Dubstepforum.com

chekov wrote:how have they made the vocals stand out so much but kept them sounding soft? is it just ridiculously careful EQing?

They sound wide compared to the rest. And dominant. Like very little was cut from them and most of the rest of the mix isn't as heavy on the mids as the vocals.

But that's just my take.

Dope tune btw.

Genevieve wrote:Dope tune btw.

innit tho

and nice one cheers, sounds like a good shout, especially the stereo widening

It's called volume. No fancy engineering tricks unless you count bumping up the vocal buss fader. It's probably compressed a bit to get it to sit high but sounds like she recorded it softly so there probably wasn't much dynamics to tame.

Also there's nothing else in the mix competing for the same frequency range.

bit like your example but he pissed on girls so i know which one i take as a guideline

i've got a soft spot for r kelly

he's done some amazingly shit tunes and he did piss on a 14 year old... but bump n grind old skool mix >>>>>

I want this kind of old-school reese:

At 3:28ish:


at 2:13:


Had some luck by following an easily-found tutorial for TAL-Elek7ro, but if there's another free AU plugin for reese bass, that'd be real cool.

wasnt there a synth called synth 1 or sth ? dunno lol i tink some old guys praised this one too

YOu ever look back to when you started out and everything seemed so daunting and you had no idea how half the stuff in DAWs works, and now you can link different modulators and route anything you want without ever having done it before, but you just KNOW it works because you get production?

Been such a trip. Back then I didn't know what the fuck y'all were talking about and now it seems like I can do my own creative and slightly advanced stuff. It's been such a passive experience, I rarely consciously learned anything, yet I know so much more than I used to.

i only started using DAWs just over a year ago after using shitty korg hardware

so no, i still dont understand half of the shit younz talk about

Genevieve wrote:YOu ever look back to when you started out and everything seemed so daunting and you had no idea how half the stuff in DAWs works, and now you can link different modulators and route anything you want without ever having done it before, but you just KNOW it works because you get production?

Been such a trip. Back then I didn't know what the fuck y'all were talking about and now it seems like I can do my own creative and slightly advanced stuff. It's been such a passive experience, I rarely consciously learned anything, yet I know so much more than I used to.

Anyone else feel like the work they did when they were less skilled production wise is more creative? I listen to my past work and the sound design and mixing makes me want to facepalm, but the ideas were there. It's like the more I learn the more I put myself in a box.

Triphosphate wrote:Anyone else feel like the work they did when they were less skilled production wise is more creative? I listen to my past work and the sound design and mixing makes me want to facepalm, but the ideas were there. It's like the more I learn the more I put myself in a box.

YES. My arrangement was awesome in the beginning and has gone down hill since. I feel like it's because I was a blank slate and it could only last for so long.

I'm as creative as I used to be.

I really don't believe creativity and technique are mutually exclusive. If they are, you should be using diff techniques. I sometimes watch tutorials on youtube, but I never copy what they do. I try to get an understanding of what's going on and then I try to think of ways to apply some of those principles to my workflow. If there's anything that obstructs my workflow, I never even bother with it. I just take away 'impressions' and go wild with them.

Genevieve wrote:I'm as creative as I used to be.

I really don't believe creativity and technique are mutually exclusive. If they are, you should be using diff techniques. I sometimes watch tutorials on youtube, but I never copy what they do. I try to get an understanding of what's going on and then I try to think of ways to apply some of those principles to my workflow. If there's anything that obstructs my workflow, I never even bother with it. I just take away 'impressions' and go wild with them.

I wish I were the same way. I don't think they are mutually exclusive, either, and I don't think it has to do with copying technique as much as it has to do with my own over-thinking. While I am (or should be) freeflowingly creating I catch myself preempting the fine-tuning and engineering phases of production. I try to quickly get as much done creatively as possible before I even open up an eq or compressor, but plans rarely work out as intended.

Seems like you aren't less creative, just focus less on the creativity.

My stuff started to sound technically better when I started finetuning less.

Tbh, I think everyone's been there and no one ever stops being there entirely. Learning when 'enough is enough' is the hardest thing in production. I'm really not one to talk :0

I think there's a middle ground where it's limiting. It's the same thing with music theory. It's the "knowing just enough to be dangerous" idea. You learn some rules of what you should do but don't really understand the reasoning behind it so you feel much more limited by what you can do. But once you keep learning and experimenting and understand the why behind all the things you've learned, you can selectively break rules or work outside of the box without it sounding like shit.

The goal is always to internalize the technical aspect to the point where you no longer need to be conscious of it, thereby freeing up your mental resources to create uninhibited.

SunkLo wrote:The goal is always to internalize the technical aspect to the point where you no longer need to be conscious of it, thereby freeing up your mental resources to create uninhibited.

Actually this.

Genevieve wrote:

SunkLo wrote:The goal is always to internalize the technical aspect to the point where you no longer need to be conscious of it, thereby freeing up your mental resources to create uninhibited.

Actually this.

ya, very true

My shitty ass DJ interface pissed me off so much I decided to get into debt for a Numark Mixtrack, turns out they're not selling that one anymore. Just the pro versions. I don't want to spend an extra 100 euros on a soundcard I won't need. Just give me some solid shit for home use. In9ubzvhib xch

If there's still any place that's selling those, I'll get one. Fucked up things is they were still for sale a week ago.

OH I FOUND IT FUCK YEAH

I keep forgetting my own techniques and its god damn annoying because some projects have over 40 versions, and almost none have sensible names before their finished. Think along the lines of 'heavykickhousethingy 25-b'. Insert random facepalm.

HD got nuked a few months ago and my Itch Library has to be reorganized from scratch. Over 700 songs to sort through. Now im just sayin fuck it, if I haven't bought the track in the past 3 months it's getting left out. Ima grab some drinks and maybe a lil smoke and pick this whole mixing thing back up on Friday. It's been far too long..