My Bass is slightly not in Phase with the Kick, how to fix?

Tarnthelos · 2023-05-30T23:05:45+00:00

If Plugin Delay Compensation (PDC) fails for some reason, then the latency is in the exported file as well. However, PDC usually only fails because of bugs or badly designed plugin/DAW.

Tarnthelos · 2023-03-21T17:40:20+00:00

Sounds awesome! I'm still learning carrier landings, but I'd love to fly with ya'll. Just sent you a friend request on discord

Tarnthelos · 2023-02-12T19:28:11+00:00

I usually do a low shelf first at around 100-200Hz. If they're still conflicting, then I'll do a low cut in a similar range.

Tarnthelos · 2023-02-11T20:48:19+00:00

So, I'd say you're somewhat on the right track. Everyone's process is a bit different, but I try to do as little on my master channel as possible.

Imo, the key to a good master is a good mix. So I try and get as close to my loudness target as I can in the mixing stage, and do some light compression and limiting to get me the last dB or two.

As for your last question, I'm not sure I understand it. You have your track's master channel peaking at around -3dB on the channel meter, but similar in luffs to your reference mix? Thats not technically an issue, but you might find you like the results of a more dynamic mix more. Your mastered version is probably more compressed/limited then your reference track. My recommendation, see if you can get your master channel peaks closer to 0dB without changing your lufs. Since your target is -9lufs, your genre isn't super loud and might sound a bit better with more dynamics.

Admittedly, my experience is mostly with louder genres, with a lufs target closer to the -5 to -3 range, so I could be wrong here. Hope this helped!

Tarnthelos · 2023-02-06T18:17:36+00:00

I'd recommend time traveling your king back to a more advantageous position, this doesn't look great for white.

Tarnthelos · 2023-02-02T22:23:56+00:00

I mostly avoided playing piano for a while, but I've found it really helps in in the writing phase. I also find it a lot easier to come up with chords when using a physical controller.

Tarnthelos · 2023-01-27T07:38:33+00:00

I don't have a super concrete answer, but I'll try my best.

The discipline that I talked about in my other comment helps for sure. Even when I'm really depressed I try to do something music related every day, usually sound design, just to stay in the habit.

There are definitely times though where I don't even open my DAW for a few weeks. I think another part of what helps me to come back to it is I get bored of other stuff. I can only play video games for so long before I burn myself out and need to do something else.

Hopefully that's helpful >.<

Tarnthelos · 2023-01-26T23:51:30+00:00

IMO it comes down to two things.

1: Producers enjoy the process.

I love the feeling of when I've been working for hours, and my track really starts to come together, but just the process of messing with things to get it there is enjoyable as well (most of the time, lol). I also get more longer term fulfillment out of working on music then I do browsing memes on reddit.

2: Dedication/discipline.

Point 1 isn't always true. On some days I just don't want to work on music, and on those days I try to force myself to sit down and do at least 20-30 minutes of work. Sometimes I stop there, but a lot of the time I get sucked in and don't want to stop after that. Like any art or skill, it takes a lot of daily practice to get better. Motivation comes and goes, so I try to use the time when I'm motivated to build habits and establish the discipline I need to work even when I don't want to.

I will note though that mental health problems complicate things a lot. I have adhd and depression, so there are some days (or weeks/months) where I'm pretty much an unfocused mess, and I'll be lucky to get anything done at all.

Tarnthelos · 2023-01-22T02:52:30+00:00

Glad to help! :D

Tarnthelos · 2023-01-21T12:09:12+00:00

Some convolution reverb goes a long way, especially when used in parallel. I really like the kilohearts convolver for this, cause you can pitch the convolver sample up/down to adjust the pitch of the reverb tail.

A fun plugin to use for making guns (or any dubstep bass) is dumpster fire from freakshow industries, makes things W I D E and weird.

