Wtf. All of these KNB track breakdowns are so insane. I love watching but making me never want to open ableton. There’s no way I would ever be that talented. Meh, doesn’t hurt to dream. 😊
thats the filthiest track ive heard all year. Somehow both excited to learn more about music production but also disheartened by how far behind i am hahaha love from Australia ya bloody legends
I always do -1.5dB to -3dB in psytrance, trance, progressive trance/melodic prog & techno/melodic techno when i use a double kick or dotted kicks pattern before a mini-mini break after 8 bars in between the 16bars after which the real mini-break comes to give a little variation, power-up (bc i mostly layer a fall under a very low dB impact, lowcut & sidechain that, just to introduce the 8bar & 4 bar riser/noise layers) and kinda fill to make sure the dancers don't get borred 😁 great trick in any means! Works in ALL bass heavy genres and not only dance music, it's also a good thing to reduce some kicks/808's which are closer together as the others in a trap/drill/boombap/dubstep/futurebass/phonk/breaks pattern 😌 Also very useful with slap house where i recommend to make the 2nd or whatever "fill in" kick a little shorter to accomidate the slappin'/"kicky"/short-decay basses 😉 Also a limiter is not only a short term tool, if used for long term (and that in my perception, could even be a 16-32bars section) where it's important to keep an eye on the whole durations behaviour and to reset GR meter after every element which would cause your limiter/comps needing to "breath" so you can apply and analyze those little gain staging and shortening tricks alot better - keep in mind that this is for mixing or the "typical pre-mix while arranging workflow" most of us do in dance music genres, if it comes to mastering or going deep down in final mixing stage, those little "breathing issues" should be evened out already (if you work with clippers of FF-Pro-L2*) with all the transients kept or enhanced a bit, just don't do anything which leads to having to restore the transients in this stage of the project… y'all don't have to re-invent the wheel bc of those new-age loudness levels, y'all can get and keep enough headroom in every dimension (volume, loudness, depth & stereofield - or even "height"/levitation if you work in sennheiser ambeo orbit and or dearVR micro/4d/atmos) with the same basics of mixing and preparing for mixing like 40-50 years ago, the plug ins just got better, clearer/cleaner and more shiny bc they got optimized for electronic music, streaming, other forms of stage PA systems and of course, better headphones & home and car hi/fi systems 🤓🫡) But enough nerdy-gnarly tech-talk, let's focus on having fun while making music, just keep all those things in mind a bit, so i wish you all the best making the songs of your imagination to reality with the best quality possible! 🩶👾 *which is know for squashing transients, not bc of the plugin itself but bc of producers hunting for LUFS while not proper gain-staging, nor proper EQing, the gentle part of dynamic processing and ignoring correlation while widening/stereo processing sounds completely, which everything all together ruins their headroom, so they just squash their sounds/busses like the treshold/ceiling/gain/makeup slider is the crank of a hydraulic press, leaving those transients flattened out and completely lifeless 😭😂)
Woah, I was already doing this on my tracks. I use the drum rack instead and lower the velocity instead of the volume. Glad to know I've been doing it correctly ✅️
Thanks for this! Quick question, I find when sounds clip they sound great, and I reach my desired LUFS. But then when mastering, once I limit everything and prevent clippings, I can't get to the loudness (LUFS) that I'm trying to reach. Any thoughts on this? Achieving loudness while allowing track clipping but also not clipping the master would be a great video. I know there's a lot of resources on this, and I've watched them, but I'ld love to know your take. Thanks again for all the work you do!
