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Chubby_Sub wrote:Read what I said for "100% THC", basically EQ Sub, EQ Bass and EQ treble, and wack some compressors on all mixer channels for all instruments. That will make it sound fat enough for a club sound system. Please listen to the track I'm working on (which is posted on this forum) "Tesla Utopia" (you'll get an idea for the "fat sound", irrespective of the actual music - that's subjective) and a comment/feedback would be much appreciated! Cheers! Hope my advice helps! Google search for more info on mastering dubstep/EQ/music compression.
- basically - mastering / sound engineering is as much a creative process as making the melody when it comes to dance music.Chubby_Sub wrote:Basically Dance music (dubstep included - obviously) is all about bass and a catchy rhythm and "hook", and maxing/boosting the sounds you've got so they sound really fat and loud. The way to do this is by going "over-the-top" a bit with the mixing processing. That means maximising the synth/samples you've got. If you don't use EQ all the elements of a track will merge into a grey mush, to get definition you need to allocate frequency ranges for all the elements of a track and then boost those frequencies so they sound really big and fat. If you do a little research into mastering dance music you'll get the idea - mastering is a big part of the production when it comes to making dance music - you've got to be a studio engineer too.
I watched a couple of things on the PM EQ on Fl studiosChubby_Sub wrote:- basically - mastering / sound engineering is as much a creative process as making the melody when it comes to dance music.Chubby_Sub wrote:Basically Dance music (dubstep included - obviously) is all about bass and a catchy rhythm and "hook", and maxing/boosting the sounds you've got so they sound really fat and loud. The way to do this is by going "over-the-top" a bit with the mixing processing. That means maximising the synth/samples you've got. If you don't use EQ all the elements of a track will merge into a grey mush, to get definition you need to allocate frequency ranges for all the elements of a track and then boost those frequencies so they sound really big and fat. If you do a little research into mastering dance music you'll get the idea - mastering is a big part of the production when it comes to making dance music - you've got to be a studio engineer too.
It took me ages to look into the mixing/mastering side of things, but it makes a BIG difference. General music production tips won't do you need dance music tips specifically.AtomzxxBomb wrote:I watched a couple of things on the PM EQ on Fl studiosChubby_Sub wrote:- basically - mastering / sound engineering is as much a creative process as making the melody when it comes to dance music.Chubby_Sub wrote:Basically Dance music (dubstep included - obviously) is all about bass and a catchy rhythm and "hook", and maxing/boosting the sounds you've got so they sound really fat and loud. The way to do this is by going "over-the-top" a bit with the mixing processing. That means maximising the synth/samples you've got. If you don't use EQ all the elements of a track will merge into a grey mush, to get definition you need to allocate frequency ranges for all the elements of a track and then boost those frequencies so they sound really big and fat. If you do a little research into mastering dance music you'll get the idea - mastering is a big part of the production when it comes to making dance music - you've got to be a studio engineer too.
But no clue , so i'll look at these to get a good idea of what to do
Im still working , on the patterns as well haha
So its deff a process im working out
He goes on about space - low-cutting and high-passing... parametric EQ shelving basically.Chubby_Sub wrote:You've seen the benga & rusko future music vids on youtube? They give an idea into the importance of the mixing side of things. But if you don't know the lingo you might get lost - benga's a bit Vague...
http://www.youtube.com/watch?v=p_6RitUOONI
Chubby_Sub wrote:He goes on about space - low-cutting and high-passing... parametric EQ shelving basically.Chubby_Sub wrote:You've seen the benga & rusko future music vids on youtube? They give an idea into the importance of the mixing side of things. But if you don't know the lingo you might get lost - benga's a bit Vague...
http://www.youtube.com/watch?v=p_6RitUOONI
Use your FL parametric EQ 2 PLUG-IN. Assign every instrument/sample/element to a mixer channel, add FL parametric EQ 2 to all, (and compressor) then (this is what I do, and it's quite effective) just limit the frequency range to what you want for each instrument- the pleasing sound range, get rid of the rest (even hi-hats for example have bass, before you apply EQ, - cut that shit), I'll find a table with average frequency ranges for different instruments, I saw one some-where - I found it quite useful...AtomzxxBomb wrote:Chubby_Sub wrote:He goes on about space - low-cutting and high-passing... parametric EQ shelving basically.Chubby_Sub wrote:You've seen the benga & rusko future music vids on youtube? They give an idea into the importance of the mixing side of things. But if you don't know the lingo you might get lost - benga's a bit Vague...
http://www.youtube.com/watch?v=p_6RitUOONI
I still need to learn how to layer my Drums on top & subs at the bottom?
Lp on this , Bp on that , Hp on this
heh...
Just know the subs are Lp
This guy uses a very over-the-top example, but the technique is very very effective if used right and with subtlety!!