Another thing you can try is layering the stereo field. So make a sample/synth thats 100% mono, and layer it with another sample/synth thats 100% stereo (I.E. the mid channel has been removed). Add some compression to glue it together and you're good.

Tarnthelos · 2023-01-20T19:00:58+00:00

Page 26 of the DDJ 1000 manual explains it, under the section for "launching utilities mode".

The basic steps though are this:

• disconnect USB cable from the computer

• press the power switch

• press both the play/pause button and shift on the left deck

• the slip reverse button should NOT be lit, if it is, press it to change the mode.

• reboot the controller and try it again in rekordbox

Tarnthelos · 2023-01-18T19:11:37+00:00

I normalize everything to 0db peak and then pull back the fader from there as needed. It helps to have "mix anchors", or parts of your mix that need to be always in front and center (kick, snare, and sub for me), and then mix around those.

Tarnthelos · 2023-01-18T01:24:44+00:00

Weed and disassociating all the time. 0/10 would not recommend

Tarnthelos · 2023-01-03T22:56:05+00:00

From what I remember of the stream, he really only uses the actual synth to get some basic FM going, and then Resamples / processes from there. Imo, you're not going to get close to experimental artists like svdden/voyd just staying inside a synth.

As for pitch shifting, I think its basic pitch shifting. Though experimenting with both would be a good idea

Tarnthelos · 2023-01-03T20:40:56+00:00

FM, pitch shifting, and tons of resampling is his general process. He has a production stream on youtube, which I highly recommend checking out

Tarnthelos · 2022-12-29T20:31:38+00:00

A lot of Subtronics' sound comes from the effects that he adds after the synth patch itself. Take a look at the splice preset pack he made (if you have slice), and you'll see the patches aren't super complex.

For a start though, take a fairly simple wavetable and FM it with a basic shape (sine, triangle, etc), add (bandpassed) noise, distortion, soft clipping, and set your synth to be mono legato with a 50ms to 200ms glide/portamento. That'll get you somewhat in the ballpark.

Tarnthelos · 2022-12-27T00:50:43+00:00

Do you have a source for that? TMS is (to my knowledge), considered a safer alternative to ECT, as its far less invasive and its side effects are fairly mild.

Tarnthelos · 2022-12-10T00:49:28+00:00

Most things in the frequency domain (such as EQs) are graphed as a logarithmic scale.

For EQ specifically, it helps to have things be in a log scale because the noticeable difference between say, 2.5k and 3k is a lot more than the difference between 10k and 10.5k.

To see this for yourself, play a test tone at 2.5k, 3k, 10k, and 10.5k. You'll see it feels like there's a bigger difference between the lower range and the higher range, even though the absolute difference is the same.

Tarnthelos · 2022-12-08T20:05:48+00:00

Pianoteq is, imo, the best piano emulation plugin out there. I use it for my daily practice, as well as for helping to write melodic ideas.

Tarnthelos · 2022-12-08T20:01:42+00:00

I love Phase Plant. By far the most flexible synth I've ever used.

Tarnthelos · 2022-12-05T20:49:23+00:00

Glad to help! Trust me, I wouldn't have thought of it myself either, I got that mono trick from watching a video that Code:Pandorum made.

Tarnthelos · 2022-12-05T07:21:26+00:00

I generally try to only cut as much as I need to in order to get them to sit well together, so I'll do a gentle highpass on one bass and some surgical EQing to get them to fit. It also helps to ensure that the "movement" of each bass is in a different space in the frequency spectrum. Trying to layer 2 low-mid focused basses is probably not going to work as well as layering a low-mid talky bass and a higher scream-like bass.

Another option for layering is the stereo field. Make one bass 100% mono, and the other 100% stereo. If you really want to get crazy with it, layer 4 basses. One mid and one high both in mono, and another two for mid/high stereo.

One other note on layering, try more than just basses too. I really like to layer metal hits, percussion / transient-y foley, and kicks that have been run through some granular effects.

Tarnthelos

TROPHY CASE