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Generally the kick will always be the loudest part due to side-chain but, it all depends on what you want more prominent. If you wan't more Bass and less kick then bring up the volume of the bass a bit more, the compress the kick to bring out more of the transient, then either use a volume enveloper to tighten the kick then EQ out some of the sub or use a gentle highpass slope and take out sub information. Then Vice-versa for More Kick and less bass.
Here's some examples:
https://www.youtube.com/watch?v=jjx2oc2NRzA
Notice the kick has less sub information to compensate for a more prominent sub
https://www.youtube.com/watch?v=SFsAQwmq7eQ
Here the opposite happens the kick has a lot of sub information and the bass primarily occupies the Low midrange.
Hope this helps ya
Thinking about this in terms of acoustics might be helpful:
Longer wavelengths of sound can travel through denser material than shorter wavelengths.
When you're acoustically treating a room to make it quiet (so you hear the minimum amount of sound other than what's coming out of your speakers), you're doing two things: absorbing sound, and breaking up sound. Any rough surface breaks up sound better than any flat shiny surface of the same density, which is why it isn't correct to say egg foam won't do anything. Egg foam definitely breaks up sound waves better than a flat, hard wall, so by definition it does something. But egg foam isn't very dense, so the waves it breaks up are only in the very high frequencies. Absorption is much more noticeable, since a sound wave that gets broken up will still bounce around until it reaches your ears while an absorbed sound wave gets absorbed before it hits your ears.
The big heavy panels, being dense, will absorb a lot more of the audio spectrum's waves, in particular its middle and lower ranges that you're used to hearing in dance music. That's why the effect is so much more noticeable.
Your dorm walls might be brick, or they might be drywall over studs. (If they're something else besides those two, let me know.) If you can't tell which they are just by looking at them, knock on them in a few different places. If they're brick, a lot of your work is already done for you and just breaking up the sound hitting the walls will take you farther. If they're drywall, then you'll need something dense to absorb the sound.
Hey guys,
I was wondering the right technique to properly sound treat a room. I have two JBL Studio monitors and a dorm room, whats the best i can do?
The biggest improvement you'll see is when you add basstraps to the corners of your room. The second step would be to treat the reflection points and last the ceiling and all between (diffusers etc).
Now there's several ways to measure your room and some would probably say, download a program which can do room measurement and place according to the results, but those programs are not that good and don't give you the optimal result.
It would be much better if you let someone with the proper equipment measure you room.
Anyway, if you are on a tight budget, just place basstraps in the corners & panel on the reflection points. This will help already a lot.
Edit: Don't fall for the egg foam stuff and put your walls full with them as they really don't do anything.. go for panels. ;-)
GIKacoustics is pretty good and if you want to have good results on a tight budget, make them yourself. It's pretty easy with very good results.
I agree with the advice in general, but advice like this could appear anywhere and apply to anything. Not relevant to music specifically.
So we shouldn't be giving it? Please stop posting stuff like this (I see you doing this thing in a lot of threads), you're contributing absolutely nothing to these conversations. If you don't like the stuff people post or have nothing constructive to add, instead of making some snarky remark you should just not post in that thread.
To get on topic, I have to agree completely - Going to the gym almost every single day has been one of the most helpful things for me as a musician. Getting enough exercise helps you sleep better, keeps you feeling healthy (which improves your focus), counteracts the hours and hours of sitting you're gonna be doing as a producer, and it's a great way to clear your head. I go to the gym at least 4 days a week, plug in my headphones, and just spend the whole time I'm working out analyzing the songs and asking myself questions about how I could incorporate the things I hear into my own music. My phone has a "Gym Thoughts" note document on it, and every time I get an idea or realize something about a song I just type it in and continue my workout.
Hey Everyone,
This is something I've been working on for weeks now and I just can't seem to get my basses tight enough to really scrape the deepest depths of my soul like Jonas Rathsman and a few Anjunadeep artists have been doing lately.
It's that bass-but-almost-a-horn sound that they've been using a lot in recent tracks, examples below.
Examples:
1. Wolfsbane @ 1:03 - https://youtu.be/u5VYDvZT3c8?t=59s
2. New Generation @ 1:01 - https://youtu.be/WWcn1srWJfM?t=1m
3. Know Me - Meramek @ 0:31 - https://youtu.be/BfxO1-Rhgpc?t=28s
Here are my takes on it so far in Ableton using Trillian (Taurus pedals) and Diva (just messing around with automating LFOs)...my attempts include a lot of selective and sharp EQing, Overdrive, some compression and a little saturation...but they just aren't there yet.
3. https://clyp.it/4xdoiee3
4. https://clyp.it/agr2vkud
Also let me know if maybe its just my drums that suck and that's holding it back...
Any help is appreciated, thanks!
Hey mcgold,
Just wanted to get back to you on this as promised. So as I figured, it was an envelope issue on the filter that makes this entire sound up.
Here's my attempt: https://clyp.it/ga1a1ofi
Basically, there's 2 parts.
1. A small saw that's detuned that doesn't have the attack cut off at all, so you get the full transient through.
2. 2 saw OSCs detuned against one another slightly, with a envelope controlling the filter, which gives it that resonant, tuba-like feel. There's an attack of about 8ms on the filter, and that seems to be just right IMO. The sustain isn't all the way up - envelope looks something like this:
A big part of the sound is making sure there's a spacial component to it - I added a reverb that's about 2 seconds long with a 50% wet on it. But yeah, that's pretty much it. There's a saturator on the Horn sound to give it some grit, as well as an EQ peak decrease at around 500hz because my version was a bit muddy pre-EQ.
Let me know if you have any other questions!
