The grimy bass, it’s overpowering the break imo
1 BigUp
This is that remix I did of the @MARSEN tune.
Edit. iirc I didn’t have stems, I ripped everything out of the master I think.
Hence the slight hum of the og bassline in the break. I couldn’t EQ it out completely coz it weakened the break, but I think I got most of it.
5 Likes
yeah i know what you meant
i’m saying its only useful to use ‘bad source material’ to ‘fill’ out a mix or to contrast other cleaner sounds - in a sense of bringing depth by contrast
but also that you could layer something consisting of two sources which then opens it back up to morphing - i don’t see that as having to cover up a gap per se, but that the combo is a new property
a bit like how some painters use salt to dry out the paint, change the behavior of how the paint settles
or how kids would use salt to draw stars on a wet canvas
like artists using ‘raster print’ (those dots that becomes material) in comics - that idea of depth
ironically its hard to see because of the resolution but in the background in the samurai pic and in the face of the bald dude
1 BigUp
I think it’s pretty dang sweet and caring that you are explaining the art of sampling to me <3
I’ve explored sampling a lot, just putting in my counter to the sampling ‘fetishization’ going on here 
(Have you ever listened to one of my tunes?)
This is probably my own peak of sample curation under the guise of making music
4 Likes
Sweet tune! Grimy & gritty with a slight polish on top. I wouldn’t touch the hum at all, but that’s just me. Reverb/echo game on point too.
1 BigUp
i’ve agreed with everything you said
but the thing i’m hubbsplaining to you is how you can never ‘play out’ or run out of options if you are mixing several different sources into the context of a mix, because its a sum of its parts
this also goes for one single sound
if one sound is 13% synthetic and 77%synthesized and you can find a way where 14% + 76% - sounds different, then you have a made a difference that can inform a creative choice
i dislike mostly sample based, retro, or nostalgia stuff and you know this
so it becomes about finding a creative way where that isn’t an issue but contrasts something else
if something is too boomy, you hi pass something else
if something is noisy you cake it in mid goo or lower the volume
whatever
the mix is a sum of contrasts
its like how a color can be unappealing on its own but not if you find the right setting + contrast
You can generate sine waves in Audacity. Have you tried it? You can make like a harmonica timbre if you just layer the frequencies you think sounds like a harmonica. Same goes for every sound.
1 BigUp
This might sound stupid but is it generally a good idea to put a pre-amp vst on a bass to make the bass more vibrant/ cleaner/ heavier/ etc…?
The obvious answer seems to be yes but maybe that’s because I don’t know how to produce a big tune yet & therefore am unaware of the subtle do’s and do not’s of music production.
1 BigUp
Saturation can come in any form.
1 BigUp
As long as you’re not overlapping more frequencies e.g… reverb, delay, then yeah go for it
I made a low E, 41hz sine in audacity about 4 years ago which I use almost exclusively for all my subs
1 BigUp
I use pre-amp vst’s on bass and other sounds often.
Which one are you using?
1 BigUp
if it sounds good, do it
if it doesnt sound good, dont do it
thats like 95% of it
3 Likes
Sub & kick in mono.
Everything else is fair game imo
below… i dunno like 80 hz is how it feels not how it sounds innit
right in the middle of a good kik your ears fuck you and you have to go check it on a million dolla rig
sure
1 BigUp
Mark Bell teaching Björk how to use a cheap ass portable sampler is cute.
1 BigUp
What’s the difference between using that sine wave vs using a synth?
1 BigUp
Æ S T H E T I C S
3 Likes
Not a fan of midi.
I can work quicker with samples
2 Likes