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On October 15 2011 09:33 FREEloss_ca wrote:
Is it good to put a waveform on the master channel and look at what's too high and too low and try to get it all leveled?
IXL do an analysis suite, one of the utilities is a spectrum analyzer which allows you to visually see the frequency content and relative decibel for each frequency band of a sound.
As for EQing. Different EQs tend to give different flavours to a sound. If you ever manage to, check out Wave's 'SSL' range, the SSL EQ vst has a gorgeous warm sound to it. On the other hand Neodynium do a great linear phase EQ and Fabfilter's PRO Q has a very clean sound analogous to how a filter sounds, very transparent.
As for EQing things making them sound weak. Find the prominent harmonics of that sound and make sure you're not cutting them. If a bass patch sound nice because of the highs, don't use a high pad/lead as a harmony for that part of the track, write a riff, but bring it in in a verse/bridge e.t.c. There are certain things you can't get around with sound. Listen very carefully to good tracks, you'll notice that this nature applies. That is, only when frequencies can be removed from a sound still for it to retain its character will layered sounds be used. Benga's 26 basslines is a good example of this. pay close attention to the sonic content of sounds, notice things are only layered in the middle of the register when its 'applicable'.
As important as EQ and compression is choosing the right sounds. If they don't complement eachother, no amount of precessing will get them too. Thats an extremely important rule, and what you're experiencing is an effect of this not happening and what you're trying to do is remove frequencies essential to certain sounds as an attempt at fixing something thats route cause isn't essentially something that 'can' be fixed with EQing, as you're loosing the nature of one or both of the sounds in the process. Try panning/reverb e.t.c. to place the sounds at different areas of the stereo field and further worward or backward in the mix. Also try the 'cut and boost technique.'. By slightly cutting the freqs of one sound and boosting the same area of another sound that's having trouble cutting through. You can do the same thing with basic relative amplitudes when you learn enough about frequency masking and pay attention to the specific harmonics of the sounds in question.
Its a game of balance and compromise. On one hand a sound may have a certain initial vibe, but getting it to sit in the mix will almost always alter it. try and hear the sound after the cuts/processing objectively and see if it still 'works' had you not heard it in its original state. On the other hand, pick and chose when you layer different sounds and when you don't. Either way works as well, music is more about the motifes and the 'hook', the timbre usually comes in second, adding to the flavour rather than defining it.
EDIT: Added/extended some to the body of the post.
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awesome OP i hope it rewards you right 
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Teamliquid, the second Encyclopedia.
Seriously, like I can find everything from TL.
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deadmaus sucks
User was temp banned for this post.
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Seriously guys...lets just pretend we never even started in that direction...
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The funny thing is that Deadmau5 doesn't claim to be a dubstep artist. If anything he is house
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Honestly, I've never seen any professional audio engineers whip out a spectral analyzer unless something was seriously wrong with the sound. You gotta use your ears and relying on data like that won't really help you at all. I actually use very little EQ when I'm making electronic music, because I pick sounds that work well together as I make a track. Having a good monitoring chain makes all the difference! :D good thread
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Funny how this topic pops up just when I finally decided to start messing around with electronic music. I am just wondering whether I should get FL or cubase. Some say that FL is slightly more user friendly but cubase has more potential and most pro´s use cubase.
I am not planning on making dubstep though. I hope to make trance and psytrance.
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Fuckin way cool. Thanks for this!
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Wish this were reddit so I could upvote you bro, this is awesome
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On October 15 2011 10:46 ChineseWife wrote:
Honestly, I've never seen any professional audio engineers whip out a spectral analyzer unless something was seriously wrong with the sound. You gotta use your ears and relying on data like that won't really help you at all. I actually use very little EQ when I'm making electronic music, because I pick sounds that work well together as I make a track. Having a good monitoring chain makes all the difference! :D good thread
Thing is the average bedroom producer won't have a professionally treated room with expensive monitors. They won't be able hear the little things, and an analyzer can really help you figure out what to emphasize in the mix to make everything fit.
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Honestly you can do a lot without having to use an analyzer, if you're willing to invest in some decent monitoring. I worked off of a pair of $400 monitors (that I bought used for $150) for almost 2 years in my bedroom and my mixes translated decently. Upgrading to some real high end monitors tho, I've noticed a tremendous difference in the quality of my material. I would say for anyone looking to make electronic music, get yourselves some decent speakers. I have friends and I've known famous hip-hop producers to use KRK Rokit's and those are pretty cheap
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Ideas of band called "Sick Bass" playing some sick bass, whos up?
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I read this as How to make your boss sick... "Make Sick Boss"
NO WAY I CAN SIT AT WORK ALL DAY WITH NO SUPERVISOR TL HERE I COME!
son... I am disappoint.
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On October 15 2011 08:39 sob3k wrote:Show nested quote +On October 15 2011 08:22 FREEloss_ca wrote:On October 15 2011 08:06 ChineseWife wrote:
cool guide! as an audio engineer and electronic music producer, i approve! I also like the fabfilter stuff, really quality. If I send you some of my ableton files can you master them for me pretty please?  Nice guide! My biggest issue with Massive (and synths for that matter) is Voicing. I don't really understand what's going on there, or what the difference is between monorotate, monophone, etc. No clue what monorotate does...Sounds the same as Mono to me in all my experiments. Poly vs monophonic is just how many notes/tones the synth will play at the same time, if you wanna play chords then you will have to use poly, if you want to glide between stacked notes you want mono. Also pretty much all bass should be made while set to monophonic with only one voice, otherwise you can get destructive interference when you have filters going...I've had it happen before I knew what was up, makes all your bass disappear occasionally and is really F-in annoying.
That's called phasing, where certain frequencies cancel each other out. Look up linear-phase eq and filters.
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EPT
