Why Do Dr Dre's Drums Sound Louder Than Everything Else

  • Thread starter Thread starter osamabinfuccing
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Waz up Mteezy! Please say the teezy! lol :)

Its all cool. Some already know this, but I'm an easy guy to get along with... I'm like the teddy bear of the bunch! lol

This thread is getting good, I want to see a dbd verses deRaNged battle... that should be good... I can predict the winner though.. it would be an unfair battle! :)
 
Nice track Deranged beat is banging fo real. Again tho still bright between 8khz and 16khz. Ahh, and yall might be saying that shyt sounds just right. Even tho it sounds good, throw that in a car or house cd player with "BBE Processing" in which almost 95% of all cd players have and it'll sound real harsh on your ears. When finishing a track, make cuts at or between 2khz, 4 khz, 8 khz, and maybe 16khz to dull the track enough so that it won't sound harsh on your cd player.
 
oh... dbd I'm not saying you suck... I'm saying pitching deRaNged against you will be unfair...

I'm just starting shyt *grows horns* he he he he :bat:

*flies off*





... wait I forgot something...

*flies off*

How The Hell Cant I Download The Damn Files? Its Only Coming Up As Html!!!!!!!!!!! Aaaaaaaaaaarrrrrrrrrrrgggggggggghhhhhhhhhhhhhh
 
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dabeatdoctor1989 said:
Stop lyin!!!!!!!!!!!!!!!just an excuse to make them out of key fl basslines and also ,i left the bassline out for 8 bars ,then added it under my synth sound ,i eq'ed the bass so it doesn't conflict with my other sounds(im more aware of things now that im applying some knowledge on mixing) ,plus all tracks dont need a bassline ,i add a bassline in almost all my joints tho ,some tracks are exceptions ,but yeah you need to throw that bass module out ,cuz them basses sound like some fl joints.lol
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Stop lyin!!!!!!!!!!!!!!!!!!!! Just an excuse to not have no bass. I forget people up here don't have access to real studios, so they don't make "Ideas before the song is created", they make beats that they sit on. It's nothing to go in the studio and say, yeah, let's replace those licks with real guitar and kill that bass, we'll throw in something live. Why are these things so hard for you to beleive?Quit treating your music like it ain't art. Limitations? Smh.
 
Mteezy said:
I been making music for the last 3 years and one thing that a lot of producers don't know is that compression is one thousand times more important at the mastering phase than at the mixing stage, actually not really needed at all at the mixing stage. If your drums are made thick, layered, and set to be the loudest signal in the mix, then the compression at the mastering phase will have dramatic effect on the drums in the mix in which the compressor will make ur drums sound bigger than life, depending on what and how u use the compressor at the mastering phase. U should think me for posting that. Over compression of drum or anything else at the mixing stage will definitely destroy any possibility of a good mastering scenario.

Anyone disagree?
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I've been making tracks for about six years but i just learned what works for me. I had to learn what certain frequencies do a sound. I try not to stick to a formula but I usually end up layering drums, boosting certain frequencies to get a big sound and I rarely compress. The mistake that i feel like a lot of people make is choosing drum sounds. They over think layering. They sit there and think, " let me get a low kick a high kick and a mid range kick because they will compliment each other. Try layering kicks because you like how it sounds and not because it makes sense on paper. I used to sit there and try new york compression and all these tricks and the answer was so much more simple. Sometimes I think that half of the producers I like probably don't know the first thing about how to use all of this technical stuff, they just know what works and sounds good. The most important thing in life is necessity
 
deRaNged 4 Phuk'dup said:
Stop lyin!!!!!!!!!!!!!!!!!!!! Just an excuse to not have no bass. I forget people up here don't have access to real studios, so they don't make "Ideas before the song is created", they make beats that they sit on. It's nothing to go in the studio and say, yeah, let's replace those licks with real guitar and kill that bass, we'll throw in something live. Why are these things so hard for you to beleive?Quit treating your music like it ain't art. Limitations? Smh.
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Didnt i say i got a bassline under the synth after 8 bars???smh

Broken Friday said:
oh... dbd I'm not saying you suck... I'm saying pitching deRaNged against you will be unfair...

I'm just starting shyt *grows horns* he he he he :bat:

*flies off*





... wait I forgot something...

*flies off*

How The Hell Cant I Download The Damn Files? Its Only Coming Up As Html!!!!!!!!!!! Aaaaaaaaaaarrrrrrrrrrrgggggggggghhhhhhhhhhhhhh
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Smh that still doesnt explain how he got me.
 
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Again tho still bright between 8khz and 16khz.
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Have you heard Dre's 2001? Put the album (cd, not mp3) through a spectrum and watch the peaks at 8khz and 16khz.

The bass on that album is actually pretty tame compared to most westcoast albums.

Compare Chronic 2001 with Redmans Muddy Waters (probably the most bass heavy album of all time) and you will see.
 
