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Thread: Subjective Track Grading
dawm_rule

Replies: 0
Views: 3,200
Subjective Track Grading 19-03-2011 15:05 Forum: Bug reports & suggestions


This is by my opinion very worth subject to talk about and it could become a serious discussion to rise an effect of a very professional objectivity of valuating the tracks that will definitely be in benefit as for this forum as for this website too.

Firstly, an appeal to the creator of http://www.drumnbass.be and administrator of this forum to understand if some rigid criticism is applied. Thank you.

I personally don't like the valuation of the tracks because of the aspect that everything is on the basis of totally unprofessional judgment without any objectivity involved, which means that the valuation of the tracks is in relation of the subject's taste of the emotional aspect, but not of the technical. You can make a music of only ABBA pattern and to be the worst or the best track ever, but it will have nothing in relation to the technical aspect and there could not help in any way to the producer for it's further progress. There must be some preliminary testing here on this forum (doesn't matter if someone finds the answers on internet or similar) that those interested will answer to some questions before he/she enters in the 'commission' to make the valuation. There are plenty of informations on internet that can be found and there is nothing wrong if someone wants to learn of those sources for which I am undoubtfully sure that almost everyone if not everyone is supporting my opinion. If there is need for help to think up those questions, I may be of great use here if, off course you give me credits. I am working on this for years and have a courses visited, made few tracks etc. In one word, I have the experience to help and I am not the only one here, I know that for sure.
There must be disciplinarian criticism involved for one to make the right decisions in creating tunes.
Thread: Bass VSTs
dawm_rule

Replies: 10
Views: 6,756
19-03-2011 14:34 Forum: Reason


The answer is simple - bass synth is bass synth. what kind of bass synth you like to make it depends on your taste. The formula for bass synth is 'sound with low frequencies bredominant between 50-300Hz'. Bellow 50Hz is sub-bass synth.

P.S. almost forgot... whichever synthesizer you use (even you can make one in synthmaker or synthedit) with only two oscilators in combination or only one (sines, squares, sawtooths and a bunch of other combined summations). You have to start and experiment instead of thinking what to do no offence. Without experimenting, you will never have the chance to learn.
Thread: How to make heavier breaks?
dawm_rule

Replies: 8
Views: 4,251
18-03-2011 20:31 Forum: Production questions & answers


you have to experiment with the limiting and compression stuff. I know you will think that this is obvious, but think twice. You've not had enough time spent with the EQing too. Try to add harsh frequencies with the snares end experiment with limiting of separate frequency fields.
Thread: kram00 - Theme For Cheeta
dawm_rule

Replies: 4
Views: 2,861
18-03-2011 18:52 Forum: Tunes


I feel gap between 200-400Hz EQ appplication on the snares.
Thread: tryptech - Emotions
dawm_rule

Replies: 20
Views: 7,697
18-03-2011 18:47 Forum: Tunes


bass is having a little too heavy distortion that overloads the overall record. If distortion occurs purposely on the bass, lower the sound 12-13db bellow the relative 0db. In this case that's not right. I hope you got the point. Everything else is balanced.
Thread: which producers use Reason??
dawm_rule

Replies: 34
Views: 34,627
27-05-2010 12:06 Forum: Reason


Propellerhead's Reason has poor and limited possibilities according to sequencing, but has very good sampling technology implemented (keeping the timbre of the sound whil pitching it). Also, very easy to use, devices that let you keep on the focus of music production, such as many wiring possibilities too according to synthesis.
In comparsion, Cubase is far more easy to use than many other sequencers out there (in my opinion) with many tools and utilization aspects. Sampling technology is almost as great as DIGIDESIGN's Pro Tools and MOTU's Digital Performer.
Thread: Netsky Bass, HELP!?
dawm_rule

Replies: 18
Views: 11,770
25-05-2010 12:31 Forum: Production questions & answers


In Thor, add two instances of MultiOscilator (I can't remember exactly, but I think it is the solution), You will find exactly what oscilator to use in each. Detune them slightly. That sound can also be made with the TS404 machine in Fruityloops with the distortion in combination.
Thread: 48 or 64?
dawm_rule

Replies: 8
Views: 2,656
17-05-2010 09:10 Forum: Production questions & answers


Analyse Prodigy's Omen, you will find very interesting intro that lasts for 4 bars, that the verse drops in and lasts for another 4 bars and additional 1/2 bar, then the chorus and so on. It is all about your imagination how you feel the flow. No rule neither for the begginers nor for proffesionals.
Thread: use of soundgoodizer on master?
dawm_rule

