Dubstepforum.com

blinkesko wrote:

Earjax wrote:

Cubicle wrote:

blinkesko wrote:

Earjax wrote:Sparxy sorry man we're not trying to have a go at your techniques Everyone has their way! However just to help you out from what I've learnt about mixing low end, your kick should definitely have a decent amount of low end in the 30-50 hz region, however and this WILL interfere with your sub, however there's nothing wrong with that happening as long as its not clipping, and if it is, your levels are too high. Also subs will sound as if they are resonating on certain notes more, this could be because of a lot of things: you've EQ'd it in the wrong place or too thinly, you have a lowpass with resonance on, or the shape of your room is making some notes resonate more (sound louder). Simple way to solve this: don't use lowpasses (unless they have a slider for q factor, which should be all the way if it does) use EQ instead. Also limiting and compression are essential when mixing sub as it is a sure way to make sure all notes are hitting just as hard. If you don't believe me, some of this advice has come directly from the badman klaat himself.

On a separate note, the tune in your sig is great man!!! Htf did you get your growl?!?

I dont see how compressing the sub would help, the more you compress it, the more squarey it gets, and after all, a pure sine is a pure sub.

Why would you even compress a pure sine sub? Let alone EQ it...

I always cut out till 80 on my kick, differs from my sample. So my kick has enough low but still not too much to interfere with my sub.

Yeah that was a while ago, my process has changed quite a bit from back then. I never use pure sine subs btw, they never fit in with my mids and just lack the powerful feel I want from a sub. As for the kick, I like there to be at least a bit in the 40-70 region, just makes it wider and without it the kick lacks presence

You must be doing something wrong if a sine at 60 hz is interfering with your mids. + How can you not get it to be powerful? :O I am confused

ehbrums1 wrote:the fm knob on the subtractor in reason can yield some pretty crazy results when used with this

http://kev-on-music.blogspot.com/2008/0 ... chart.html

ogunslinger wrote:I made a logic environment that allows me to modulate the lfo of my sub exactly the same way as my bass. I always use this method now if I'm using unsynced wobbles because it works perfectly. I'm going to be teaching this technique & a few others at my uni this Thursday so if any of you are interested I could just make a tutorial as well.

Sparxy wrote: The kick shouldn't be interfering with your sub at all. If it goes that low, then maybe you should consider the kick actually being the sub element in your track? Side chain compression, in my opinion shouldn't be used as a technical tool to make room (in most cases). It is poor practice and means you aren't EQing properly. If you are doing this, then you should tune your kick so its hitting at a harmoic frequency in relation to your sub, otherwise shit will sound out of tune as well. There are times when sidechaining is used as a fucking sick creational tool though, check out Claire Macguire - Ain't Nobody (Breakage Remix) to learn how you SHOULD be using side chain compression!

all this talk about "fat" subs is somewhat ridiculous anyway... a straight sine is the most powerful a sub can be. it just means on rubbish systems it might not be reproduced very well. Most producers make their subs sound "fatter" by either adding some harmoics, like compression and running it through a tube, maybe saturation OR by playing their sub at specific notes that hit certain frequency ranges that tend to resonate well with humans. Try it - load a straight, plain, pure sine in your synth and play up the keyboard. you'll notice certain notes seem to hit harder and shake your chestplate more than others. Personally I find G is a note where the sub shakes me. Write your tune in these keys and your sub will magically sound fatter

MoonUnit wrote:

ehbrums1 wrote:the fm knob on the subtractor in reason can yield some pretty crazy results when used with this

http://kev-on-music.blogspot.com/2008/0 ... chart.html

never have I ever been able to make anything decent sounding while messing with the fm knob on subtractor. Everything just sounds so hideous. I usually try and use the mod envelope for FM to quell this but still sounds crappy. oh wells

Sparxy wrote:
all this talk about "fat" subs is somewhat ridiculous anyway... a straight sine is the most powerful a sub can be. it just means on rubbish systems it might not be reproduced very well. Most producers make their subs sound "fatter" by either adding some harmoics, like compression and running it through a tube, maybe saturation OR by playing their sub at specific notes that hit certain frequency ranges that tend to resonate well with humans. Try it - load a straight, plain, pure sine in your synth and play up the keyboard. you'll notice certain notes seem to hit harder and shake your chestplate more than others. Personally I find G is a note where the sub shakes me. Write your tune in these keys and your sub will magically sound fatter

SKIN E wrote:

Sparxy wrote:
all this talk about "fat" subs is somewhat ridiculous anyway... a straight sine is the most powerful a sub can be. it just means on rubbish systems it might not be reproduced very well. Most producers make their subs sound "fatter" by either adding some harmoics, like compression and running it through a tube, maybe saturation OR by playing their sub at specific notes that hit certain frequency ranges that tend to resonate well with humans. Try it - load a straight, plain, pure sine in your synth and play up the keyboard. you'll notice certain notes seem to hit harder and shake your chestplate more than others. Personally I find G is a note where the sub shakes me. Write your tune in these keys and your sub will magically sound fatter

Couldn't be any more spot on! Trust me this is gold advice, exactly the way I work myself

Cahzii wrote:I understand your problem OP. Was listening to a lot of megalodon this weekend so I tried making some bass patches that were dark grimey and punchy and I made a demo within my sig. If you want to know how I made those just reply to me lol the main thing to get movement I used is a Freq Shifter + Bandreject and 3 OSC's within massive. It kinda sounds liek a reese but it wasnt hard to make at all.

Cahzii wrote:I understand your problem OP. Was listening to a lot of megalodon this weekend so I tried making some bass patches that were dark grimey and punchy and I made a demo within my sig. If you want to know how I made those just reply to me lol the main thing to get movement I used is a Freq Shifter + Bandreject and 3 OSC's within massive. It kinda sounds liek a reese but it wasnt hard to make at all.