ChevChelios

Probably a bit to fidgety to call it dubstep and yeah not focused on the drums enough, which pretty much makes dubstep for me. Good stuff though. Chev.

The macbooks now come with a 2 click touch pad ... They're still shite though .

I just think that you learn a lot more comp wise by making original tracks rather than following someone elses guidelines. But what ever works is the best option I guess.

More stuff, probably lots of similar stuff but more detail in some areas and I couldn't be bothered to sift through it. Low Bass: anything less than 50Hz This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it's almost impossible to determine any pitch. Sub bass is one of the reasons why 12" vinyl became available: low frequencies require wider grooves than high frequencies - without rolling off everything below 50Hz you couldn't fit a full track onto a 7" vinyl record. However we do NOT recommend applying any form of boost around this area without the use of very high quality studio monitors (not home monitors - there is a vast difference between home nearfield and studio farfield monitors costing anywhere between £5,000 and £20,000). Boosting blindly in this area without a valid reference point can and will permanently damage most speakers, even PA systems. You have been warned! Bass: 50-250Hz This is the range you're adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity. Muddiness/irritational area: 200-800Hz The main culprit area for muddy sounding mixes, hence the term 'irritational area'. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it. Mid-range: 800-6kHz Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound - almost the same as if you boosted around 10db at any other range. This is because our voices are centred in this area, so it's the frequency range we hear more than any other. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This frequency also covers TV stations, radio, and electric power tools. If you have to apply any boosting in this area, be very cautious, especially on vocals. We're particularly sensitive to how the human voice sounds and its frequency coverage. High Range: 6-8kHz This is the range you adjust when applying the treble boost on your home stereo. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call 'lifelike') when mastering a track before burning it to CD. Hi-High Range: 8-20kHz This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it's a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they'd otherwise sound. However, boosting in this area also requires a lot of care - it can easily pronounce any background hiss, and using too much will result in a mix becoming irritating. ---------------------- Kick Drum Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end. 50-100Hz ~ Adds bottom to the sound 100-250Hz ~ Adds roundness 250-800Hz ~ Muddiness Area 5-8kHz ~ Adds high end prescence 8-12kHz ~ Adds Hiss Snare Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound. 100-250Hz ~ Fills out the sound 6-8kHz ~ Adds prescence Hi hats or cymbals Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz. 250-800Hz ~ Muddiness area 1-6kHz ~ Adds presence 6-8kHz ~ Adds clarity 8-12kHz ~ Adds brightness Bass Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz. 50-100Hz ~ Adds bottom end 100-250Hz ~ Adds roundness 250-800Hz ~ Muddiness Area 800-1kHz ~ Adds beef to small speakers 1-6kHz ~ Adds presence 6-8kHz ~ Adds high-end presence 8-12kHz ~ Adds hiss Vocals This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity. 100-250Hz ~ Adds 'up-frontness' 250-800Hz ~ Muddiness area 1-6kHz ~ Adds presence 6-8kHz ~ Adds sibilance and clarity 8-12kHz ~ Adds brightness Piano Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity. 50-100Hz ~ Adds bottom 100-250Hz ~ Adds roundness 250-1kHz ~ Muddiness area 1-6kHz ~ Adds presence 6-8Khz ~ Adds clarity 8-12kHz ~ Adds hiss Electric guitars Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness. 100-250Hz ~ Adds body 250-800Hz ~ Muddiness area 1-6Khz ~ Cuts through the mix 6-8kHz ~ Adds clarity 8=12kHz ~ Adds hiss Acoustic guitar Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence. 100-250Hz ~ Adds body 6-8kHz ~ Adds clarity 8-12kHz ~ Adds brightness Strings These depend entirely on the mix and the sound used. 50-100Hz ~ Adds bottom end 100-250Hz ~ Adds body 250-800Hz ~ Muddiness area 1-6hHz ~ Sounds crunchy 6-8kHz ~ Adds clarity 8-12kHz ~ Adds brightness ----------- 50Hz 1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass. 2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B. __________ 100Hz Increase to add a harder bass sound to lowest frequency instruments. Increase to add fullness to guitars, snare. Increase to add warmth to piano and horns. Reduce to remove boom on guitars & increase clarity. __________ 200Hz 1. Increase to add fullness to vocals. 2. Increase to add fullness to snare and guitar (harder sound). 3. Reduce to decrease muddiness of vocals or mid-range instruments. 4. Reduce to decrease gong sound of cymbals. __________ 400Hz 1. Increase to add clarity to bass lines especially when speakers are at low volume. 2. Reduce to decrease "cardboard" sound of lower drums (foot and toms). 3. Reduce to decrease ambiance on cymbals. __________ 800Hz 1. Increase for clarity and "punch" of bass. 2. Reduce to remove "cheap" sound of guitars __________ 1.5KHz 1. Increase for "clarity" and "pluck" of bass. 2. Reduce to remove dullness of guitars. __________ 3KHz 1. Increase for more "pluck" of bass. 2. Increase for more attack of electric / acoustic guitar. 3. Increase for more attack on low piano parts. 4. Increase for more clarity / hardness on voice. 5. Reduce to increase breathy, soft sound on background vocals. 6. Reduce to disguise out-of-tune vocals / guitars __________ 5KHz 1. Increase for vocal presence. 2. Increase low frequency drum attack (foot/toms). 3. Increase for more "finger sound" on bass. 4. Increase attack of piano, acoustic guitar and brightness on guitars. 5. Reduce to make background parts more distant. 6. Reduce to soften "thin" guitar. __________ 7KHz 1. Increase to add attack on low frequency drums (more metallic sound). 2. Increase to add attack to percussion instruments. 3. Increase on dull singer. 4. Increase for more "finger sound" on acoustic bass. 5. Reduce to decrease "s" sound on singers. 6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano. __________ 10KHz 1. Increase to brighten vocals. 2. Increase for "light brightness" in acoustic guitar and piano. 3. Increase for hardness on cymbals. 4. Reduce to decrease "s" sound on singers. __________ 15KHz 1. Increase to brighten vocals (breath sound). 2. Increase to brighten cymbals, string instruments and flutes. 3. Increase to make sampled synthesizer sound more real. -------------------------------------- 80hz - rumble of the bass 100hz - thump of the kick 200hz - bottom of the guitar 250hz - warmth of the vocal 350hz - bang of the snare 400hz - body of the bass 500hz - clang of the high hat 600hz - clang of the cymbals 800hz - ping of ride cymbal 1000hz - meat of the guitar 1200hz - body of the snare 1400hz - meat of the vocal 1600hz - snap of the kick/plectrum on guitar (attack) 2500hz - wires and snap of snare 3000hz - presence of the vocal 4000hz - ring of ride cymbal/top end of bass guitar 6000hz - sizzle of the high hat 7000hz - sizzle of the cymbals 8000hz - top end of the kick 9000hz - brightness on snare and cymbals 10000hz - brightness on vocal 12000hz - air on vocal 14000hz - air on cymbals Chev.

