Tips on making Dubstep (NOT brostep)

[Omley]

Hello,
First of all, I'd just like to clarify I like both dubstep and brostep. However, I really want to make DUBSTEP, but whenever I Google something like "Dubstep production tips", or "Dubstep mixing tips", etc., I always get results that are tips for making BROSTEP. So, does anyone have tips (or links to websites) for making dubstep; music like this:
http://www.youtube.com/watch?v=X6O01mhbZWE
http://www.youtube.com/watch?v=1nko_aTr ... r_embedded#!
http://www.youtube.com/watch?v=8Z0VSvu-ro0

I get the basics, like the focus on sub-bass, but I'm just looking for things like ideal frequencies for things like the bass and drums, mixing and mastering tips...

All responses are greatly appreciated!
Omley

[djake]

mixing is a pretty generalized subject when making dance music in terms of the technical side imo.

I learnt alot from this video a few years back

http://www.youtube.com/watch?v=1ouHe0OuBFw

[Turnipish_Thoughts]

It worries me that you're looking for tips on 'ideal frequencies'. It's a very dangerous trap to fall in to, thinking that there's some kind of 'secret ingredient' to getting your tunes sounding epic. There isn't. The thing with 'ideal frequencies' is that they do exist, but what those exact frequencies are is entirely down to the harmonic content of the samples you're using and the sound you're intending to create.

I know it's such an annoying thing to hear but it really is a matter of stepping ever forward on your personal odyssey into the shaping of sound and music creation and learning the many many-fold minute ingredients that all rely on each other in tiny but all important ways.

A tune is a tune, a mix is a mix, in the same way as a painter 'paints', yes, they're using a brush, and one could analyze the specific strokes they may be using in an attempt to recreate a glimpse of the master-fullness they seem to have produced in the totality of their piece, but it will only ever be a mimic of the originality.

Until one has reached a point of an intimate understanding of the totality of the art-form, it is important to understand that the journey should seldom consist of anything more than an attempt at deepening a personal understanding of the fundamentals of the art-form, to a degree instinct plays more of a role in defining when said frequency could be classed as 'ideal' in that specific circumstance, as in every respect the only time a frequency, or a mix would be said to be 'ideal' would be in the context of the many inter-relating aspects of a track as it is individually.

Just as you wouldn't ask the individual expressing a very insightful prose exactly how they went about constructing that insight through the mechanism of language, but would trust in the awareness that said individual understood the mechanism of language intimately enough to convey an insight fluently. Music is an expression, as is language. One could argue that music is an evolution of expression, conveying a message without context or a defined meaning, but strongly having one non the less. Don't fall into the trap of becoming confused between the mechanism of communication and that which needs to be communicated. Make what you feel you need to and do so in a way true to your heart, whatever the hue of that journey may be. But never become fixated on the specifics of what that journey may entail any more than is necessary.

I'm sorry this isn't exactly what you wanted to hear, but find me someone who doesn't agree with me.

[Omley]

Yeah, you're right, looks like it's time to do some experimenting than. Also, I'll be sure to watch that video on mixing.

[wormcode]

The stereotypical brostep noises can work fine in any sort of dubstep. Play lower octaves, filter them, use more envelopes instead of just LFOs etc. It's all fairly general. One other major difference is drums. Much more room for there to be funky drums and swing in traditional dubstep, which is why it's better music imo.

[ogunslinger]

smoke a bowl, hit some keys and let the good times roll...

it could work

[hudson]

It worries me that you're looking for tips on 'ideal frequencies'. It's a very dangerous trap to fall in to, thinking that there's some kind of 'secret ingredient' to getting your tunes sounding epic. There isn't. The thing with 'ideal frequencies' is that they do exist, but what those exact frequencies are is entirely down to the harmonic content of the samples you're using and the sound you're intending to create.

I know it's such an annoying thing to hear but it really is a matter of stepping ever forward on your personal odyssey into the shaping of sound and music creation and learning the many many-fold minute ingredients that all rely on each other in tiny but all important ways.

A tune is a tune, a mix is a mix, in the same way as a painter 'paints', yes, they're using a brush, and one could analyze the specific strokes they may be using in an attempt to recreate a glimpse of the master-fullness they seem to have produced in the totality of their piece, but it will only ever be a mimic of the originality.

