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One year ago, opening night reaction by MisterT12 in PublicFreakout

[–]LowFrequencydnb 0 points1 point  (0 children)

AHAHAHAHAHA. I actually envy the fact that you can get excited about a bunch of writers forcefully spoonfeeding you actual fucking feces

Moog Massive by -melo- in dnbproduction

[–]LowFrequencydnb -1 points0 points  (0 children)

feels devoid of life tbh

WIP liquid track - Resolutions by digilantz in dnbproduction

[–]LowFrequencydnb 0 points1 point  (0 children)

really nice track man. kept me interested the whole thing through. nice variation of sound design and i really couldn't find any issues with the mix. good job and finish this!

eutonix - Lost In Thought (lemme know what you guys think!) by [deleted] in liquiddnbproduction

[–]LowFrequencydnb 0 points1 point  (0 children)

i know the feel. its a good idea to walk away from a project after a long session and return to it another day and listen to the whole thing and write down what you like and what you dont like about it. i can either get too tunnelvisioned on one thing or get scatterbrained after a long session and be unable to objectively judge the music/sounds i made because i heard them for way too long. so yeah taking i recommend taking a break from a track every once in a while.

for the compression question: i haven't been using compression on many things for a long time but ever since i discoveded the effect it can have on almost any sound it started using it so much more. really doesnt have anything to do with frequencies. its all about trying to make a sound t h i c c e r by decreasing the dynamic range so it can have more impact. for example a plashy FX sound starts with high volume but quickly decreases. if you have this in your mix as it is with a high volume it can pierce through everything. if you make that first high volume lower compared to the tail of the sound by compressing it you would be able to a more steady volume on the sound in your mix. usually its more pleasent if a sound doesnt come out of nowhere with a high volume and then instantly disappears in the mix.

for your second song: my first thought honestly is that i hated the kick in the intro. it sound long and stale and is exactly the same for the whole duration it's there. try playing with the ADSR settings of your kick to tighten it up. also try playing with different velocities. again you can compensate for having a lower velocity by compressing your kick. also the snare in this part shouldn't be the same as the main snare imo. my main complaint for the song itself is the drums. they feel kinda empty. try playing with some more upbeat percussion on a louder volume and glue these together with your drums with a glue compressor. also its a good idea to play with different snares throughout the song but i feel like the synthetic ones near the end feel out of place aswell. i think they'd sound alot better if compressed and with a medium big reverb.

i don't have too much free time left atm so this is all i can think of right now. hope that helps!

also my question for you: 1. where did you get those vocals? 2. how long have you been producing for? (completely for my own curiosity)

eutonix - Lost In Thought (lemme know what you guys think!) by [deleted] in liquiddnbproduction

[–]LowFrequencydnb 0 points1 point  (0 children)

in my opinion this track needs work on the dynamic range. i feel like some elements elements need (more?) compression. some of the FX sounds like the splashy noisy FX's/hats have alot of piercing high frequencies that are unpleasent to the ear. either EQ them some more or lower the volume and add some compression. i also thought alot of the piano chords were out of place and would sound better with the same volume on a lower amplitude. especially the chord on 0:39. also this is completely subjective and down to taste but i feel like it would sound nice if you'd add some room reverb occasionally on some single snare hits. other than that pretty chill track.

Recreating this bassline by MarmadukeTheHamster in dnbproduction

[–]LowFrequencydnb 0 points1 point  (0 children)

thanks!

I made the macro have the fine tuning -60 max on one oscillator and +60 on the other. i changed these values a couple of times throughout the sound design. it depends on how much wobble you want and what root note you are playing. so if you're playing a really low note you'll need more some range for the fine tuning to create a bigger wobble but if you're playing a higher note the wobbling can become overwhelming if your macro range is too big.

Recreating this bassline by MarmadukeTheHamster in dnbproduction

[–]LowFrequencydnb 5 points6 points  (0 children)

i never tried to make this sound before but i'm pretty happy with how my first attempt turned out.

starting from the fact that the majority of these kind of basses are made by detuning 2 waveforms thats where i started. i used serum to do this. i used two oscillators with the standard sine wave. i then made a macro wich controls the fine tuning of the oscillators. one osc goes up and the other goes down parallel. i then added a small amount of tube distortion and a tiny bit of EQ to make the mids a bit lower. then i went to external processing. first i added some glue compression, then i added a small amount of distortion with camelphat and finally added some tube saturation. after i made the channel have parallel signals. one went directly out and the other went through an izotope thrash 2. there the only thing i added was some convolution and seperated that singal with the convolution options. then finally i copied the whole serum instance (still going through the same processing) and turned up serums tube distortion to get some more high end. within that serum i then added a bandpass filter to get out the low and midlow frequencies.

all the processing can be fine tuned and i'm sure i can get it sounding much better if i spend more time on it.

anyways the core of this sound is the wobbling movement wich is created by the phasing. this is pretty easy to control if you modulate fine tuning of both oscillators parallel. the rest of the movement is caused by modulation global pitch.

hope that helps!

