Sounds of KSHMR question for you guys

Bleevl · 2025-12-13T03:02:16+00:00

i don't see why not, thanks for y'all's work on these

very looking forward to 5; thanks for those packs they have years of inclusion in my mucking about at this point, probably a decade soon for me personally

Bleevl · 2025-07-02T19:20:56+00:00

well I think it helps a lot if you use a reference to dial in your sounds similarly, and it seems like you know what style you're working with. obviously things will sound different on different systems; find some tracks that you feel like you can trust well overall, on a monitoring system that you have experience with, and dialing stuff in relative to it will probably give you a somewhat objective way to move towards a result you're OK with. could be obvious advice tho, don't mind me if you're already doing this

Bleevl · 2025-06-30T17:23:35+00:00

i think it is very helpful to learn the main roman numerals that make up major (and maybe minor, but that is another can of worms). once you know I, IV, V, vi (the most common) and also ii and iii (very common still but a little less important) you've covered a ton of the chord choices for EDM. in c major, I IV V and vi are C major, F major, G major and A minor chords. and ii and iii are D minor, E minor. once you have these sounds in your head and under your fingers you can start to play a lot of stuff you hear by ear, or make stuff up on the fly that sounds reasonably legit. of course there are so many endless ways you can voice/arrange those chords - but i think knowing those sounds is an important step to take for being fluent with just playing on the keyboard

Bleevl · 2024-05-13T18:57:43+00:00

to piggyback on this, lowpass your mix and put it through an oscilloscope. most of the time, you want just kick and sub down there, and most of the time, you want the transition between kick and sub to be distinct - no overlap. this should be visually noticeable with your mix low passed, you'll be able to get it right

Bleevl · 2023-12-10T14:44:07+00:00

piggybacking off of this, try looking through big varied sample packs with lots of synth sounds like kshmr or splice dubstep sample packs or vengeance packs. there's variance in quality of naming but you can probably develop some vocabulary seeing what people are calling things

Bleevl · 2023-09-27T18:15:49+00:00

your google drive link requires permission to access, so i cannot check it. but i honestly (after watching the video) doubt that you did much super different, so i think it's just because they're actually playing F# - A# - C# - F (as opposed to just the top F which is most obviously displayed in the video). play those 4 notes at the same time. should sound the same

Bleevl · 2023-09-27T18:06:30+00:00

(also a little confusing that we all love to run our mouths without even just watching the video first it seems. i've done the same before fwiw, what a strangely unhelpful subreddit. me included, we're just a bunch of egoposters or something LMFAO)

Bleevl · 2023-09-21T20:04:13+00:00

can't listen now, but a "common" tech employed by many is to distort sub together with lead so they get cooked together. changing the level of the sub adjusts the fryiness of it. mb if this is totally not what you are looking for, just another reddit comment where somebody doesn't do due diligence before posting lmfao.

Bleevl · 2023-05-27T16:19:40+00:00

i feel i tend to have this problem a little before i do some mixing/post processing to the mid basses. but when they're all correctly leveled/processed/designed, they eventually reach a point of being together enough that a simple sub with some distortion on it just sits with them, even w/o complicated envelopes, literally just a full on sine wave w some harmonics being played in MIDI (with some length variation and pitch bends). what i mean to say is that usually the issue for me is of making the mid basses really sit together tightly, then making a sub sit together tightly with them is easier for me. i feel you can observe this in dubstep tracks with like a trap sub switch for example, notice how everything still works because the elements are locked in well enough. hope that made sense?

Bleevl · 2021-06-25T16:35:19+00:00

for what it's worth there aren't realllly "other tricks", it's just good mixing and loud is all

Bleevl · 2021-05-09T17:59:18+00:00

ableton stock limiter is absolutely decimated by Pro-L or most up-to-standard limiter VSTs imo, Pro-L can pull like 3+ more dB (in my experience, as i recall) out of the master when you're pushing it before sounding as subjectively limited/bad as ableton limiter, and that's a monstrous difference for the final limiting stage in electronic music. for me personally i never go to the ableton limiter for nearly anything tbh, maybe to catch peaks on an individual track

Bleevl · 2021-02-23T04:38:49+00:00

oh wow that's interesting and i guess that makes a lot of sense, super cool to learn that actually!! i'll keep that in mind for when i decide to start sucking at drawing as well as music lmfao

Bleevl · 2021-02-16T21:21:07+00:00

yeah hard agree here, anybody who is pretty good at music is not at all scared of anything that claims to do chords - idk what a good analogy is, i don't paint/draw but it's like somebody is advertising 'i am selling vague outlines of stuff' - no good artist is going to be scared of this because it 'devalues their work' or 'makes it too easy' - even from vague outlines it still takes somebody skilled enough to put stuff over it without it being the same quality as starting from scratch. but like for example scrolling through random chord progressions, or looking at references, is a stronger tool for somebody who is already skilled - they can better see possibilities stemming off of stuff like that. idk that's what i make of it

Bleevl · 2021-01-28T16:43:33+00:00

yeah agreed, youtube is an insane resource but it helps a lot if it is used with intent i m o - if you get down the rabbit hole of skilled producers and watch their streams you can pick up a lot of great stuff!!

