays and verb, on sends. Great way to get seperate percussion elements really interacting with each other... just remember if your sending your kicks/snares into shit to roll the low frequencies off with an eq, reverbs tend to make mud out of these faster then they make anything pleasant.

IDK man get creative.

reignz wrote:how about add more than just drums and bassline

hasezwei wrote:i use a lot of sampled ambience for this. for example background tracks from half life 2, just wind or... well ambience sounds, it's hard to describe but if you have the game you'll find the folders. i have them really low in the mix and hipassed so they don't clash with the sub. i've gotten the idea when i read about burial having footsteps in a tune, first it's someone walking on the streets and then it's someone walking in a church. tbh i never found out which track they were talking about but the idea seemed great

btw, adding a complex delay (like the more fucked-up settings on logic's delay designer) to a mostly white-noise ambience sound can create a sound that's a bit like shattering glass in space (yes i know there's no sound in space but you get me).