My favorite method for carving out space for your kick and bass is to use the Masking Meter in Neutron. It’s highly effective, but can sometimes leave your low end sounding unnatural if you don’t have the right attack and release times set on your compressor. This technique involves using a compressor to limit the volume of the bass whenever the kick hits. Sure, you could always do the tried and true method of using sidechain compression to get that classic pumping sound common in genres like French House and Future Bass. “Your kick drum is somewhere in the pocket of where that sine bass is, so either you use an EQ, or you can use a sidechain compressor.” Here’s how Andrew said you should go about doing so in electronic music. Since they occupy many of the same frequencies, it’s a good practice to carve out space for each of them, so they don’t butt heads too much. It doesn’t matter what genre of EDM you’re working with, there’s always going to be a war between the kick and the bass. Here’s an audio example of a bassline before and after I split it (headphones or mixing monitors recommended): Then, those higher bass frequencies can get filled by your top-bass, where you can give it however much grit and grime you want. So, if you leave the sub frequency ranges up to a pure sine wave, you’ll get the cleanest, tightest sub possible. I’m already hearing groans of “’t that totally kill the vibe of that bass patch I’ve been tweaking for hours?!” The truth is, it’s much easier for a subwoofer to play a sine wave than it is for it to produce a signal with a ton of data. Then, for the sub-bass (everything from 20 Hz up to where you made the cut in your top-bass), you’ll want to use only a pure sine wave. In the top-bass, you’ll keep your higher and more distorted bass sounds, but you’ll want to cut everything from about 50-90 Hz all the way down. That’s where your bass comes from, because it’s clean and pure in tone.and that’s what you want in your lower register.”Īs Andrew said, If you want your bass to really pack a punch in those subs, the best trick in the book is to split your bassline in two: your “sub-bass” and your “top-bass.” Then, you use a true sine wave to play that lower octave. But you’re cutting that off at around 90 Hz or 100 Hz. But in terms of mixing, you have your top-bass, which is your high-end energy and your distorted bass sounds. It’s almost like you have two basslines, and 90% of the time they’re both going to be playing the same notes at the same time. “One trick that everyone should know,” Andrew said, “is the use of a sine wave as your bass. We’ll also explore some common EDM production techniques and how to achieve them using plug-ins. I’ve been producing across several EDM genres for over 15 years as well, and I'll be demonstrating some of Andrew’s top thdown below. Whether you’re a producer or a mixer, you’re sure to get something out of the following interview. He was gracious enough to sit down and walk me through his process, and you are about to be the beneficiary of this conversation. This puts Andrew in an interesting position, as he boasts mixing, producing, teaching, live-sound, and sound-installation bona fides. Now, he co-owns and runs The Brown Note here in Brooklyn, a club regularly featuring prominent acts such as Truth, Claude Young, Paul Johnson, Youngsta, and more. A former teacher at Full Sail, Andrew not only worked with premier acts in the house, techno, and Miami bass scenes-people like DJ Magic Mike and Lady Miss Kier (of Deee-Lite“ Groove is in the Heart” fame)-he also expanded into the live circuit. We sat down with Andrew Eisele, who brings over twenty years of experience to the table. So what are the tried and true tricks of how to produce and mix professional EDM for yourself? For the past 40 years EDM has hit the airwaves, with subgenres like house, techno, and dance-pop making crowds go wild.
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