Excision & Benda - Hyperdrive | [Official Visualizer] 

I've heard this so many times I just assumed it's been out already 😂😂

He also opened the stadium with it in LA

Fuck*ing barney

Thunderdome was one for the books fasho lit afff no 🧢 🔥

Your videos are the best Lidia🔥👌🏼

Dubstep!

YESss

GETS ME EVERYTIME

Sending my energy your way !! I'd love to see this

I second that ^ 💯

Jajaj tal cual...yo me pongo a entrenar enseguida y le voy a subir a todo lo que de el parlante 😂😂😂

Yeah !

Total...

Bâshīlélùõ

After listening to more than 300 songs on Subsidia and countless more on other Dubstep labels, I caught myself thinking that they all kinda boring. I am not talking in terms of arrangement or sound design, I just think that they all are lacking character. This is especially noticeable when I am looking at Disciple and Excision, who are currently among the leaders in the bass music scene and have the potential to change the course of the scene completely by creating memorable and impactful tracks. Unfortunately, they are not using their power and seem to stagnate either at the point of vapid and boring Riddim which is absent of any memorable caharacter (The majority of Disciple) or repetitive and poorly mixed Briddim (Lost Lands producers including Excision).

Considering that, after analysing all of those tracks with those that I found more enjoyable and memorable, I came up with a list of things that I think modern Dubstep tracks are lacking. I don't think that I have better understanding of what music needs because I have much less experience than any of those producers, so this is my subjective opinion and I am sorry in advance if I made any mistakes in it.

1. Arrangement While I play around in the FL Studio, I often find myself stuck in a stereotypical situation, where I made 8-bar loop, which I find genuinely good, but I don't know what to do next and how to make a proper song out of what I came up with. Modern producers seem to have an exactly opposite problem. They can arrange an entire track, but they don't have a good structure on a smaller scale. It is usually a quarter bar noisy Trollphase type bass stabs or Tearout-ish machine gun basses accompanied by some sort of screech or sustained bass. It is a strong and rhythmic design, but it is just too repetitive and needs a lot of modulation and chopping to not become boring. I believe that producers should take their time to come up with something more complex and creative rather than 8-bar loop with variations that can be made using sample and hold lfo's in Vital Synth. Good examples of great small scale arrangement are tracks by Xtrullor (Supernova, Ego Death, Ichor) or RIOT (Entire Dogma Resistance album, seriously, it is gorgeous). Producers shouldn't be afraid to make unusual time signatures or alternatives to Call-and-Response structure. I understand that labels are expecting some sort of conformity, but not every track must be uploaded to a label and If it will become successful then labels should consider including its characteristics in their standards.

2. Sound design Modern sound design capabilities are much more powerful and vast than those of the decade ago, but a lot of it doesn't seem to be used to its full potential. Modern sounds have so much layers that individual sounds loose their character and become one fuzzy mess not much different from just noise, practically indistinguishable between different tracks (things are so bad that Ray Volpe managed to get 500k+ streams on Lazerbeam just because he suddenly remembered that pitch of the sounds can be changed with lfo's and melodies can be placed mid-drop, but more on that later). To stop that from happening either use drastically different sounds occupying different frequencies on the spectrum or apply some drastic effects such as frequency shifters or multiband pitch shifters on the entire group of layers. That way frequencies in-between harmonics will not be lost, keeping it full and fat, but also sound gains special character, which can be hard to recreate even if you will try to. Examples of good sound designers are Derpcat, Ecraze, Cromatik and Au5, with the latter making lots of really good and useful tutorials on this topic.

3. Mixing It's just my personal preference, but I think that there should be more frequencies in the 100-300 Hz range. As far as I understand, in most modern mixes there is a gap in this range so that frequencies of super low Sub Bass distorted with other elements don't mess with each other. It is done to make clear loud mixes, because of the way our brains receive vertically distorted sounds louder than they actually are. However, that removes the body of a sound, where the most powerful frequencies are, making the entire mix screechy and flat. In my opinion, sounds should be distorted separately (as long as you are not going for that HOL! ultra fat bass) with a soft saturator on the master to glue them together, and if you want to have louder music - you should just increase the volume.

Huh,And?

Make some stuff that isn't generic then

Pues hace vos la musica entoces

каждый раз одно и то же, пока говноеды не перестанут слушать и поддерживать говно, оно не прекратится

@@paolavazquez3372 😂

NO IT AINT 😡🔥🔥🔥🗣🗣🗣