Originally Posted By Tonindiverze - I've been making tracks for about six years but i just learned what works for me. I had to learn what certain frequencies do a sound. I try not to stick to a formula but I usually end up layering drums, boosting certain frequencies to get a big sound and I rarely compress. The mistake that i feel like a lot of people make is choosing drum sounds. They over think layering. They sit there and think, " let me get a low kick a high kick and a mid range kick because they will compliment each other. Try layering kicks because you like how it sounds and not because it makes sense on paper. I used to sit there and try new york compression and all these tricks and the answer was so much more simple. Sometimes I think that half of the producers I like probably don't know the first thing about how to use all of this technical stuff, they just know what works and sounds good. The most important thing in life is necessity
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Could not agree more. Ur absolutely right. I know people that layer a whopping 6 to 8 kicks together and the drums still sound weak. One tip on drums. Boost kicks at 400khz to get that "in your belly thump". Make cuts at all other frequencies using a 4 band eq to shape the kick into your liking. At most, a kick need about three layers on it. Majority of times, only one kick is needed providing that the producer knows how to compress and what frequencies to cut or boost.

And how to apply the low pass filters!!!! Very, Very important!

Let me ask yall a question. Do yall actually think that mixing engineers put compressors and eqs on every single sound in a mix especially in the pre 2000 era? Hell know. It would have taken months to mix and master albums especiall rock n roll and trance.
 
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Bassline, and supporting bass is a little different. I used to only have bass run under synths and it would follow the synths, strings, etc... melody, and maybe have a small change up.

Just recently I've gotten into adding bassline to my bass and they run their own melody. Adds more feeling, instead of just thickness. I haven't heard the track you are talking about, so if what I am telling makes sense and you know it already, never mind it.

Oh and everyone!

Got some mud in your mix? Try shelving some freqs in the 200 - 400 hz range!
 
Mud in a mix can be good sometimes. Take too much mud out and your track sounds to clear in which will make the track sound real glassy and thin.

Record with the mud in the track. Subtractive eq is always better than additive eq. You'll find that out as time go on.
 
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I only like mud sometimes depending on certain tracks. If it is a grimy record, mud is good. If it is a clean "cold" sounding RnB track or a Pop track... I remove some mud to get a glossier feel and openness for the vocals.
 
Sampled instrument usually sound way better than live instruments due to all the painstaking compression and eq needed to make it sound good compared to sampled instruments which have already been doctored on. There's nothing wrong with live instruments but they have to mik'd, recorded, compressed, eq'd, d essed, played, layered, controlled, tuned, and gated the right way in which most people think but have to clue of how to do properly. Use gotta choose the right mics to record with and all. Now who's up to that challenge. Pro have access to engineers sometimes maybe 10 working at a time processing all shyt to get it sounding the right way. Do you have that kind of time and money?
 
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Great mixing
Great seperation and definition of instruments
Great sounds
And the mpc 3k punches crazy
 
Orignally Posted By Mteezy
Again tho still bright between 8khz and 16khz.
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Originally Posted By Osamabinfuccing - Have you heard Dre's 2001? Put the album (cd, not mp3) through a spectrum and watch the peaks at 8khz and 16khz.

The bass on that album is actually pretty tame compared to most westcoast albums.

Compare Chronic 2001 with Redmans Muddy Waters (probably the most bass heavy album of all time) and you will see.
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Sorry brutha but 8khz and 16khz ain't got nothing to due with heavy bass in a mix. Step up on ur knownledge as well.
 
Everybody is saying things like ''Mix, master, EQ, 40 hz etc.''

Is there any sort of instructional article, or video that explains how to do this in its basic form?
I use Reason 3.0, what would I need?
Can I mix in reason 3.0?
 
Music From Iran said:
Everybody is saying things like ''Mix, master, EQ, 40 hz etc.''

Is there any sort of instructional article, or video that explains how to do this in its basic form?
I use Reason 3.0, what would I need?
Can I mix in reason 3.0?
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Absolutely. I'm sure if you search the boards you can find a frequency range chart. I feel bad, I should be able to recite it to you, but I don't rely on it. I put all faith in my ears. The key to good mixes in Reason is not worrying about vol until the last step. Keep everything wellllllllll below clipping(so you have room foryour limiter to work), load up an M-Class EQ on the master output to cut frequencies(I never EQ in it, just cut frequencies, I EQ individual instruments), then throw an M-Class Limiter on top of that. Adjust to your liking, matter of fact look in the manual, it tells you what each knob on the limiter does I beleive.
 
Yes, there is an instructional article, use your ears, all the time, every time and practice. Trial and error is the best teacher.
 
thanks guys
just another question
When loading things like M-Class EQ, do I need to use seperate channels?
If so, how do you record things in different channels?
 
Dre uses the Neve more than the SSL. Plus A/D Conversion (Apogee Rosetta) is key in getting those drums slappin.
 
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