Hey! Owen asked me to share a technique I came up with yesterday while synthesizing kicks in Serum. It was easier to show than explain, so I recorded a video. Pardon me for being a bit hungover. We had a crayfish party last night, a late-summer tradition that involves a lot of crayfish, akvavit, and vodka 🦞 The technique itself is all about matching the cycles of your kick exactly to a reference. Hope this helps you guys!

Evgeny’s necropost reminded me of a question I’ve had about low-frequency dynamics. Is it desirable, for example, for a mid pluck-bass type sound to have a sub that follows a similar volume envelope? Likewise, would you generally want the sub for a donk (e.g. the sin + 2nd) or a res bass (e.g. an LP square) to have the same dynamics as the main sound? Or is it generally better for the sub to have little to no dynamics and remain relatively constant?

Replay live now, baby: Group Call 2024-07-18 19:00 BST HUGE thanks to ALL MEMBERS, as always. Great interaction this week! Notable contributions from @Joe Anderson @Jody Orchard @Darren Frewin @Rich Rath @Keith Franklin @Luke Bagnall @Jack Dugan @Scott Hattrell I'll add wavetables to this thread later, just rushing off to an appointment....!

(Warning - its prog breaks so it goes on a bit if you are used to 3-4 min tracks) This was a really tricky one as all the stems were drenched in massive reverbs / really wide and had loads of delays. I wanted mine to sound the same but different. the original was all about a wide active midrange, and my styles are typically darker and more stripped back. Also the bassline was a stabby arp which spanned 3 octaves - so extracting the higher notes to control the midrange above my bass was also tricky. I ended up pulling everything more centrally, and taking out as much reverb from the stems as I dared and making the bass wide. Should have done more drum edits etc but ran out of time. Positives: - sounds better balance wise than the stuff I was doing before, I felt like the OTG techniques actually made me act with purpose rather than just sidechaining everything with trackspacer to everything else to make space. - Used a lot of the breakbeat processing techniques I've learned on here which made me really happy. - Defo less harsh in tops/general resonance control than my normal stuff - All the sounds I introduced I made from scratch ( a first for me) - also used Rich Rath's delay plug for that muted midrange 16ths sound (really liked that) - Built my own kick (WOOHOO!) What I wasn't happy with: - A few resonances/volume levels in some of the stabby elements and drums/percs needed more work - Arrangement was boring - Hats were boring/repetitive - Some of the breakbeat filtering and edits just didn't come through how I intended - Stereo was just all wrong overall Felt like progress overall though - I hadn't unlocked Clearmix content at the time I finished it. https://soundcloud.com/delta_horizon_music/stereo-mind-silent-orbit/s-TRFHkmR9QiB?si=b0c1532ba7ba48c59af09bf7febc15c6&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

I'm reading a book and came across this paragraph that resonates with me. "Forgive the repetition, but it's here for a reason. A lifetime of brainwashing has taught us that work is about measurable results, that failure is fatal, and that we should be sure that the recipe is proven before we begin" experiment with new knowledge is repetition, and we a fail often to find measurable understanding. Then we can trust our own judgement. The Book is the practice by Seth Godin.