THE SECRET NINJA DUBS CLUB

[dickman69]

^ that sounds mad cool i think it would be cooler w/ way more sidechain on the kick tho

here is this

http://www.mediafire.com/?bs1t49byvxo2ajx

[hubb]

yeah what ray said -bigger stomp + finish it, sounds great!.

[kaili]

new bit from me and jizzman
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nice, could see some1 like asap rocky spittin over this

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heres a new 1 from me, more experimental than my normal stuff, up for free download

[hubb]

@kaili
cool, enjoyed that. nicely confusing - have you put anything on the master?

[hubb]

@ sample crew

http://www.mediafire.com/download/r8ejh ... BREAKS.rar

http://www.mediafire.com/download/q8fda ... en+smp.rar

http://www.mediafire.com/download/b2y74 ... +tuned.rar

[kaili]

@kaili
cool, enjoyed that. nicely confusing - have you put anything on the master?

ye its sorta self mastered a bit but i kinda suck at that, why u ask?

[hubb]

yeah sorry don't want to step on any toes giving out advice -but i have a few suggestions if you're interested?

[kaili]

yeah sorry don't want to step on any toes giving out advice -but i have a few suggestions if you're interested?

go crazy

[hubb]

ok

so I think you've got the bit down, where everytime you sit down you make something that is worth continuing and that is the most important aspect in producing/composing at all times.

You should be more aware of the highs and how they behave when compressed.
Particularly the attack transients 'coz they are 'pearcing'.
I've never figured that aspect out properly myself - but instead I've just got really comfortable with using the same lowpassfilter and the tone it's resonance has, so I can sort of recognise how it will sound before, if i lowpass the highs a bit.
It's obviously a tradeoff when you want a lot of definition in the highs, but I think we just assume we need a lot of definition there - reality is we only need to catch a bit of a transients' highend to realise where the sound is heading/comming from physically - so that atleast leaves room to experiment more than what the tradition of for example the loudness wars, and the way that sounds, suggests we should produce.
I have ear fatigue though, so I'm probably more sensitive than the average listener to that particular aspect. But I figured you responded positively to some of my tracks and in that aspect, its actually a concious effort on my part to 'put it all in a cave and cut the ceiling down'
Another thing, when we put something on the master and most of the sounds are quantised hard, it means that a lot of the sounds' transients will end up sitting right on top of each other and therefor cause for example compressors, to react to two sounds at once instead of just one properly. So you just move the attack of one of the sounds a tiny bit, like an increment tiny. And the compressor becomes gentle again. Hope this makes sence and helps a bit. Oh and lets do a track sometime

[kaili]

ok

so I think you've got the bit down, where everytime you sit down you make something that is worth continuing and that is the most important aspect in producing/composing at all times.

You should be more aware of the highs and how they behave when compressed.
Particularly the attack transients 'coz they are 'pearcing'.
I've never figured that aspect out properly myself - but instead I've just got really comfortable with using the same lowpassfilter and the tone it's resonance has, so I can sort of recognise how it will sound before, if i lowpass the highs a bit.
It's obviously a tradeoff when you want a lot of definition in the highs, but I think we just assume we need a lot of definition there - reality is we only need to catch a bit of a transients' highend to realise where the sound is heading/comming from physically - so that atleast leaves room to experiment more than what the tradition of for example the loudness wars, and the way that sounds, suggests we should produce.
I have ear fatigue though, so I'm probably more sensitive than the average listener to that particular aspect. But I figured you responded positively to some of my tracks and in that aspect, its actually a concious effort on my part to 'put it all in a cave and cut the ceiling down'
Another thing, when we put something on the master and most of the sounds are quantised hard, it means that a lot of the sounds' transients will end up sitting right on top of each other and therefor cause for example compressors, to react to two sounds at once instead of just one properly. So you just move the attack of one of the sounds a tiny bit, like an increment tiny. And the compressor becomes gentle again. Hope this makes sence and helps a bit. Oh and lets do a track sometime

lol no offence but that was really confusing to read i get the part about quantising and compression though, i think maybe the compression on this tune could be done a bit better
sort of get what you said in the first half of the text but not sure what youre saying i did wrong/should change >.< also didnt get the cave analogy
but yes i will do a track with you sometime!

[hubb]

- ok yeah i'm not english afterall, and using metaphorical advice is probably optimistic- what I mean simply put, is:

do we really need as much highend in our mixdowns when it's such a particularly difficult thing to get right?.
And I don't think we do, I think we all tend to - like with the loudness war -exaggerate part of the mix (in this instance the highs), because it makes it seem more direct or 'cleaner' than it actually is - when you can hear the hihats in the next room -so to speak.

The thing about the cave was just a way to give a silly name to that practise i was trying to explain. How I'd want my stuff to sound if it was a word.

Oh and you did nothing wrong - just what I would focus on to make your tracks closer to being 'perfect'.
Like if someone said - get rid of the rumble/mud and then the bass lost all the definition. Thats not advice - thats 'censoring'.
You have to find your own way of always dealing with rumble. (or highs).
And this was just me trying to give away my way of doing it.

[kaili]

- ok yeah i'm not english afterall, what I mean simply put, is:

do we really need as much highend in our mixdowns when it's such a particularly difficult thing to get right?.
And I don't think we do, I think we all tend to - like with the loudness war -exaggerate part of the mix (in this instance the highs), because it makes it seem more direct or 'cleaner' than it actually is.

The thing about the cave was just a way to give a silly name to that practise i was trying to explain. How I'd want my stuff to sound if it was a word.

ah okay i get you youre probably right yeah, ive been boosting a lot of the hi end on my hats recently and i probably dont need to, maybe its not such a good idea
anyways hmu about collabing ,drop me a pm or somethin

[hubb]

cool !

in a couple of weeks then, i'm a bit busy atm?

[kaili]

cool !

in a couple of weeks then, i'm a bit busy atm?

ye no worries i still have tunes im workin on atm too anyways

[forbidden]

new one is in my signature. needs more variance, i know, but i'm looking for comments on the sound more than the structure.

[collige]

Extended VIP mix of my Zomby war dub
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[dickman69]

^ thats my fav <3 <3 <3

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[finji]

Needs more 'ain't got time for the hype on twitter' Sounding good though, man.

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Just made this, kinda grimy/130ish, might be WAY too bassy and clipping ...

[Mr Hyde]

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[Lye_Form]

old one from me

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