Replies: 21
Views: 36,348
28-04-2010 12:09 Forum: Fruity Loops - FL Studio


Very amateurish device. Use your brain, and not such devices that add general multidiscipline corrections.
Thread: Subbass
dawm_rule

Replies: 11
Views: 9,469
23-04-2010 12:45 Forum: Fruity Loops - FL Studio


You have to bear in mind that immitation of something is not that easy to perform. I am 100% sure that even Pendulum made that combination of oscilators by the nature of guess. Pratcice, so you will make similarities, but never 100% the same.
In relation to that bassline, the combination of saw, square and sine oscilators can help you. On this tune they made the bassline prior to using detuned square oscilators (not only two, also overdrive distortion helps as eqing between 250-500 Hz cut/boost accordingly as well), because those produce the low frequency just enough to come in background and act ass subbass. If you tend to implement subbass to a track, it's simple - use perfect constant sine oscilator (cosine oscilator can help in rare occasions, because it produces attack and sounds like "sparkle in the air") at 40-50 Hz at -10dbFS strictly relative to the sound that is intended to contain it with previously clearing the frequency field of the sound to leave space for the subbass suitting. The "reece" bassline is well known for producers already, saw oscilators are the primary weapon in combination with square oscilators (perfect or non-perfect, it depends on your taste).

P.S. Perfect oscilator means matematically precise harmonic (sine) oscilating at certain frequency. Non-perfect is the similarity to the harmonic but distorted with noise interference of kind. In the nature if you capture one sample of a sound with your ear->brain there is information of equally to almost infinite harmonics mixed together, even your brain is not translating everything that you hear around you. Matematics say that harmonics are infinite in both ways. Also it is impossible to separate all harmonics of the nature sound. Synthesis came up and did the immitation of many instruments and such, but there will be no chance at all computers to trully be equivalent to the nature sounding.

I was not explaining this for nothing. You have to imagine the sound in your brain at first, then by knowing a theory of the sound you will automatically find logical ways how to imitate your imagination, i.e. transfer it as same as possible on your DAW.
Thread: What studio monitors do you use?
dawm_rule

Replies: 34
Views: 10,908
19-04-2010 12:39 Forum: Production questions & answers


I agree
Thread: What studio monitors do you use?
dawm_rule

Replies: 34
Views: 10,908
19-04-2010 09:09 Forum: Production questions & answers


I recommend you Mackie series, or more precizely MR5.
Thread: Pitch/key of an 808
dawm_rule

Replies: 5
Views: 2,998
16-04-2010 14:02 Forum: Production questions & answers


Double the frequency of the drum, then you will notice the exact dominant, because otherwise the 808 is at a too low frequency range to be noticed by our ears. But if it is 60Hz for example, that is actually a specific tone or pitch. Usually synthetic bass drums or kicks are not made with constant frequency pitch, but with whoops.
Thread: loud drums and sub bass at the same time. how?
dawm_rule

Replies: 19
Views: 13,300
15-04-2010 16:47 Forum: Production questions & answers


You have obvious problem of frequency interference.

1. Solo each instrument

2. Analyze it through FFT or sonogram to see what frequency field covers each of the instruments (I guess you already know how to use the analyzer tool)

3. Make snapshot of each frequency spectrum of the instruments.

4. Find a way to blend those snapshots if they are pictures or whatever (I usually work that way, otherwise I would have to remember or write down everything).

5. EQ is next(add the EQ as an insert before the compressor). When you will notice in the blended representation of the frequency spectrum two different instruments at similar frequency field that overlap, implement subtle thinking and hearing to keep the timbre of the instrument that you will apply EQing (cut the area that overlaps with the other one or two that sit on the one or the other side of the EQed instrument accordingly), so you will not loose any vital recognition of the EQed instrument.(I guess you already know how to use Equalizer properly. Use parametric.).