Until one has reached a point of an intimate understanding of the totality of the art-form, it is important to understand that the journey should seldom consist of anything more than an attempt at deepening a personal understanding of the fundamentals of the art-form, to a degree instinct plays more of a role in defining when said frequency could be classed as 'ideal' in that specific circumstance, as in every respect the only time a frequency, or a mix would be said to be 'ideal' would be in the context of the many inter-relating aspects of a track as it is individually.

Just as you wouldn't ask the individual expressing a very insightful prose exactly how they went about constructing that insight through the mechanism of language, but would trust in the awareness that said individual understood the mechanism of language intimately enough to convey an insight fluently. Music is an expression, as is language. One could argue that music is an evolution of expression, conveying a message without context or a defined meaning, but strongly having one non the less. Don't fall into the trap of becoming confused between the mechanism of communication and that which needs to be communicated. Make what you feel you need to and do so in a way true to your heart, whatever the hue of that journey may be. But never become fixated on the specifics of what that journey may entail any more than is necessary.

I'm sorry this isn't exactly what you wanted to hear, but find me someone who doesn't agree with me.

This is exactly what I've been wanting to say on here for a while, I'm just too lazy to type it all out This is great advice. Just make music without thinking about frequencies or mastering or whatever yet. Anyone with too much free time can make a banger in a couple days, but it takes an actual musician (remember that you're making music, not car engines or something ) to make a great, memorable, emotional song. There are too many people coming into EDM production with the mindset that music has to be nice and perfect and shiny .

[wub]

Taken from a previous thread (here but still largely relevant;

- Firstly, fair play on wanting to expand your tastes a bit. You've mentioned MRK1, Dig Myst et al, and checking SNH, so I'm going to assume you've also seen this thread... http://www.dubstepforum.com/viewtopic.php?f=7&t=194172 ...and downloaded all the mixes contained within

- For drums, you are quite right; the Vengeance selection is a bit too 'clinical' for the sort of music you have described. Whilst DM's drums are not from the VEC packs, I'm not sure what you mean by 'real' - you mean someone has micced up a drum kit and smacked it about, right?

In any case, there are lots of drum samples that are synthesised that still retain some character to them. Goldbaby do a fantastic selection of old/crunchy drums, and there is a selection of them here that are free to download... http://www.dubstepforum.com/viewtopic.php?f=8&t=173315

- In terms of actual production style, the difference between 'bro' and 'real' (not terms I entirely agree with personally, but appropriate in this context) is the approach to production. Brostep is characterised by it's synth heavy, kitchen sink approach, where there are a lot of different elements/sounds going on all heavily compressed and gelled together to create that wall of sound that is so prevalent at the 'raves' these days.

By contrast, 'realstep' ( ) has a more minimal approach. You'll be looking at 8/10 elements tops in a lot of the tunes, with plenty of space etc to give the track time to breathe yadda yadda. Basic production tips I can think of off the top of my head;

* Use subby 808 kicks. There is a good intro on kick drums here, and a sub bass tutorial here
* Apply lots of reverb to your elements to give the illusion of sound when there isn't anything playing. You've mentioned using FL, so setup one of the group channels on the mixer (far right hand side) to have a short reverb on it, and another to have a long reverb. Run your elements through those to give the track texture.
* For the third group channel, apply a Delay. Use to similar effect.
* Less is more, esp when it comes to perucssion. Try having sections of the tune where no percussion is playing.
* Apply shuffle liberally. This can be achieved either in the pattern editor window.
* Don't be afraid of turning the grid snap off and arranging elements where you THINK they should go. The human feel to programming, particularly in percussion, is good for this kind of music.

Ok, it's still early and thats all I can think of right now. If you have any more questions, please feel free to add them. The search function in the top right of the board is good, as is checking the stickies etc for topics that may have already been covered.


Finally, if you're new to 'realstep' ( ), then I'd heartily recommend watching the documentary Living Inside The Speaker, which focuses on the Bristol scene circa 2006. All parts are available to watch free on YouTube;

Part 1- http://www.youtube.com/watch?v=S6Taqn_Wk1c
Part 2 - http://www.youtube.com/watch?v=ptBI3ObNHAc
Part 3 - http://www.youtube.com/watch?v=NPKUFSQCfQM
Part 4 - http://www.youtube.com/watch?v=Q9cRJebt_Gw

[Augment]

I've heard about this site called dubstepforum, maybe you should check there?
Seriously, tho...