Stolen from another forum, still good info though Eq Settings General: 20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track 60 Hz and below - sub bass (feel only) 80(-100) Hz - feel AND hear bass 100-120 Hz - the "club sound system punch" resides here 200 Hz and below - bottom 250 Hz - notch filter here can add thump to a kick drum 150-400 Hz - boxiness 200 Hz-1.5 KHz - punch, fatness, impact 800 Hz-4 KHz - edge, clarity, harshness, defines timbre 4500 Hz - exteremly tiring to the ears, add a slight notch here 5-7 KHz - de-essing is done here 4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion 6-15 KHz - air and presence 9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix Kicks: 60Hz with a Q of 1.4 -- Add fullness to kicks. 5Khz with a Q of 2.8 -- Adds attack to Kicks bottom (60 - 80 Hz), slap (4 kHz) EQ>Cut below 80Hz to remove rumble Boost between 80 -125 Hz for bass Boost between 3 - 5kHz to get the slap PROCESSING> Compression 4:1/6:1 slow attack med release. Reverb: Tight room reverb (0.1-0.2ms) General: Apply a little cut at 300Hz and some boost between 40Hz and 80Hz. Control The Attack: Apply boost or cut around 4KHz to 6KHz. Treat Muddiness: Apply cut somewhere in the 100Hz to 500Hz range. kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz Snares: 200Hz - 250Hz with a Q of 1.4 -- Adds wood to snares 3Khz with a Q of 1.4 -- Adds atack to snare. 7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion fatness at 120-240Hz boing at 400Hz crispness at 5kHz snap at 10kHz fatness (240 Hz), crispness (5 kHz) EQ> Boost above 2kHz for that crisp edge Cut at 1kHz to get rid of the sharp peak Boost at 125Hz for a full snare sound Cut at 80Hz to remove rumble PROCESSING> Compression 4:1 slow attack med release. Reverb: Tight room reverb (0.1-0.2ms) snare>> fatness at 240HZ, crispness at 5 KHz Vocals General: Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix. Treat Harsh Vocals: To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range. Get An Open Sound: Apply a gentle boost above 6KHz using a shelving filter. Get Brightness, Not Harshness: Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right. Get Smoothness: Apply some cut in a narrow band in the 1KHz to 2KHz range. Bring Out The Bass: Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range. Radio Vocal Effect: Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz. Telephone Effect: Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz. vocals>> fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz Hats: 10Khz with a Q of 1.0 -- Adds brightness to hats and cymbals Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz) EQ> Boost above 5kHz for sharp sparkle Cut at 1kHz to remove jangling PROCESSING> Compression use high ratio for high energy feel Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little Get Definition: Roll off everything below 600Hz using a High Pass Filter. Get Sizzle: Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right. Treat Clangy Hats: Apply some cut between 1KHz and 4KHz. hi hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz Guitar: Treat Unclear Vocals: Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix. General: Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz. Acoustic Guitar Add Sparkle:Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth. General: Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard. Other: Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz) Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz) Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz) Toms: attack (5 kHz), fullness (120 - 240 Hz) Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz) Bass - Compressed, EQ'd with a full bottom end and some mids rack toms>> fullness at 240 Hz, attack at 5 kHz floor toms>> fullness at 80 - 120 Hz, attack at 5 kHz horns>> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz strings>> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz conga/bongo>> resonance at 200 - 240 Hz, slap at 5 kHz General Frequencies: EQ Reference: Frequencies 50Hz Boost: To thicken up bass drums and sub-bass parts. Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'. 70-100Hz Boost: For bass lines and bass drums. Cut: For vocals. General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies. 200-400Hz Boost: To add warmth to vocals or to thicken a guitar sound. Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion. Boost or Cut: to control the 'woody' sound of a snare. 400-800Hz Boost: To add warmth to toms. Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds. General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix. 800Hz-1KHz Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum. 1-3KHz Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting. Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part. General: This frequency range is often used to make instruments stand out in a mix. 3-6KHz Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars. Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix. 6-10KHz Boost: To sweeten vocals. The higher the frequency you boost the more 'airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to: Bring out cymbals. Add ring to a snare. Add edge to a bass drum. 10-16KHz Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording. Chev.