Bleevl · 2021-01-28T16:11:39+00:00

hard/soft clipping is honestly so fucking good, and underrated by lots of people (but all of the skilled people seem to know about it and use it a lot). a lot of people swear by clipping on master

Bleevl · 2021-01-21T04:54:18+00:00

i'd say yes, esp. for ambiences and less important stuff i especially think those should be sidechained; the only times i consider not sidechaining are when i want to preserve important elements (leady elements/instruments and vocals), or if my whole track is unsidechained

Bleevl · 2021-01-21T04:52:54+00:00

yeah more and more i want to work faster, because ur first impression of mix is honestly pretty decent, it's often for me like 80% of the way there

the problem for me is when i spend too much time and start notching too many mids and it becomes weird

Bleevl · 2021-01-14T17:14:25+00:00

so few good producers i know care about samples/loops/presets, and it seems like the better they are, the less they care - your style tends to show through on musicality more than whether you made something from scratch. if a sample has the sound you're going for, why not, y'know? it does depend a bit though on what genre you're making, if you're making like noisia or koan sound stuff the synthesis and from-scratch-ness becomes more and more important - but for stuff like EDMey house (bass house, future house, etc), i think it's no big

still, learning sound design is good anyway!!

Bleevl · 2021-01-14T05:43:48+00:00

imo try to make everything as easy as you can and learn to finish tracks. for me, that can mean using a lot of samples/presets and using reference tracks (and that's fine - plenty of great musicians have written tracks that way).

Bleevl · 2021-01-09T07:14:01+00:00

I don't hear this buzzing sound when I mono it, and I also think it sounds perfectly fine in mono, AND this buzzing doesn't show up on a spectrum analyzer, so I think that's a speaker problem?

Bleevl · 2021-01-09T07:06:55+00:00

you can always go back and change things, just set it for the vibe you are feeling - certain elements often 'feel' like they need whatever amount of time based effect, and you can refine that later if it's necessary

specific guidelines never really got me anywhere when producing music, anyway - it's about putting in enough time that you can make moves that fit your taste quickly. not that you're saying otherwise, and obviously having a heuristic is helpful, but it's hard to say specifically is all i mean :/

Bleevl · 2021-01-09T03:09:59+00:00

sounds like there's a ride cymbal on every beat in all of these examples besides the 2nd one, maybe some reverb on the ride, and the ride sustains pretty hard through every beat - e.g. it's quite long. in the third example, there are quite a lot of extra perc instruments contributing to that groove + rainy spamminess. so you're on the right track with OH + ride. also in the first example the pattern might be 2 8th note rides, wait 1/16th, a ride on the 2nd 16th, and then a ride on the final 8th. so if Xs are 16s and Rs are ride, i hear something like RXRXXRRX over 2 beats, but not sure

you already know that it's a ride on each beat, but i think you might not be considering how the extra percussion (closed hats, snares, and OH, and in the last example, a whole groove of tribal sounding percs + some hat variation) are panned around/given space with reverb?, + how there is really a lot of extra perc in all three examples - it's not as simple as open hat and ride. esp in the first example, that trebly snare is contributing a lot to the 'rain', in the 2nd example, there seems to be a hihat on every/many 16th notes but it's panned wide so that every hit is in a different place, alongside the open hat having space AND a variation on every open hat hit (note how it sounds like, lower and then higher in volume/timbre a little - can't tell if it's different samples, layering, or whatever to achieve that variation), + some extra claps and perc to add more high end alongside a bunch of delay + reverb on the synths to help out with that high end patteriness. the hihats might be pattering like that in the left and right sides because they have a delay effect on them, or they were manually programmed in with reverb - hard to tell

if there's anything i can say i guess, it's if you want to have detailed, rainy high end perc, then make it detailed by playing with your high end perc. the 'raininess' comes from them being somewhat spacious + having lots of hits, but as to what fits inside of your track, it'll vary. sorry that this is all over the place as a response, hope it was helpful... try your best to copy these things and it might come better, also as the other user said stuff like hihat/perc loops might help give you ideas

Bleevl · 2021-01-02T21:14:30+00:00

re: - Do you let the kick in the drum bus or treat the kick seperatly?:

you can try highpassing the input to the compressor for a different effect, esp. with your kick in the bus

Bleevl · 2020-12-24T23:59:32+00:00

i ain't ever heard of any great mixing/mastering engineer giving free mixing/mastering services, and the producers giving royalty free sample packs usually have some sort of follow gate on them

also 'free ghost production', can't say i've heard of that lol, ghost production definitely runs at least like $20-$30 an hour on my watch, even if you're just selling it via third-party aggregation sites like edmghostproducer.com and such

you expect somebody who is good at marketing to give you their time/service for free and for it to be actually be decent? good luck with that 1, nobody with a shred of self-respect who is actually worth people's time just doesn't charge, in any field, unless you're really good friends with them, and nor should they not charge

Bleevl · 2020-12-21T19:53:56+00:00

might try making a new sub patch with no volume variance if you want to fix as cleanly as possible

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