Dubstepforum.com

deadly habit wrote:recently i'm wanting to know more of the math and science behind acoustics and acoustic treatment.

Looking at specificly -emotion- in this way is what i try to concour every single day.

deadly habit wrote:recently i'm wanting to know more of the math and science behind acoustics and acoustic treatment.

Looking at specificly -emotion- in this way is what i try to concour every single day.

triple post soz

everything



lulz

HOW TO MAKE T3H W0BBLUZZ MENS

ogunslinger wrote:everything



lulz

beat me to it...
i know a sweet fuck all about music.

its alll about the earrsss, they know all they need to

-Less is more 99% of the time.

-Musical content is more important than production quality (although production quality has to be good to appreciate the musical content fully).

-Use velocity on drums and everything (started doing this recently and OMFG).

-Silence is an instrument in itself (read this somewhere).

-Not everything has to be quantized perfectly.

-Make music for the love of making it, and make music YOU wanna hear, if you're feeling it there will be someone else who feels it too.

notes, chords, music theory, drum and syncopation theory. pretty much know nothing about music. but i plan on changing this

ajfa wrote:Somebody once told me good bass players play just behind the beat, to allow drums to hit through on their own, cant say I've noticed but.

Then somebody else is gonna tell you now that a good bass player plays bass well. Regardless of how they do it.

I need to find myself a style to produce instead of being a jack of all trades (and consequently a master of none)

jaydot wrote:I need to find myself a style to produce instead of being a jack of all trades (and consequently a master of none)

yup.

Sometimes I wish I could un-learn what I know. It's very limiting sometimes.

You're doing it wrong then.

Even though it's not used so much in dance tracks (as someone else mentioned, it's not quite as relevant), learning scales for just a few hours helped me to write melodies that were far more musical than anything I'd written previously. They're still no masterpiece, but the knowledge was well received. Some of the advice on this thread alone is pure gold. Am studying the key changes furiously guys, thanks

Sharmaji wrote:good answers but i'm thinking the structures and theories of music-- how notes fit together in melody, harmony, and rhythm-- not production.

yep all of that good sh(8t!!

jaydot wrote:I need to find myself a style to produce instead of being a jack of all trades (and consequently a master of none)

I reckon this is a wrong way to go about it, make what you want to make! Music is about YOU, not dubstep or drum and bass or swedish alt-folk or whatever. If you say, I'm gonna be a massive dubstep producer, but your true calling is to make quiet plinky plonky tunes, it'll never work. If you restrict yourself you'll lose your uniqueness. Focus on what makes you you, and hone it until its fucking amazing, regardless of genre.

music theory (altho i don't know if having perfect pitch is supposed to help)
actually playing the keyboard
melodies im a bit hit and miss with, would love to improve on that
work on drum programming where the "swing/shuffle" side of things is concerned

How to mix bass / kicks so that they sound ultra deep and low. I don't mean in terms of physically sticking sines in the low frequencies, more the art of making the bottom end sound rounded, wide and perceivably deep. The kind of polish that quality engineers can add.

if that makes any sense.

danoldboy wrote:How to mix bass / kicks so that they sound ultra deep and low. I don't mean in terms of physically sticking sines in the low frequencies, more the art of making the bottom end sound rounded, wide and perceivably deep. The kind of polish that quality engineers can add.

if that makes any sense.

low-ratio compression with makeup gain.

Sharmaji wrote:

danoldboy wrote:How to mix bass / kicks so that they sound ultra deep and low. I don't mean in terms of physically sticking sines in the low frequencies, more the art of making the bottom end sound rounded, wide and perceivably deep. The kind of polish that quality engineers can add.

if that makes any sense.

low-ratio compression with makeup gain.

I wish it were that simple.