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by tonsilyeti; Tue Mar 05, 2013 6:52 pm
tomfoolery wrote:the kick is a really nice kick. Good sample. The lead alternates with the kick. The kick takes up a huge amount of sonic space sharing it with nothing else substantial. The lead alternates and is probably close to or right at the same volume as the kick.
I don't know, sounds to me like it isn't so much the kick that makes this particular drop huge, it's the repetitive bass sample. To my ear, the kick is mostly contributing some higher frequency pop to the nearly subsonic throb of that bass note.
Also, if I'm not mistaken, the lead does not, in fact, truly alternate with the kick, although that is a common practice in this style. Once the lead kicks in, it hits its first note on the offbeat, but then continues on both up- and downbeats. But the massive comp/lim used on the mix to handle that huge bass/kick thump makes the downbeat lead notes so much quieter that they aren't as obvious.
I'm not saying this just to quibble; it's how I am hearing it.
by arkmabat; Tue Mar 05, 2013 6:58 pm
by renatovms; Fri Jul 26, 2013 5:09 pm
bassembrace wrote:hmm, i know there are several techniques for stereo processing, but how can i make it different for each sound. I know that Volume, Panning and Frequencies could be visualized as a 3d model but it seems to me that the professional tracks have really wide stereo on claps kick and sub are mono. How can i prevent splashing the sounds on each when adjusting the stereo? how can the sounds differenciate from each other?
In the case of Logic Pro, you can use the modulation plugins like chorus, spreader, and tremolo, and in the delay menu, you can use sample delay and stereo delay. All of those plugins give you some different "taste" of stereo spread.
All those sounds which have similar frequency range and are near to the same stereo position can be easily eq'd and panned and it's not necessary to be a hard panned procedure.
Some links that can help you about Eq:
Hope I could help you some way.
by replicant X; Thu Nov 14, 2013 8:39 am
quantum-music.ca wrote:The secret for their power is simply to use multiple layers of incredibly expensive compressors. Set right, you can actually compress a lot without destroying the sound.
by PanzerD; Thu Nov 14, 2013 11:01 am
bassembrace wrote:yea i know the haas effect its very helpful. But can someone tell me how the instrument on the drop is so powerful (video below) and so much on stereo. Its really interesting how a simple distorted saw wave is so powerful and works so well together with the kick (Yes i know what sidechain is, panning and also I have a bunch of stereo panning effects, sample delay is also a good tool)
1:50! that saw wave that goes with the hardstyle kick drum. I guess every experienced producer is able to recreate the sound itself but how do i compress it and what should i do to get an simple lead (maybe layered) so powerful??
From 1:50 on things are actually very simple, there's only few elements in the arrangement, kick, bass, and lead.
The kick sits around 50Hz and bass sits around 100Hz without much sub-harmonics so it does not interfere with a kick.
The lead sound like something that comes out of massive's oscillators, probably just saw mixed with some more "exotic" wavetable.
Now the trick to that ultra wide stereo is simple panning. There's two instances of synth playing the same part and both are panned away from each other.
Driftin should provide enough separations between the channels and sometimes inverting phase of one of the channel can give some extra wideness.
Then both channels are summed to bus and mid/side eq is applied. Mid channel has a dip at the same frequencies as the kicks attack and side channel is boosted around 7k. That's it in general.