Panning & EDM?

[DJ_Ze_MigL]

keep' em coming m8

I'm also learning form other posts so it's all good from my part!

Z

[jasonj]

Something else that really helps in panning and I do this with my basslines to control the frequency ranges separately.

1. First choose your synth a load your patch. A wobble perhaps.

2. Route the synth to your mixer and turn its bus off to the master channel. (We will assume we are starting with mixer channel 1)

3. now bus the synth out to 3 more channels that you will name Lo, Mid, Hi and turn off their master bus' (except for Lo) and place an eq in each. Rolling Lo off (Lowpass) at 100hz, Mid 100hz to 300hz (this can be done to taste), and Hi 300hz (Highpass).
** the frequencies you will choose for your song may differ.

4. Now bus the Mid channel to two more channels which will be named "Left" panned 50% to the left and "Right" panned 50% to the right.

5. Repeat this for the Hi channel, but panning the Hard "Left" and Hard "Right".

6. The channels you will want routed into the master channel channel (getting sound from) should now be Lo , Both Left Channels and Both Right Channels.

now what you should be left with is a wall of sound from your bass synth. You can add in various effects no in each frequency range like distortion, chorus.

I personally like adding a CamelPhat VST onto the Mid with some rhythmic distortions and a CamelSpace VST onto the Hi bus to give spacial effects.

I apologize if I may not be clear enough and for the lack of visual aids. I will keep an eye out for youtube vids for this technique and add them later.

hit me up if you have questions.

[djhipnotikk]

damn that's a very intuitive technique, where/how did you learn that?

i was wondering how exactly to find out what frequency range a certain instrument takes up. not really doing it by ear, but how to find the exact freq range. anyone know?

[DJ_Ze_MigL]

Basically you go from audio theory... ooops ... ok short way around lol ... Every sound is a "pulp of different frequencies" (except for the so called Pure tone aka Sine Wave).. so the most preeminent one is the one which best sums it up ... hence it's PITCH.

Example : imagine you have a t-shirt in green with a couples of letters sayin Traktor Rocks in Red and Blue... you could say that your t-shirt has the colors red, blue and green, but if U had to say what color it was, you would obviously say it's green, 'cause it's by far it's most present and dominating one!

Now insert an eq. on the channel you need to find the sound's Pitch...
on the eq set one of it's bands to be as narrow as possible (TURN DOWN YOUR MONITORS), turn all the other ones off, now boost that narrow band to the max!!!
sweep it slowly from the lowest (probably 20hz) to the highest (prob. 20KHz)... where t distorts / resonates the most is it's Pitch...

so basically and in sum, if a sounds pitch is "...the loudest voice in a certain room..." then if you could selectively boost by the same amount each voices one by one in turns, the one which stands out the most would be your pitch...

Hope this is what you want ...

PS - If it's a sample you can always you it's analise/ Statistics or what ever name is called the feature that can tell ya all about that sample (Peak, DC offset, Rms, Pitch, etc...)

Z

[jasonj]

That technique I read in a book called "The Remixers Bible" available at amazon.com of course.

although when I started out I only bussed out two frequencies and I had some what no clue on what frequencies to bus or where to set em.

The I sat down with Downlink ( http://www.myspace.com/downlinkdub ) and we talked shop for sometime.

When I pulled that trick out he graciously skooled me on proper frequency range.

approx 100hz and be below (sub bass) you want to keep mono because bass is mono. If you start panning it and end up having your stuff pressed to vinyl this will cause the need to jump from the grooves.

roll shit off below 30hz because pretty much all systems; unless you get on one of those audiophile nutz system will not reproduce sound below 30hz. if they do it will more likley be more of a rumble and mud.
you will notice they eq in reason just has a 30hz cut button.

above 100hz to "I forget" is mid bass

Exactly stated before is look up tutorials on eq mixing ranges, theory etc...

PS : to have a look at what your sound are doing in FL Studio the Parametric Eq2 is a great one, as well as wave candy.

or there is a VST call smexiscope . very handy!

[Lambox]

Can I just say I've learned a ton of stuff just from reading this thread?

To overcome the "Crowding effect" with a bassline and a kickdrum sidechain compression is used, so the very low end of the bass quickly drops away when the kick hits then comes back - this way you can have the bass and the kick drums panned centre and you dont have them fighting one another.

So say for instance I have a kick drum sample I'm using and some sub bass synth setting. Those two should be sent to the same input (I'm using FL) and given their own compression?

[jasonj]

That all depends on where your kick drum is sitting in the frequency range.

for me I like to route all my instrument to their own channels and channel groups.

ie ... kicks would look something like this...

kck1(ch1) kck2(ch2) kck3(ch3) ----> KCK(ch4)

I do the same for snares....

snr1(ch5) snr2(ch6) snr3(ch8) ----> SNR(ch9)

then I would route the group to its own bus

KCK (ch4) SNR(ch9) ---> DRM KT(ch10)

allowing me singular and over all control of my drum kit

then when I do my bassline (may consist of multiple synth) I route that all to its own channels.
I do not always do the routing as above. It really just comes down to what you are trying to accomplish.

The technique I explained above works really well for Electro house basslines, DnB Reese, Dubstep wobbles etc...

If you are wondering where you route your side chain to. That is up to you and the effect you want. You can route it to just the LO channel on the bass, the MID, HI or the who Synth Buss. You could even have it on a vocal track. Even to multiple channels which I have lots of fun doing.



here is an example I tossed together

bass buss.flp - 0.18MB

This is a very rough layout and the synth you can build your own patch or replace it with a VST one you like.

Here is an example of how I used both the panning trick and side chaining to better effect in a loop

jasonj-proj3.mp3 - 1.14MB

[DJ_Ze_MigL]

Not trying To be a wise as* or anything but as far as I know your safest but would be To have all content bellow 150hz as MONO. For several reasons;
Sound becomes omnidirection bellow 150hz (a not just 100hz, some people evn state that is bellow 170hz, some people make it mono bellow 250hz just In case). So if you ears can tell where it's coming from there is no sense In having any panning.

A mono Sound is always punchyer and beter defined... Is you get punched very hard one time just after de other you basically only feel the first punch cause. But if get punched In the left and right side of yer face exactly at The same time your face gets crushed In The middle... Luckily Im not talking by personal Experience here lol.

Mono Bass is crucial for Vinyl pressing and again Bass Punch and definition (you can get away with it on CDS but Bass will always Sound a little funny and wimpy)









Btw jus like you cut belos 30hz on yer master you can also cut abouve 18500hz or 19000 if you really wanna Play it safe. If you do a small boost around this cut point your doing more or less the vintage pultec eq effect.

[DJ_Ze_MigL]

Kick n Bass are The fundations of any mix. If you have a little panning when you are át. A Club and you stand NeXT To say The left speakers then The mix could Sound a little To bright and not have enought Low energy..

[jasonj]

Sweet !
not being a wise ass at all. I could not remember where exactly the cutoff was for bass to be mono.