Working on drums.

Depends what DAW you are using Razor in. In Ableton I can map anything I want to the nanoKontrol, including Razors parameters. I <3 my nanoKontrol.

I'd be curious to know what Z-plane filters people use, paid or otherwise.

I'd love to see how the winner managed that bassline from the sample pack.

no hatred brother... it seems like you have a couple knowledge gaps from what i can read (i have some too) i suggest a little more reading on the subject of dynamics and compression. and peaks/dynamic range. besides, i think parallel compression/limiting results in better-preserved dynamics, compar...

Just for fun:

Soundcloud

Soundcloud

The unprocessed drums are .5 DB louder then the processed.

Yes, I actually even a-b'd my processed ones at -10db and the unprocessed at -7db, yet the processed still sound much much louder and punchier. At equal db levels there is just no comparison.

Yes in the drums I'm working on now actually I'm using the Transient Shapers drive as my limiter and Vintage Warmer on my bus just squeezing out less then a DB with "phat" on for some minor warming. All the heavy processing is taking place on the sounds themselves. I guess the tricky part ...

It's hard to limit the drums softly in this kind of process since the whole point is making them sound about 10x as loud and punchy without increasing the output DB. In my before and after processing A-Bing (just checking processed vs. unprocessed) the original drums played sound almost infinitely q...

I've been processing my drums similar to the procedure in Reso's Masterclass (loudness wars for sure). Spanning then EQing, Transient Shaping, Compressing, Transient Shaping again, Add-limiting (bumping the source up as loud as it will go without clipping or distorting) then finishing the limiting/c...

Yeah search isn't yielding me much on this one. I know a good rule of thumb is to limit drums at around -7 to -10db, but what about the individual levels on the hits of kick and snare (obviously cymbals need to be much quieter). Is just EQing them and letting them peak then limiting the whole channe...

They were made in several layers with Albino 3 and Ohmicide. You can watch the start of his creation of that track here: http://www.youtube.com/watch?v=x0iyIz5VsTo

and he has follow up videos going into further detail about how he makes his bass.

I wish there was even more entries to this. Fun listening! Voted!

I am actually pretty excited to play with that now! Thanks!

DJ Vespers tutorial on Ozone is a useful starting point (He uses Ableton but it should translate to any DAW.)

http://www.youtube.com/watch?v=mMFq0c0Tu1I

Play with that. Second OSC is a SAW D, LFO is assigned to Filter only.

Some of the masterclasses, in particular Reso's, have a lot of info about mixdown, there is also a lot of tutorials on YouTube and guides written online. Ozone tutorials are a good place to learn some mastering tips. I also look up a lot of tutorials on the individual elements, compression, limiting...

What is this I don't even

I assume there is some process of requesting a new copy/new serial or w/e with that DAW and that downloading a cracked version is illegal, but I'm more curious why route one DAW through another?

Just played around with it a bit more to be sure, but as far as I know, the filter and envelope tab is global. Why not adjust that sort of thing in a drum rack, or even adjust the sound then dump it back to audio, then fire it into a drum rack?