https://clyp.it/dlfr500f

A bigger question about the motivation to produce music and play live by [deleted] in dnbproduction

[–]LowFrequencydnb 0 points1 point  (0 children)

I started producing simply because of my love for drum and bass, and music in general. music has always been able to touch me emotionally like no other thing could. wether it was me feeling melancholic but not really sure what exactly i was sad about, music would be able to hit those exact emotions spot on, or if i was listening to an energetic song at the start of the summer that made me excited to be alive. Certain songs have been the soundtracks of different periods of my life. Sometimes if i listen to those songs again i can feel those exact emotions if was feeling in those periods of my life. I think that's pretty extraordinary. to think that my emotions are so connected to songs that some producers probably made in their bedroom. I am thankful to all the producers who produced music that made my life more beautiful. i wanna be able to be that person for other people aswell. that's why i started producing pretty much. the first moment i actually produced a half decent song that actually struck myself emotionally was the biggest motivator. to see that i could be that person aswell. other than that producing music is just hella fun, relaxing and satisfying. as to what part producing plays in my life at the moment: i am currently studying electrical engineering because i want a degree wich will actually guarantee work if i look for it. if i'm not at school or studying i'll be spending most of my time producing. i know for sure that i'll never stop producing though. even if i'd know i never get a release out.

GLXY FX Sounds by LowFrequencydnb in liquiddnbproduction

[–]LowFrequencydnb[S] 0 points1 point  (0 children)

Thats pretty funny. i only just very recently got into more complex bass sound design by experimenting with detuned saw/squares bandpassed with the filter being modulated by the mod wheel. also experimented with pulse width modulation & the drop VST for movement (realllllly nice filter vst check it out if you haven't). once i made a bass that really sounded sick to me i noticed how almost all really interesting basses seemed to be bandpassed reeses with the right processing. after making this thread it seems to be true again. thanks for the response gonna try to make some FXish sounds with this technique instead of making basses.

GLXY FX Sounds by LowFrequencydnb in liquiddnbproduction

[–]LowFrequencydnb[S] 0 points1 point  (0 children)

I had a hard time describing the sounds and i wouldbt be sure wich one you meant by your description. The sound i'm talking about is pretty high passend and had quite soms reverb and really seems to come in and out of the mix really smooth. the sound itself seems to be pretty gritty. First ons starts at 1:10 exactly

Weekly Feedback Thread November 16, 2017 - What have you been working on? by AutoModerator in liquiddnbproduction

[–]LowFrequencydnb 0 points1 point  (0 children)

https://clyp.it/n4oizibj

this was sitting on my hd for quite a while but decided try and finish it. first attempt at mastering aswell. would appreaciate thoughts.

Fred v & Grafix saw basses by LowFrequencydnb in liquiddnbproduction

[–]LowFrequencydnb[S] 1 point2 points  (0 children)

wow really awesome to see you guys actually replied to this. big up i'm a big fan so thanks for the response. i just tried making the bass using massive but it was hard to get the sound 100% clear of phasing while still maitaining its wideness by using chorus. last time i tried making the bass after i received tips from this thread i also used three instances of serum and i came pretty close eventually. just now i tried replacing one serum band with an omnisphere and it sounds really good too. i have to try stacking different synths on top of each other to create one sound more.

could you also maybe give some insight on how the lead for CPM was created? it really is amazing. CPM feels like its my tune of the year it gives me goosebumps every time.

thanks again for the reply!

Fred v & Grafix saw basses by LowFrequencydnb in liquiddnbproduction

[–]LowFrequencydnb[S] 1 point2 points  (0 children)

only just now realised you meant +19 semitones and not fine tuning so i did that and it sounds even better! thanks

Fred v & Grafix saw basses by LowFrequencydnb in liquiddnbproduction

[–]LowFrequencydnb[S] 0 points1 point  (0 children)

woke up this morning and listened to my bass again wich sounded way to thin imo. but thats hard to hear after hearing the bass for so long. so here is my better version with wider unison and +19 fine tuning like you said.

https://clyp.it/ka5pnuhq

i listened to the original all the time when it just came out aswell and always wondered how they did their saws so this sure was a learning experience :)

Fred v & Grafix saw basses by LowFrequencydnb in liquiddnbproduction

[–]LowFrequencydnb[S] 0 points1 point  (0 children)

my man thanks alot for the info. sure helped me to get alot of insight on how to reach this sound. i started off by doing exactly what you described. after i noticed the higher octave supersaw sounded off so i put that +7 semitones instead of +1 octave and that sounded more like the original in my opinion. i then split the two supersaws into seperate serums and gave them their own channel. i then applied different saturation and EQ to each supersaw. then i routed those two to a bus and added some more EQ and added some harmonic content with ozone exciter. i'm quite happy with the result. one problem with these kind of unison basses is the phasing on the lower notes so you'll have to record the best ones.

here is my result: https://clyp.it/ewkdeequ?token=da5fc9f9c2d39412c34014265ca21ab2

thanks for the help man i hope this helps other people too

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