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Turnipish Thoughts wrote: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.

wub wrote:- 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

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

wub wrote:Wouldn't recommend this too much tbh

hutyluty wrote:30 hz

Mammoth wrote:

hutyluty wrote:30 hz

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

Turnipish Thoughts wrote: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.

ComfiStile wrote:

Mammoth wrote:

hutyluty wrote: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?