Umm WOW! Thanks!

Live tutorials, youtube and countless hours practising and getting comfortable with the software. And it is definately worth every penny. Chev.

Ghost by REDIAL. You gotta love Australians.

This will never end. I am a PC man, with mac you pay so much more $ just for its pretty unibody shell and however pretty that shell may be I would be able to get a completely custom computer that would kill a standard mac for the same price or even cheaper Chev.

Nah i don't do anything live, sorry. But yes the mkII look absolutely amazing and because its novation it'll be the best purchase of your life. Chev.

Crazy, good place innit.

You should be able to make that sound with most synths, you will just have to study synthesis. Chev.

Definately a good idea. Chev.

ableton live lessons that are inbuilt to live and youtube are the best places to start. Chev.

I use it with ableton live 8, I have the pad assigned usually to a filter but you can use it with any effect reaaly and go crazy, you can also assign it to be pitch/modulation it you don't like the joystick. Chev.

Wow very good post. This should be a sticky.

The live tutorials in ableton are a great way to start, and youtube definately has lots of good stuff. There is also an ableton instructional dvd if you want to buy something. I don't use cubase so I can't help you there. Chev.

I have a novation ReMOTE SL25, definately best product for its price, it has extremely nice feel and automap is a fairly useful tool. Axioms have nowhere near as many features and the sample pads are useless and just take up room. Chev.

As long as you have been given creative copyright for the stems of the song you can do what you want pretty much as long as you are not making profit from it. Chev.

Good point but your not gonna find a very good free vst, and not everyone want's to fork out 300 bucks for one. To be honest I rarely use vsts, Operator does the job perfectly.

Um yeah, don't know many people from gerringong, but my name is Greg

Start by downloading demos of some DAWs until you find one that your comfortable with using. You should definately study up on synthesis (subtractive, frequency modulation, etc.) and you will need some basic music theory knowledge. As far as remixing, I wouldn't get to caught up in that until you have a bit of experience under your belt, but pretty much you get stems of a song, vocals bassline etc, and put your own sound into it, use vocals, recreate parts on a different instrument, pretty much whatever. Hope that helps. Chev.

I use Ableton Live 8 and Pro Tools 8LE Greatest two peices of software known to man, in my opinion.

http://www.kvraudio.com/ http://www.vstplanet.com/ more free VSTs than you will ever need. Hope that helps Chev.

Hi, I am a producer under the alias of Chev Chelios. I guess I should make a plug right now www.myspace.com/chevchelious Um yeah, I havn't been doing this for very long so its not that pro but you know I'm getting there :wink: Chev.