be careful matching the volume of the sub frequencies of a finished reference track to your own sub, when you're using the levels of a track that has been mastered and limited to compare to your own unfinished mix, it can cause distortion issues down the line when you go to mix and master your own track. Using the EQ matching technique to edit and mimic harmonic ratio as you guys did is a great tool, but lowering the reference tracks volume, and mimicing the ratio when the volume is lower, will allow you to raise and lower the total volume later to fit your own track better.
@@tonyrey6495 certainly, ive just seen people match the sub volume of finished tracks in their mix's and had crazy amounds of distorion because their limiters in the master were distorting the sub. all i was hoping to encourage in my previous comment was caefulness and more mindfulness in the mix.
@@tonyrey6495 Nah man, no one wants to hear a clipped sub. You have it backwards, in these loud genres it's even MORE important to consider these things if you want to hit -3 or -4 LUFs and still sound good. Every last little thing matters if you want it to work. If you want extra harmonics, put them there purposefully.
Как же я обожаю ваши туториалы! Вы лучшие)) Каждый раз, когда я начинаю испытывать творческий кризис, я просто смотрю ваши видео и получаю так очень много идей для моей музыки. Я буквально заряжаюсь вашей энергией и начинаю снова творить! Спасибо вам)
If you really want to make it simple, zoom in on the waveform first and see if it's a sine or a triangle wave. A lot of these guys are using triangle waves like Danny says, with pitch envelopes for tearout subs. You can see the pitch envelope in the Fabfilter spectrum, and on the waveform... that's why it's dropping down a bit sort of like a kick on the analyzer, probably an octave. Then, if you want to make it more tonal so it comes through on smaller speakers, boost somewhere between 500-2000 hz to bring up some of those harmonics.
Killer video guys! I've experimented with tilting a sine wave towards a saw or square wave (like with a smooth-morph on a basic shapes wavetable) but drawing harmonics in with the wavetable editor is some next-level precision. Any idea what the typical method is when it comes to using pitch modulation is? I've found that using the pitch envelope really helps give a heavy punch to machine gun basses, but it doesn't quite sound right when I use the same sub under other basses in a track. Would you guys use separate subs, automate the pitch envelope on and off, or just use the same sub throughout?
Need an edit of this video with the nug of knodge music. because this video was filled with nugs throughout. Great video as always. Can't wait to see what you boys come up with next! parker, hair's looking strong my guy!
![This Tear Out Drop Hack Will Blow Your Mind! 🤯 [FREE DOWNLOAD]](http://i.ytimg.com/vi/6XESdpf7VQ0/mqdefault.jpg)
![This Tear Out Drop Hack Will Blow Your Mind! 🤯 [FREE DOWNLOAD]](/img/tr.png)
![HOW TO TEAROUT DUBSTEP (GUNSHOT BASS) SVDDEN DEATH, EXCISION ,MARAUDA, ODDPROPHET [ FREE DOWNLOAD ]](http://i.ytimg.com/vi/w7H7P2VMnVs/mqdefault.jpg)
you guys are seriously amazing. The amount of FREE content Danny and Parker provide is top tier.
222
cool guyz💙💛
please do the video remaking Odesza style next time🙏
the bass in the intro is so heavy OMG!
be careful matching the volume of the sub frequencies of a finished reference track to your own sub, when you're using the levels of a track that has been mastered and limited to compare to your own unfinished mix, it can cause distortion issues down the line when you go to mix and master your own track. Using the EQ matching technique to edit and mimic harmonic ratio as you guys did is a great tool, but lowering the reference tracks volume, and mimicing the ratio when the volume is lower, will allow you to raise and lower the total volume later to fit your own track better.
Its tearout man, nobody making tearout is scared of a little distortion as long as it is equal to or less than -6 db and sounds good.
@@tonyrey6495 certainly, ive just seen people match the sub volume of finished tracks in their mix's and had crazy amounds of distorion because their limiters in the master were distorting the sub. all i was hoping to encourage in my previous comment was caefulness and more mindfulness in the mix.
@@krisissupercool1 Absolutely I agree with you. I mean that with all due respect.🙂
@@tonyrey6495 Nah man, no one wants to hear a clipped sub. You have it backwards, in these loud genres it's even MORE important to consider these things if you want to hit -3 or -4 LUFs and still sound good. Every last little thing matters if you want it to work. If you want extra harmonics, put them there purposefully.
@@gulagwarlord I said distorted not clipped. I like the extra harmonics.
Как же я обожаю ваши туториалы! Вы лучшие))
Каждый раз, когда я начинаю испытывать творческий кризис, я просто смотрю ваши видео и получаю так очень много идей для моей музыки. Я буквально заряжаюсь вашей энергией и начинаю снова творить! Спасибо вам)
Tear out sample pack is fire and so is this channel , big ups !
Thanks 😊
lmfao dude you guys are awesome. blew me away about the vst 3. thank you so much . u guys are hilarious
If you really want to make it simple, zoom in on the waveform first and see if it's a sine or a triangle wave. A lot of these guys are using triangle waves like Danny says, with pitch envelopes for tearout subs. You can see the pitch envelope in the Fabfilter spectrum, and on the waveform... that's why it's dropping down a bit sort of like a kick on the analyzer, probably an octave. Then, if you want to make it more tonal so it comes through on smaller speakers, boost somewhere between 500-2000 hz to bring up some of those harmonics.
lmao yall are a funny duo i love it, also great video i had no idea you could do that
Killer video guys! I've experimented with tilting a sine wave towards a saw or square wave (like with a smooth-morph on a basic shapes wavetable) but drawing harmonics in with the wavetable editor is some next-level precision.
Any idea what the typical method is when it comes to using pitch modulation is? I've found that using the pitch envelope really helps give a heavy punch to machine gun basses, but it doesn't quite sound right when I use the same sub under other basses in a track. Would you guys use separate subs, automate the pitch envelope on and off, or just use the same sub throughout?
Just bought the pack. Amazing stuff guys!
Need an edit of this video with the nug of knodge music. because this video was filled with nugs throughout. Great video as always. Can't wait to see what you boys come up with next! parker, hair's looking strong my guy!
Yup. This is the key thank you
Wow what an acNice tutorialevent! Best of luck for the rest of your future, I’m looking forward to being able to invest when I turn 21 in November!
Wouldn't it be easier to lowpass the track and recreate the waveform in serum by drawing it in?
Yes we do that sometimes as well too
Do you guys gainstage? I think it’s an avoidable extra step
Great nugs! You'd want to do this in linear phase mode right? Or does it matter as long as its not phasing with the kick?
I am getting back into production after so ti and tNice tutorials makes it so easy to understand. Thank you so much for making these videos.
thank you
Is that click normal cause its driving me into depression? does it not translate when you render?
increase attack, click on mono
LOVE THEEEEEEM
Nice
Simplicity soft
🎺🦍
Danthony
XLNT! is gang shi
DANNY IZ THE GOAT
"Producers don't want you to know this trick"😅😅
DADDY LIKE
Hahahaha you made my day
XLNT always bang🔥🔥❤️
Love ur videos
Can I get free sample
😂Just joking
I want my 21 minutes back
why