- Joined
- Sep 13, 2010
So recently someone maid a post about how to get that "full" sound one finds in professional music. We then talked about eqing and layering and all that typical jazz, but with no real detail.
Anyway, back when I did the blu mar ten remix I noticed that the stems where nothing amazing. But the stems themselves, like the "whale pitch", or "frets", had this amazing quality about them. They were not overly loud and had that "full" sound. It was reverb, delay, stereo panning, and layering. Much of what was going on was subtle and got lost in the grand scheme of the mix. But all that subtle texture really filled out the original blu mar ten song and took a somewhat boring bass line and reece bass with a boring break and turned it into a great song.
I also downloaded stems for a remix contest for some pop-musician called mdnr. I won't lie I hate the original track. It sounds like every other pop song on the radio. But a couple a days ago I started to play with some of the stems. At first glance they do not seem like anything special. Until I started pulling them apart and really listening to them. They are in reality expertly constructed. Reverb, delay, and stereo panning used at precisely the right moment to accent the song in a flowing motion. When I listen to the vocal stem I noticed the same thing.
All of these stems and my topic are non-bass related, but I found when I started fucking with four bar loops with my own basses something happen. They really brought out and complimented my most basic bass designs. With ease I was making basses sound fuller and more relevant.
Since then I have been listening to many tracks in a new light and the more I listen the more I am starting to agree with myself. Am I on to something hear? What is your opinion.
Also does anybody have any good and detailed suggestions for layering songs not with loud leads and basses but with well constructed mid to high frequency layers? If so how do you build your layers.
I going to try and bait one the Dexcel guys into this topic and use one of there songs as an example. Listen.
So in the first twenty seconds there is almost a broken glass sound that seems to be accented by a distortion that sounds like a broken record. I can hear a little bell and when I here it, the bell has a space and presence to it I could not emulate. There is a basic piano rift, and strings that gradually introduce themselves. To end it all a subtle chime comes it to introduce the vocal. Nothing about that should be that difficult. But everything is perfect and full. It is not just the melody but the texture that instantly says professional. Hell when the introduction vocal comes in the ride is so fucking perfect. I have tried for yeas to make a ride sound that well but I simply can not. What is it that they are doing that is not just a notch but well above the average skill set.
Anyway, back when I did the blu mar ten remix I noticed that the stems where nothing amazing. But the stems themselves, like the "whale pitch", or "frets", had this amazing quality about them. They were not overly loud and had that "full" sound. It was reverb, delay, stereo panning, and layering. Much of what was going on was subtle and got lost in the grand scheme of the mix. But all that subtle texture really filled out the original blu mar ten song and took a somewhat boring bass line and reece bass with a boring break and turned it into a great song.
I also downloaded stems for a remix contest for some pop-musician called mdnr. I won't lie I hate the original track. It sounds like every other pop song on the radio. But a couple a days ago I started to play with some of the stems. At first glance they do not seem like anything special. Until I started pulling them apart and really listening to them. They are in reality expertly constructed. Reverb, delay, and stereo panning used at precisely the right moment to accent the song in a flowing motion. When I listen to the vocal stem I noticed the same thing.
All of these stems and my topic are non-bass related, but I found when I started fucking with four bar loops with my own basses something happen. They really brought out and complimented my most basic bass designs. With ease I was making basses sound fuller and more relevant.
Since then I have been listening to many tracks in a new light and the more I listen the more I am starting to agree with myself. Am I on to something hear? What is your opinion.
Also does anybody have any good and detailed suggestions for layering songs not with loud leads and basses but with well constructed mid to high frequency layers? If so how do you build your layers.
I going to try and bait one the Dexcel guys into this topic and use one of there songs as an example. Listen.
So in the first twenty seconds there is almost a broken glass sound that seems to be accented by a distortion that sounds like a broken record. I can hear a little bell and when I here it, the bell has a space and presence to it I could not emulate. There is a basic piano rift, and strings that gradually introduce themselves. To end it all a subtle chime comes it to introduce the vocal. Nothing about that should be that difficult. But everything is perfect and full. It is not just the melody but the texture that instantly says professional. Hell when the introduction vocal comes in the ride is so fucking perfect. I have tried for yeas to make a ride sound that well but I simply can not. What is it that they are doing that is not just a notch but well above the average skill set.
Another thing we hardly use any special reverbs its pretty much reverb 2 in FL for most things.