hey man, i think that tune on your soundcloud sounds quiet nice, there are issues withing the mix but i like it still.
regarding your examples, i dont see what youre aiming for because bass wise 1 and 2 are pretty much the same style and 3 falls out of this so i don’t exactly get what youre talking about when saying ‘crisp’
but as it was already said cut the lowend off of all your elements except your sub and you might wann try to split your sub in low freq and the other half is the mid freq, this way you get more control over the low end
edit: also if thats not you on that picture i would suggest replacing it. i can’t take people serious if they use pictures of women in underwear
Bass has a ton of energy. More then any other frequency. Try cutting the subs with a high pass until you can hear it making a difference. I can usually cut up to 30-35 Hz before I hear a difference. This will help in the long run to get some of the bass energy down.
Also make sure the kick and bass freq aren’t hitting in the same place. If the primary freq of the bass and kick are 100hz cut one of them there so that they both have their own place in the freq spectrum.
I recommend isotope ozone in mixing. It looks complicated at first but it’s basically a VST of all the mixing plugins in ableton on steroids. And make sure to read the manual after watching a couple tutorials.
Yup clearly not enough high pass.
And your bass isn’t an actor there, you made it sound like a background, my sub barely moved, no buzzing legs.
I suggest you cut down your kick a bit while working the bass than mixdown just the both of them until they both survive together as main actors, your bass is way too passive.
It’s all down to knowing how to use eq efficiently and not randomly.
Last dumb tip that I used a lot (especially good in your case since your tune is very similar to Customs) just put that fucking tune in a separate audio track so you have a good comparison point and have a look at the spectrum analyzer.
Whenever I’ve made a sub, it never sounds as gritty as yours. I just turn the levels down a bit for the sub, parametric eq it to high cut anything higher than 50 Hz so it doesn’t interfere with the bass drum, and just modify the bass boost, turning either the amount down, if I want the bass to sound deeper or up, if I want the bass to sound louder whilst turning the frequency down; then modify the attack time and tension and voila.
Don’t know if that works for anyone else, but for me it works perfectly fine.
As far as for the midrange bass, you want to low cut it above 50 Hz so it doesn’t interfere with the sub, but you also would want to high cut it, depending when you start getting unwanted high frequencies for example around 500-1000Hz Range, just to make it sound nicer.
Then use compressors whilst eqing to make it sound “crisp” I’ve only heard of people mention about crispy drums.
A sub is surely not crisp by nature. That’s the opposite word to what I’d say.
It all comes down to you gain staging and cutting out enough room for you sub in the frequency domain on all your other tracks
one thing people rarely do for drums is just to record some ‘perc’ sounds in your room
there’s so much character to drums like that (and it’s impossible to do a recording session where you dont come up with something tbh)
whereas most sample pack drums (eventhough they sound more ‘correct’ a lot of the time) have been treated in ways that mean they can fit into most ‘songs’ people come up with, but is doing so on account of being overly compressed, harshly enveloped and basicly been put in a leglock permanently…
(its easy to move a whole guy around if he’s in a leglock - you can fit him onto any track -just he’s a bit cramped is all)
its the same with presets on most synths tbh - and ofcourse the whole thing has indeed become kind of standard in some genres like trap or brostep - and accepted - which is ok
but it’s not craftmanship or that good an idea to go in that direction tbh - - because theres less control and you dont suddenly gain control with experience doing this either, because you’re dependant on some outside source (at times)
but styles where you cram in sounds - to fuck with attention span or something is bit weak down the line