jizy
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Posted : Apr 3, 2012 04:23:21
skip to 1.20min
i can hear it!! yeh its been mastered, but what the hell is going on with the stereo field!what are the engineers doing to get it like that! sounds like more than just a simple pan and wet and dry combo of mono and stereo to me..... how the fuck man are caperable of such wide extreme stereo ...are there FAT secrets or is this just an illusion of sounds or what? what the hell is goin on, i mean i tried all possable chains and cant get no where near that dimension of space
that u hear.... best in headphones... wanna capture the stereo design and use for psy... hope u kno what im hearing, sounds like using a spatail delay shift in the low frequencies and multiband compressed.. but still wooow the dimensional field is massive... its what im striving for.. like i sed theres sumfin elese other than dry n wet... i can hear it but cant quite put ma finger on it as aint sumfin ive understood yet.
is it because the bass is spread out aswell as center, yet still keeping mono compatibility ? but it cant be coz low freqencies are occupying the sides aswell to give it that fullness of depth? clever stereo technicality? or is it just simply pannin and glitching mastered tracks on top of his mono information
or simply is dubsteb another designd pacifically for headphones.............................................................................
loki
IsraTrance Junior Member
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Posted : Apr 3, 2012 06:14
Okay - I'm more into glitch-hop/bass-dubstep/etc than I am psytrance these days. Like getting a good KBBB down, there is no great secret, but instead a list of simple steps that, when combined, give you a massive, crunchy, in your face, tight low end, and most of all very wide, distorted bass.
1) Sub osc is a sine wave, in mono. Alternatively, the bass could be band-split, and the 100hz or less range summed into mono and then savagely compressed. Same effect in the end: tight, coherent low end.
2) Multiple stacked detuned oscillators with tons of harmonics, run through distortion (yes, often multiband). If you are looking specifically for the Skrillex bass type wide fatness, see the video below, paying special attention to how he widens the oscillators and fm oscillators at every possible step.
3) If you are band splitting, chorus on the mid range (200-4000hz) and a "spreader" (slight channel delay) on the 4000hz+ are good places to start.
4) Dubstep producers often make full use of stereo enhancements within their VST of choice, i.e. the dimension expander in NI Massive. Try linking the dimension expander to the same modulation source (like the LFO) that you have linked to your filter.
That should be a start...
Dance, even if you have nowhere to do it but your living room. ~Kurt Vonnegut
www.soundcloud.com/mixyott
jizy
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Posted : Apr 3, 2012 07:36
CHeers for that, but i kno whow to re create it(dont wana make dubstep, i wana combine the stereo techniques and create a hybrid), it was more the whole mix of the sound dimention...very in your heaD when in headphones,, i was wonderin wether the mastering engineer does it this percifcly ? coz it sounds 4d wiv lows spatial delayed and shifted (similar to ozones) and yes i am aware of synthesis etc etc and where multiband is concernd for that type of punch is sounding like reasons vocoder to me (skrillex),, but using the multiband eq instead of the vocoder etc etc etc etc.................my question was more on the incredible dimension of the sound space inbetween them all...sounds abit more than panning, wot is happenin with thoses mids n sides>? wana kno if this is what mastering has done rather than himself
e-motion
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Posted : Apr 3, 2012 16:47
Skrillex uses izotope Ozone on individual channels, it has a multiband stereo spreader so that is probably a good place to start
Just spread the higher bands like hell and keep the lower ones mono.
orgytime
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Posted : Apr 3, 2012 16:55
im sure this mix was antiphased BEFORE mastering...
i think its the stereo "contrast" between the different sounds. the sounds are switched each second, this way it never gets boring.
for a extreme example, split a stereo track into left/right channel and play with a LP filter on one channel, the first second you activate the LP you will think youre just lost youre hearing at left/right.www.soundcloud.com/orgytime
jizy
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Posted : Apr 3, 2012 19:37
Quote:
On 2012-04-03 16:55, orgytime wrote:
im sure this mix was antiphased BEFORE mastering...
i think its the stereo "contrast" between the different sounds. the sounds are switched each second, this way it never gets boring.
for a extreme example, split a stereo track into left/right channel and play with a LP filter on one channel, the first second you activate the LP you will think youre just lost youre hearing at left/right.
well aware mate,, u can also use elevantya wider boy pro for it, instead of bouncin off tw tracks and panning.... hmm gettin there tho.. i feel we gettin there,,,ozones spatial delay has got me closer results so far.............................................. keep the comments coming
willsanquil
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Posted : Apr 3, 2012 23:06
I can confirm that the Ozone 5 Imager module is fckin great for widening. Automating the band's width parameter can easily give you massively wide and interestingly modulated stereo sounds
If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp www.soundcloud.com/kinematic-records
e-motion
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Posted : Apr 4, 2012 03:06
Quote:
On 2012-04-03 16:55, orgytime wrote:
im sure this mix was antiphased BEFORE mastering...
i think its the stereo "contrast" between the different sounds. the sounds are switched each second, this way it never gets boring.
for a extreme example, split a stereo track into left/right channel and play with a LP filter on one channel, the first second you activate the LP you will think youre just lost youre hearing at left/right.
check the intro of Skrillex - Scary Monsters and Nice Sprites in mono. you'll be shocked Pyrex :: Traveling without moving
www.myspace.com/pyrexperience
