That’s why mastering engineers exist, that’s why Beau Thomas, Jason Goz, etc get paid. Gain structure is what you need to concentrate on as a producer, when you’ve got that right you can either mess about with mastering plugins to try and be a bedroom mastering engineer, or get a mastering engineer to master it
im with john levenstein on this
full body flugel tingz
The worst of both worlds. https://t.co/o3CTjqeRSN— John Levenstein (@johnlevenstein) 10. oktober 2018
This was extremely helpful. I tried this on a tambourine in a track and gave it a 2.5 db boost at 10kHz (is that how you write it?) which sparkled it right up and allowed me to turn that track fader down.
Doing that across the 14 channels of my track should in theory give a touch more room to maneuver on the master?
Anyone know how to to get this kind of fat, hollow kick sound that Skeptical uses a lot? I can’t work it out, is it just sample selection or is it to do with how they’re processed?
hard to tell, sounds like it might even have some really short reverb on it, kick defo sidechained on the skeptical track for more punch. the timbre of the original sample will have a lot to do with it i reckon
i think it could be a kick layered with an acoustic kick, short verb and compressed, EQd.
not quite it, but i think i coule make the kick at 1:25 sounding somewhat similar if i adjusted the levels of the 808 and the acoustic kick
That is pretty close actually, I’ll give that a try… Also I might just sample that first kick from Nebula
Sick tune btw bro
Don’t know if these are much good to you…
13 hollow/acoustic kicks from my sample bank
I might be able to do something layering these with more electronic sounding kicks, thanks bro
Yes: the other concept that you’ll have to master is the idea of static EQ vs Dynamic EQ, but that’s for a little later. I’m still learning that one myself.
Experiment with mixes where most elements (cept bass and maybe Kick) have hard notching to roll off everything below say 40 or 45 hz, render the mix; then turn off the hard notching and do the same and see if you notice anything. You can play with rolling off high end sounds the same way - hats for instance don’t usually need anything up to 120 or so (but not always) and sometimes even higher to give them their own space in the mix where they’re not interfering with or cancelling any other voicing.
And most tones have a midpoint that tends to define the sound for us more than other parts of the spectrum. Every voicing is different in this regard. You can change the character of a sound dramatically by moving the midpoint boost around even a little.
interesting kick stuff there for sure
theres so much sculpting going on in the low end of those tunes
realising how designed it is and how much is dynamic sculpting is probably a good angle to figure it out though
the subs are doubled up in the perez collab, like theres something running exactly an octave above the main sub at times and i think the kick was tuned too
the reese licks are also carved out - so theres less sub present to interfere with the sub and kicks
and theres a mid range sub kick thing with a quick pitch bend going up in the perez collab - behind a kick
the other tunes i would agree could be mostly good sub balance and then fitting a click from an acoustic kick with a sub that mimics a kick
i think theres a synth sub kick in all three tunes
not just a synthetic kick - he sculpted a synth to make a kick to fit with the sub - quick pitch bend you know
if its all too monglish
i can try to translate lol
nah it makes perfect sense my dude
Or load it in Audacity and view the spectrum over time (in a logarithmic scale).
still really doesnt mean much tbh