are you using a hard knee compression on those hats?

quote:

Originally posted by Mise another personal suggestion, I would wait to put those hihats at 0.40 when the bass starts, anticipated with a short sweep

cool...ive dont that now
now to fix the upper mids
cheers

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quote:

Originally posted by Mise are you using a hard knee compression on those hats?

no man...no compression on the hats at all...should there be?

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Try a peak compression ratio around 1.7-2.5 with a 0.7 to 0.9 knee

cool...will do

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when setting the attack release, make sure you keep it inside the mix, maybe 10ms attack max.

quote:

Originally posted by CREST well that didnt work...here it is Beautiful Planet 2.1 by CREST

if we're asking about drive, i'd say this track needs a stronger, tighter kick, and more compression on the bassline.

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quote:

Originally posted by Imu if we're asking about drive, i'd say this track needs a stronger, tighter kick, and more compression on the bassline.

great suggestion man! i think i will take that advise and use it!
cheers

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I agree you could "punch" a little more the tune, but be careful is very easy to ruin the mix if you go far.

This is what I think off when I address drive:

[QUOTE]Originally posted by Mise
I agree you could "punch" a little more the tune, but be careful is very easy to ruin the mix if you go far.

yeah...i dont want to f it up....haha...

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What are you mixing with (program)? I didn't check in my sequencer but it sounds like that kick has an awful lot of headroom left that its not even using.
Either that or the sample itself is just terrible.

For drive think in terms off offbeat sounds or offsetting notes. If you have a fast hitting 16th note bass, and all the velocities are the same, its really hard to make something like that drive. Also mid basses sometimes have long sustain sounds behind it on sidechain, and those long sustain sounds can do a lot in terms of drive and offering contrast for the mid bass.
Theres really so many ways to go about it. And if you ever want to submit seperate samples of your bass, kick, and all that I'll take a look at what you're doing in my sequencer. I just posted a thread (the blueman one) and theres decent drive in the track I posted although the midbass itself needs a lot of work. The secret in the track for the drive is the subbass itself. Noone commented on the pattern of the sub but if you listen extremely carefully, the sub itself is offbeat, yet every 4 bars on the last 8 notes it switches back to on beat. This creates an illusion of high tension everytime those last 8 notes of the sub play. But go listen to it to see what I mean.
I mean I could really prob write 5 pages of different ways to get drive. But the icing on the cake imo should always happen in the kick/bass bus. If you are able to have the track drive before the bus, (like I mentioned with positioning of the sub notes) you can use Waves L3 Maximizer which I love for adding more drive. And another secret is frequencies, play with frequencies of the bassline as you make adjustments in L3. You will notice the bass frequencies can change the way it drives. If you have too much sub it'll stifle the drive and freeze it up completey. If you cut out some sub, and boost between the mids and highs you will sometimes hear the drive itself shifting or changing. This is a way to really isolate sometimes how to equalize your bass so it drives the most. But even w/out doing it just play with all the settings on L3 and you'll notice a lot of different changes to the drive on top of what you already did on a note level.
Drive is one of the funnest things to work on imo because it creates the illusion of dimension and energy more than anything I can really think of. A little bit of drive can make a small sound much bigger than it really is. But like I said go check out that sub, its really one of the most fundamental ways of creating drive, and if you have the mid bass somewhat interact with the sub, theres no limits to the amount of drive you can create between them.