Low cut.
To increase headroom in your dubstep tracks, and get rid of ineffective and unwanted subsonic frequencies, apply a low cut around 20-30hz, if you don't have monitors that go that low then maybe leave it - you would not want to remove something you cant hear properly as you might take away something that you might want to have in.
Subtle shelfs.
Try to apply a gentle shelf EQ to get the smoothest boosts, another way is to use a wide parametric EQ. This will provide the most musical and dubstep like EQ boosts.
Killer dubstep tip: Multi band compression.
Aside from EQ you may want to experiment with multi-band compression for changing the timbre of you mix. For example you could compress the low end more to bring up its relative presence in the mix. This can have a cleaner result and means you could use less process, further enhancing your final output.
Boost it wide, cut it slim.
Generally speaking a smooth wide boost, coupled with surgical narrow cuts on problem frequencies will give the best overall result.
Go easy.
If you find your self adding more than around 5DB of EQ you will probably be better off to go back to the original dubstep mix and find the problem there. As a rule you should not need to be adding more than 4/5DB for your first 50 attempts. Only when you have a lot of experience should you consider using such a drastic measure.
Treble.
One common misconception is that the high end of a track is all above 12khz, however its actually much lower at around 2khz. One good power tip when learning about frequency ranges is to run a commercial finished dubstep track through a high pass filter, turn up your speakers and slowly move the fader down, letting through more low frequencies. This will show you were you start to hear the punch, knock, bass etc and build a easy picture in your head of what applies to what dubstep frequency range.
Careful with using multi band compression.
Although multi band compression can have a amazing and dramatic effect on a poorly balanced dubstep mix, it can also wreak havoc with a good dubstep mix. If you feel your final mix is well balanced then a single band mastering compressor is likely to have a better result.
Check out this dubstep site for tips and tricks. They also have a dubstep forum
Article Source: http://EzineArticles.com/?expert=Simmon_Power
Showing posts with label reese. Show all posts
Showing posts with label reese. Show all posts
Monday, 7 December 2009
Friday, 4 December 2009
How to create dubstep using a Reese bass and oscillator. Benga, Skream and Rusko.
Dubstep, techno and drum and bass technicians will at some point want a heavy Reese bass for there new dance floor track. The Reese bass is the classic 'dirty bass' sound. From the deeper terrorist Reese to the intense alien girl Reese they all have one thing in common. The saw tooth wave.
Firstly, get a multi oscillator synth (ideally 3 or 4 oscillators) for example the native massive, ES2 by Logic or reasons maelstrom. You will want to set the first oscillator and all the other oscillators to the saw tooth wave form. There are many harmonic frequencies in the saw tooth, The normal waves ramps upward and then drops sharply. There are also sawtooth waves where the wave ramps down and then rises sharply. That kind of sawtooth wave is called a 'reverse sawtooth' or 'inverse sawtooth'. As signals, the two variations of the sawtooth sound the same until paired together.
After you have got your synth running with 3 oscillators, it's time to detune them by around +/- 25cents, this is very effective for drum and bass and dubstep. This gives the Reese a very dark edgy sound, rather than just a buzzy electro kind of sound.
Once you have got your detuned saw tooth, (this is essentially the basis of the Reese) - You can go ahead and start twisting and shaping the sound for your specific genre, dubstep or drum and bass. Here are some of the main parameters you can use:
ASDR on the filter
A interesting method to get a movement on the Reese bass is to add filtering triggered by an envelope, Reese bass patches are very sensitive to filters and utilizing a high pass filter you can get a very driven sounding lead, or use a low pass and get a very nice bass. try using about 20% of filter attack for dubstep and 30% for jungle.
Phaser
Because of the harmonic phases all ready occurring due to the multiple oscillation, adding a phase plug in can and does work very well. It's better to use a sparse amount of phase to subtly enhance the sound rather than extreme amounts
Flanger
The flange process can add a nice bit of subtle metallic rasp to the sound, this helps gives you a big bad dubstep sound.
Delay
The delay effect can make a Reese sound wicked! Pre drop delayed Reese bass can add a very tense build up.
Reverb
Again subtle uses of reverb can act very effectively on your sound, Guitar amp reverbs tend to work well with Reese bass and also come packed with distortion for extra bite.
Other effects that enhances your Reece include: Distortion, compression, LFO, unison and analogue knobs (like on the ES2 and massive) and auto filters work especially well with dubstep.
In summary, it is best to process your Reese line a lot for dubstep and drum and bass music production. It's a well used if not over used sound, so to make it stand out you will have to be creative with your sound programming skills - Filters act in the most effective way and reverb is king!
Firstly, get a multi oscillator synth (ideally 3 or 4 oscillators) for example the native massive, ES2 by Logic or reasons maelstrom. You will want to set the first oscillator and all the other oscillators to the saw tooth wave form. There are many harmonic frequencies in the saw tooth, The normal waves ramps upward and then drops sharply. There are also sawtooth waves where the wave ramps down and then rises sharply. That kind of sawtooth wave is called a 'reverse sawtooth' or 'inverse sawtooth'. As signals, the two variations of the sawtooth sound the same until paired together.
After you have got your synth running with 3 oscillators, it's time to detune them by around +/- 25cents, this is very effective for drum and bass and dubstep. This gives the Reese a very dark edgy sound, rather than just a buzzy electro kind of sound.
Once you have got your detuned saw tooth, (this is essentially the basis of the Reese) - You can go ahead and start twisting and shaping the sound for your specific genre, dubstep or drum and bass. Here are some of the main parameters you can use:
ASDR on the filter
A interesting method to get a movement on the Reese bass is to add filtering triggered by an envelope, Reese bass patches are very sensitive to filters and utilizing a high pass filter you can get a very driven sounding lead, or use a low pass and get a very nice bass. try using about 20% of filter attack for dubstep and 30% for jungle.
Phaser
Because of the harmonic phases all ready occurring due to the multiple oscillation, adding a phase plug in can and does work very well. It's better to use a sparse amount of phase to subtly enhance the sound rather than extreme amounts
Flanger
The flange process can add a nice bit of subtle metallic rasp to the sound, this helps gives you a big bad dubstep sound.
Delay
The delay effect can make a Reese sound wicked! Pre drop delayed Reese bass can add a very tense build up.
Reverb
Again subtle uses of reverb can act very effectively on your sound, Guitar amp reverbs tend to work well with Reese bass and also come packed with distortion for extra bite.
Other effects that enhances your Reece include: Distortion, compression, LFO, unison and analogue knobs (like on the ES2 and massive) and auto filters work especially well with dubstep.
In summary, it is best to process your Reese line a lot for dubstep and drum and bass music production. It's a well used if not over used sound, so to make it stand out you will have to be creative with your sound programming skills - Filters act in the most effective way and reverb is king!
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