[Harry]

This week was busy for me, but wanted to make sure I still got an analysis up, and that next week I will do a write up on this month’s new tutorial by State Of Mind.

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Topics: bass, bass processing, hi hat distortion technique, mix balance, resampling, slicing breaks, track analysis, variations of bass

Looking at elements of “Here We Go Again” (Trendkill). States he is a big fan of his RME DigiCheck Spectrum Analyzer for visually checking frequencies. Requires having an RME sound card though.

03:00 – looking at the drums
– Fundamental frequency of kick (pitched, sits around 125 Hz), and snare (sits around 250 Hz), both peak higher than the other drum elements

04:25 – dull snare, adds a clap to add texture
– Adds a second, wider clap to widen the sound of the full break.

06:00 – looking at ride & closed hat, an open hat, another ride

06:40 – states panning is the most basic way of spreading sounds through the stereo field
– Demonstrates using two different 1/16th shaker loops, pans one to the right, one to the left

09:00 – hats ‘crushed group’ demonstrated
– Technique compared to Konflict and Kemal tunes, specifically references “System Bleed” and “Messiah”. Idea is that the sub track will cause the target track to distort, when the target track is playing.

09:30 – how to achieve this sound:
– Take a hi-hat group and send to a new group / aux channel — “Hats Crushed” group in the video
– Have the sub bass track going to another send that goes in to the “Hats Crushed” group
– Inserts on the send should distort, and then an EQ to filter out the low end

11:00 – looking at midrange
– Using NI Kontakt
– Editing sample start point, loop points, and end point, and then an LFO

12:30 – a second mid sound and processing
– Likes bouncing out soft synths and then using Kontakt to manipulate the sounds

15:00 – busses and master output
– Slate Digital virtual mixbus, using a channel strip emulator to slightly color the sound
– Two EQs, Maag 4EQ and FabFilter Pro-Q. Usually doesn’t use two, but thought the mix sounded slightly dull with just one EQ
– Another Slate channel strip, adding grit
– Satson doing slight saturation
– 17:00 – Oxford limiter
– Talks about RMS levels a little

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THOUGHTS & QUESTIONS
– The “Hats Crushed” technique, I was trying to set that up to demonstrate, and include some screen shots, but I was having trouble figuring out how to do this in Bitwig. Eventually I figured it out, I think. Might be wrong:

Hi-Hat track is being sent to a send/effect track (S1 – CamelCrusher), and then the send track is going to the master track. You can’t see it in the above screen shot, but the Sub Bass track has a send knob on it, set to +0.00 dB being sent to S1.

So in this screen shot, you can see the same information about the Hi-Hat track, plus the Sub Bass track’s send knob, and then the effects inserted on to S1. On S1, you can also see that the input is set to the Hi-Hat track. I think I got the technique right, but maybe not? Also, I did a similar example using Logic X, and maybe I can get in to try it in Ableton Live 9 Lite, see if it’s a similar result.

Here is an audio example, first of Bitwig, then in Logic X:

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BONUS Q&A:
https://www.facebook.com/SampleGenie/posts/290342394454805

Prolix answered a few questions on FB on the announcement for this video’s release, back in March 2014.

"Knowledge kept is knowledge lost." - Bobbito Garcia

[GENIE HQ]

Thanks Harry 😀

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