im wondering too, its like u guys thinks that wow i didnt know it was possible to make tracks without the use of sidechain, how the fuck do we do that? one trick is have lower midivolume on the baseline where the kick hits. works even better imo.

And also Eq to help clear things up with the kick and bass...

Just listen to some platipus stuff a few years ago. No sidechain there. just good mix.

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Originally posted by Mr.Mystery Why's that?

Because I listened to the track in context
http://www.youtube.com/watch?v=X2kHahQdyq8

I was obviously slightly exaggerating, but he's really sidechaining(compressor or volume envelope) the hell out of almost all elements including the subbass, midbass, pads, arp and some percussion elements. The second breakdown gives me a headache.

quote:

Originally posted by palm one trick is have lower midivolume on the baseline where the kick hits. works even better imo.

Yes, that works, but you have to keep a few things in mind: (1) you're not going to get the same effect - ducking gives you a softer/slower attack, whereas using MIDI notes usually gives you a quicker/more percussive attack, and (2) be careful that you don't screw up the sound of your bass in doing so, particularly if you are using velocity-triggered envelopes (e.g., to open/close your filter). In other words, if you are going to lower the MIDI velocities, it's usually a good idea to adjust the velocity parameters in your bass patch to compensate (unless, of course, you want a different bass sound on the beats).

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quote:

Originally posted by Morvan I would think you'd be joking right now, but as I recall, you've been talking about that track in the past as if you were married to it, so I'm not really sure if you're serious.

Huh, why would I be joking?
I love that track and think it's way beyond 97.5% of pro's to be able to get a polished unique sound like that. Yes, yes I also like other tracks with better dynamics, but then and again getting great dynamics is perfectly achievable for even a novice rock band using a 4 track, but getting that lush other worldy sound that akesson gets is well beyond most of us, myself very much included of course.

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I've never really bought into the 'more dynamics are always better' idea. Certain genres of music work better loud and flat.

They do to me anyway

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Originally posted by tehlord I've never really bought into the 'more dynamics are always better' idea. Certain genres of music work better loud and flat. They do to me anyway

No wonder we're all gonna be deaf in a few years.

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Originally posted by kitphillips Not a great track, but here's my take: From the top Basically, highpass the kick, keep percs on 16ths almost, its quite a crowded percussion line with shakers on the 8ths and quite a bit of other miscellaneous percussion. Kick drops in and bassline starts coming up in volume. Its layered up with a fairly highpassed mid bass using a PWM or similar oscillator and a sub bass way down around 100 hz. Listen around 0.44 for the mid bass, don't confuse it with the pluck, which you hear in isolation later. You get a good listen to the sub bass at the end of the track as its fading out. This is the main melodic driver of the track IMO. Theres a soft pad going on throughout all of this but its not that important in terms of sound design. Quite a lot of effects and stuff going on, definatley sounds like he was using some virus presets there, or was at least inspired by them. first breakdown 2:35 basic pad, boring stuff. Flange/phase, reverb, lots of release, lots of unison. Pluck sounds like a physical modelling thing, but you can get the same results out of a subtractive synth - can't remember how, try using a formant saw oscillator. No unison on that. Theres only two synths playing here, pad and pluck. Pluck plays in three parts though. Overall The important thing he does is introuce a lot of effects in the high end of the track. I don't like this at all about modern trance, but I think its what gives this track its flow. basically just highpass a rythmic pad sound and run the lowpass filter up slowly. You hear this a lot throughout the track. Pretty simple IMO.

Thanks mate, you know you mentioned him effecting the high end and filling it all out up there could you go into some detail on that? How do you fill a high end with fx?

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Processing a highly structured and complex pattern of sensory input as a unified percept of "music" is probably one of the most elaborate features of the human brain.....understanding how music is perceived and how it may elicit intense sensations is far from being understood.

quote:

Originally posted by tehlord I've never really bought into the 'more dynamics are always better' idea. Certain genres of music work better loud and flat. They do to me anyway

Apparently people gravitate towards listening to songs with higher microdynamics(sorry, no link). In a club or event everything is LOUD LOUD LOUD, but if you are listening at home or on your iPod it's nice to have those peaks.

The TT Dynamic Range Meter used to be free, but now your have to donate now. They had different recommendations for different genres. For dance they recommended a rating of 8 which measures the difference between the peaks and the top 20 percent of rms loudness.

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Originally posted by dj_alfi change your avatar for fucks sake.