[komanderkin]

i'd say pick several tunes that you really like and try to analyze them, listen to them carefully in your mixing environment, perhaps even throw a spectrum analyzer over one in your daw to try and visualise it as the sort of mixdown you'd like to get with your tunes. when doing this, it's best to focus on analyzing the actual mix and not the musical elements, since doing the latter can really ruin the song for you.



Anyway, there are no secret frequencies and magic tools out there(except for a fair bit of saturation and some reverb perhaps) - it's all about practicing often and comparing your work to the work of masters, trying to find what's lacking. trust me, quicker than you think, the whole mixing thing will make much more sense and you then be confindent to start completely new mixing approaches that you haven't heard in other people's tracks.

[wub]

perhaps even throw a spectrum analyzer over it in your daw to try and visualise the sort of mixdown you think is good

Wouldn't recommend this too much tbh - fair enough, if it was one of your own productions then you'd be able to isolate individual elements for the purposes of analysis. But with an existing production, it's not like you'd be able to tell the track to only plays the drums/bassline/whatever.

[hutyluty]

30 hz

[Gauntlets]

listen to jazz to get your hats sounding legit, sub bass is fun, lots of natural sounds ir. horns pianos and the like, and ambiance, pads soundscapes long notes! and listen and practice alot, dont hold yourself up, with every track you finish the better you get, when you delay or dont finish a track casue its "not good enough" youll never get any better.................cyeah

[komanderkin]

Wouldn't recommend this too much tbh

i agree that there's not much point in doing this all the time, but it did help me back in the day when i just wasn't sure why my mixes didn't compare well to the stuff i liked listening to. while you're still getting used to your listening environment and suff, checking a good sounding track on a spectrum analyzer can provide some insight on how the mix should be balanced.

i remember playing some of my favorite tunes through an analyzer and it all looked nice and balanced, and then my mix would have fucking mt Everest around 60 Hz and i was like

[Mammoth]

30 hz

My newest tune is just a 30 hz sine wave with a kick on the 1 and a snare on the 3

[ComfiStile]

30 hz

My newest tune is just a 30 hz sine wave with a kick on the 1 and a snare on the 3

No yois?

[Lectric]

It worries me that you're looking for tips on 'ideal frequencies'. It's a very dangerous trap to fall in to, thinking that there's some kind of 'secret ingredient' to getting your tunes sounding epic. There isn't. The thing with 'ideal frequencies' is that they do exist, but what those exact frequencies are is entirely down to the harmonic content of the samples you're using and the sound you're intending to create.

I know it's such an annoying thing to hear but it really is a matter of stepping ever forward on your personal odyssey into the shaping of sound and music creation and learning the many many-fold minute ingredients that all rely on each other in tiny but all important ways.

A tune is a tune, a mix is a mix, in the same way as a painter 'paints', yes, they're using a brush, and one could analyze the specific strokes they may be using in an attempt to recreate a glimpse of the master-fullness they seem to have produced in the totality of their piece, but it will only ever be a mimic of the originality.

Until one has reached a point of an intimate understanding of the totality of the art-form, it is important to understand that the journey should seldom consist of anything more than an attempt at deepening a personal understanding of the fundamentals of the art-form, to a degree instinct plays more of a role in defining when said frequency could be classed as 'ideal' in that specific circumstance, as in every respect the only time a frequency, or a mix would be said to be 'ideal' would be in the context of the many inter-relating aspects of a track as it is individually.

Just as you wouldn't ask the individual expressing a very insightful prose exactly how they went about constructing that insight through the mechanism of language, but would trust in the awareness that said individual understood the mechanism of language intimately enough to convey an insight fluently. Music is an expression, as is language. One could argue that music is an evolution of expression, conveying a message without context or a defined meaning, but strongly having one non the less. Don't fall into the trap of becoming confused between the mechanism of communication and that which needs to be communicated. Make what you feel you need to and do so in a way true to your heart, whatever the hue of that journey may be. But never become fixated on the specifics of what that journey may entail any more than is necessary.

I'm sorry this isn't exactly what you wanted to hear, but find me someone who doesn't agree with me.

tl;dr: stop asking for skrillecks baess

[Mammoth]

30 hz

My newest tune is just a 30 hz sine wave with a kick on the 1 and a snare on the 3

No yois?

I set the lfo to 32nds on yoys and went crazy