6. To have good attack or punch for the instruments, experiment with fast attack parameter on the compressor device (25-30 ms), the release parameter to be set at long perception, the ratio to be high (but not as limiter), set the threshold to catch the signal from 2x the loudness down of the instrument (if the sound is -5dbFS you set the threshold at -10dbFS) and then slowly return it as you are satisfied.
Thread: high freq
dawm_rule

Replies: 7
Views: 2,684
14-04-2010 09:38 Forum: Production questions & answers


Actually Crispy Liquids, mixing must be the first focus you have to consider after producing the track unless you give your piece of work to proffesional engineers to cope with those problems. EQing is very subtle as compression and many other aspects in the field of dynimics and mixing process as well in the mastering. So, we cannot discuss, for example, where or how to do that in a general manner, but in a certain problem of the process. For example, when I started to do mixing, I never knew before I met one of the very valuable aspects of the mixing process in one of the magazines I read very long time ago (read everything you will find on internet, buy magazines, books if you have financial allowance for that off course), and that is where to start mixing from, how to mix also (an example, bass has to be mixed in -10dbFS according to the full percussion which is starting as a reference point for the bass; cut/dip the frequency that is very dominating/absent in certain field by adding a very narrow resonance (Q factor) to that problematic part). I guess you already know that, but this is just an example of how you have to think - mostly psychological and logicaly trace the problems. I am glad that this helps.
Thread: high freq
dawm_rule

Replies: 7
Views: 2,684
13-04-2010 12:56 Forum: Production questions & answers


As I noticed here, the obvious problem for composers/engineers is the lack of the equalization knowledge. For further help, please ask strict question, so I may give a particular answer to that.
In relation to this, Knogslag placed a good reference chart for particular definitions or instruments. The thing here is not to boost or cut certain frequencies here or there only for the matter that it must be, ear training is the most important thing indeed. "Listen and recognize" is the most applying rule. "Domino effect" of overlistening and loud listening applies here too and you should be aware of that, because you may get neurosis in listening that is temporary (not to afraid of) and mangle your perception and judgement in consequence. I guess that is your problem why you have too much low frequencies presented in the mix. Everyone likes his/her music to rock or just to offer a good emotion, so in count you must take the carefull manner in the technical aspect. Study the spectrometering (which applies the best for you, but usually the best way to analyzing sounds is through a FFT).
On this question, I may try to help you by telling you to analyze the sound and see where the gap(hole) is showing. Solo each instrument, analyze it separately, write down the range of the frequencies (dominant frequencies) that each instrument is manifesting, cut the unneeded range for one instrument and to that place boost for the other that is very near to that frequency field. At the end, add the missing specter of the instruments, unless the track is totaly without hihats or such for example.
Thread: Layering hihats
dawm_rule

Replies: 8
Views: 3,963
13-04-2010 10:19 Forum: Production questions & answers


And also this. To achieve that tambourine or shaker's feeling of the instrument, add three 16th notes, the first and the third to be on a same volume or very similar, and the second to be one third of the full velocity from the other two and a bit filtered out by lowering the highs a littlebit, so the first and the second to have that punch feel. Adjust the general volume of that section so you can listen it.
Thread: Layering hihats
dawm_rule

Replies: 8
Views: 3,963
13-04-2010 10:11 Forum: Production questions & answers


In every music genre there is some styilsh rule, although this is not necessary to be mentioned.
Layering of elements in the music section is necessary if you like to add different sounding material or instrument. As I mentioned before, lay every frequency on its place of every layer, don't let frequencies to have a fight. Avoid blending of a same frequency field of two or more different layered elements. Interference and bieny will become completely problematic when you start making the proper mixing procedure and even mastering of the track. Read on such articles and you will have clearer representation of what I am talking about. Add punching compression to one, do some tricks with the volume, filter or some other effecting to the other element and stick them together. It is all about your artistical point of view. No one can tell you that your track is better or worst then other's by the means of the artistical point. By the means of the technical aspect, there you have to apply with proper knowledge. As a non-written rule, we all know here that drum'nbass music has to have punch in its flow, so implement it and think that way.
Thread: The Bordem Practical Music Theory Series: Lesson 1
dawm_rule

Replies: 11
Views: 10,463
13-04-2010 09:41 Forum: Production questions & answers


A bit late with my response, but according to the mastery we tend to achieve there is never too late to get information about something. In relation to this, here is one post that might help you in building appropriate chord progression. Everything hast a mathematical part in this world, so the music has this element too.

Here is the link, very well explained by Mr. Steve Mugglin:

http://chordmaps.com/
Thread: Bass compression
dawm_rule

Replies: 9
Views: 7,611
24-03-2010 11:54 Forum: Production questions & answers


In addition to the thecronic explanation, I will say that subgrouping helps when there are large sections for mixing and there is need for them to be processed by a single processor as an insert or send. Usually insert slots are in common use when there is a word for compression, but not for reverb or such.
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