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Hi-hats have been topping off grooves in almost every musical genre since their invention in the 1920s. Most of the time, a drummer 'rides' the hi-hats with a drumstick, applying pressure to the pedal to generate the 'open' and 'closed' hat sounds that give the instrument its expressive character. Open hits have a long sustain, with both cymbals ringing out closed hits decay quickly. The sequencing of closed and open hi-hat sounds forms a metallic pattern that drives a rhythm along. Synthesised 'electronic' hi-hats are usually created using white noise and filtering to replicate the sound... more



If you've been mixing for any length of time, you know how valuable the high-pass filter can be. It removes excess low end from your non-bass-heavy tracks, allowing you to clean up the low frequencies, making room for the kick and bass. But then there's this thing called a low frequency shelf. What's that all about In the picture above you can see both a high-pass filter and a low frequency shelf. A high-pass filter actually filters out the low frequencies entirely. The curve slopes downward at a specific steepness. As you move further to the left in the frequency spectrum, the signal gets... more



Hi guys, can anyone explain the difference between upper bass, mid bass and lower bass. Please explain in simple terms as i am no good with the technical terms. Just curious about it as most of the headphones reviews talk about these things. Give examples if possible. Thanks in advance. I use Bayerdynamic dt770 pro 80ohm headphones with a Fiio E11 amp. I really enjoy listening to them at normal volume level but,when i increase the volume a bit high i feel that the sound coming from these headphones are somehow not very clear and the bass is not very accurate or tight it feels like it is... more



I was wondering if somebody can give me advice how to mix the kick and bass together without masking each other. I produce electronic dance music gearing toward uplifting trance at the moment. So to begin, I normally layered my kick with a low end and a high end. Again, doing the same with the bass line. I have 3 bass. One for sub, mid, and high. I don't generally have a rule that I must follow every time I mix because each sounds can be different every time. I like to use fab filter to EQ, but I'm having trouble understanding the frequency analyzer. Let me give you an example. Let's say... more



A lot of rolling-style trance basslines comprise a low bass with a mid-range bass layer over the top, and this is what we're after. We'll need a low part to start with, so select a nice deep bass tone. We're using BS Basic Bass from Sylenth1 which you've just voted the best VST synth in the world today. We add a hefty dose of compression and a big EQ boost using a low shelf. Sometimes it's best to really overdo this initially and then tame it a bit later on. You don't want the bass to be too subby, otherwise it'll swamp your kick, so you need to spend a lot of time listening to just those... more



Whether you are looking to add or remove sub-bass frequencies from your mix, it's essential you're armed with the right tools and techniques. Everything from a simple EQ to multi-band treatments and enhancers can be used, so there are certainly a few routes to choose from here. If you are in the business of creating club music of any kind, nailing these all important lows is a must. Get it right and your track will rock, leave them unchecked and your mix is in danger of becoming colored and your master distorted and quiet. Step 1 - Monitoring Sub-Bass If you're planning on making bass-... more



Here's a thought relating to sub bass in bass music -- i.e., music where the sub bass usually sits below the kick on the frequency range. This doesn't apply to genres such as rock or house, for example, for there you may have your kick lower than your bass in general. In bass music, we want to have our sub strong enough around 40--60 Hz area, because that's where the meat is. Strong enough is subjective, of course, and there's definitely variation how loud one likes his sub, but here's a general guideline, from the perspective of someone who does mastering i.e., yours truly, that'll help... more


You probably already have usable sound effects on your hard drive, because most commercial samplers have at least a modest collection in their factory library. Beyond that, you'll find thousands of royalty-free sound effects online. Soundsnap.com is one of my favorite sources, and it's free. The recordings don't need to be pristine for layering over drums, so don't overlook cheap sampling CDs, and consider grabbing your own sounds with a portable recorder. Collect and Save Start by assembling a small Foley library of short percussive sounds divided into typical drum-sound categories kicks... more



In movie production, most of the audio work is done in a separate process after the filming stage. Actors re-record lines dialogue replacement and the audio team layers the soundtrack and Foley over the film. Foley, by definition, is the process of creating sound for video and film. Foley artists walkers don't deal with music but rather, short sound clips and effects that mimic what would happen in real life. For example, if an actor pulls keys out of his pocket, that sound of keys rattling will be recorded in a studio and retrofitted to match the video. In this article I will make a kick... more



In this article I will define a creative way to set up the Malstrom as a filter bank. While the more common route is using You need to have a registered account to download this file. The benefit behind using Thor as a filter is that you have a wide range of different filters to your disposal. Only negative part would be in this context is that you have to manual route them using the Modulation Bus matrix. The malstrom on the other hand does not require any programming skills at all. It gets as straight forward as it gets. Setting up the Malstrom as a Filter unit Routing the Malstrom up is... more


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