Wow, these prerequisites are worth their weight in gold to those who practice them while allowing their ears to balance the magic...this is such an honest share. It proves that you can lead a horse to water and make it drink if you take the extra step, by scooping a bit of water. Not many pro audio content providers understand the value of revealing techniques (through sound examples) without excessive talking like your channel displays (especially when jabbing over the bypassed and engaged audio) #bravo👏👏👏
WOHA!!!!! That's sick man... That 250Hz, that's pretty cool.. I know it's to taste but clever.. I guess I don't know my frequencies.. BUT, thanks to ya'll jokas... Man, I am cognizant of them now.. Bruh, I listen to ideas from like over 1-2 years ago.. DUDE.. even on the fly.. It's like DrDre VS a joka trying to learn how to chop samples that never touched a MPC.. lol.. Yesss sirrrrrrrrrr..... Gracias Brah.. That last one. That's extremely helpful.. Thanks man..
i find it hard getting consistency out of very short plucky basses, how to get them consistent and at the same time being able to clearly hear the note changes in the sub frequencies
I have a couple ideas that work for me: - A steep and resonant high pass right before the fundamental frequency helps create contrast between the rumble and the instrument, and emphasizes the "existence" of the instrument without making it heavy or drag - Use a moderate attack and a quicker release to allow more notes to quickly fill up the volume (slower release means it'll take longer for the signal to get back up after the attack) - Cut any muffled sounds in the low mids and boost somewhere in the mid highs, such that your EQ curve looks like it's an upward trend. When your lows are lower in volume than your highs, you gain clarity without completely losing your instrument Hopefully this helps, it's all stuff I learned from this channel
@@JohanDaniel The last tip he gave you is not good. Be very hesitant when cutting low mids on bass as you get a tiny mix with no energy or pump. You will also get some phasing and the pluck bass will never hit the way it's supposed to. You're better off parallel compressing with a slower attack and a fast release so that the transients of the plucked bass can pop through more thus making you hear them more and clearer.
Wow, these prerequisites are worth their weight in gold to those who practice them while allowing their ears to balance the magic...this is such an honest share. It proves that you can lead a horse to water and make it drink if you take the extra step, by scooping a bit of water.
Not many pro audio content providers understand the value of revealing techniques (through sound examples) without excessive talking like your channel displays (especially when jabbing over the bypassed and engaged audio) #bravo👏👏👏
I can say that my mixing level has advanced a lot since watching your videos, great work
Thank you so much for mastering my new song "Leaking"! You guys killed it. Straight up. Everyone send your songs to these cats. Totalllyyy worth it!
Super Cool Tips! Regards from Bcn! 😎
WOHA!!!!! That's sick man... That 250Hz, that's pretty cool.. I know it's to taste but clever.. I guess I don't know my frequencies.. BUT, thanks to ya'll jokas... Man, I am cognizant of them now.. Bruh, I listen to ideas from like over 1-2 years ago.. DUDE.. even on the fly.. It's like DrDre VS a joka trying to learn how to chop samples that never touched a MPC.. lol.. Yesss sirrrrrrrrrr..... Gracias Brah.. That last one. That's extremely helpful.. Thanks man..
TOP Quality contents!
I think in the last chapter the linear phase sounded bit better
Wow
Is this song out yet?
What’s the name of the example song used?
Holy See ft. Christine Smit - You Better Run
i find it hard getting consistency out of very short plucky basses, how to get them consistent and at the same time being able to clearly hear the note changes in the sub frequencies
I have a couple ideas that work for me:
- A steep and resonant high pass right before the fundamental frequency helps create contrast between the rumble and the instrument, and emphasizes the "existence" of the instrument without making it heavy or drag
- Use a moderate attack and a quicker release to allow more notes to quickly fill up the volume (slower release means it'll take longer for the signal to get back up after the attack)
- Cut any muffled sounds in the low mids and boost somewhere in the mid highs, such that your EQ curve looks like it's an upward trend. When your lows are lower in volume than your highs, you gain clarity without completely losing your instrument
Hopefully this helps, it's all stuff I learned from this channel
@@kozmobluemusic yo thanks a lot mate! definitely trying them all!
@@JohanDaniel The last tip he gave you is not good. Be very hesitant when cutting low mids on bass as you get a tiny mix with no energy or pump. You will also get some phasing and the pluck bass will never hit the way it's supposed to.
You're better off parallel compressing with a slower attack and a fast release so that the transients of the plucked bass can pop through more thus making you hear them more and clearer.
@@svengali5862 true well thanks for that info mate, after all it's a matter of perspective isn't it. 💜
Can't we fix the transients later with a multiband transient shaper?
who is the artist
necesito esto en español antes de que descienda a la locura
¡Lo siento! Si haces clic en el ícono de configuración, puedes traducir automáticamente los subtítulos al español.
Rather than using a low cut in the last chapter , we can just use a low shelf !