... oh lmao ok

I figured out how other producers somehow manage to make transients hit so hard.

They don't compress the shit out of them lmao.

Like, I already new that most things did loudness normalisation but for some reason I was like "bUt ThAt'S fOr NoT lOuD mUsIc" because trying to compress the shit out of like, jazz or something sounds bad but with EDM it sounds great. (cont)

Turns out though that (to no surprise at all). If your loudness is lower then your peak volume is higher (due to the normalisation), so that's where you get your magic "really loud transients out of nothing" effect. *That's* how Virtual Riot et al hit so fucking hard.

I was under the impression that it was the really aggressive compression and stuff that's what made this kind of music hit so hard, but I've just been playing around with the mixing on the Wuthering Heights thing and the "hard-hitting"-ness isn't as dependent on compression as I thought. A strong sub and deep side-chaining honestly do more to give the impression of power in the mix. The latter especially.

Like, look at this. First half is the older mix I posted here last month. It's been turned down so the loudness is equal to the second half where I've redone the mixing. Both are around -12 LUFS.

"Hey look magic big transients out of nowhere"

And this is how those two sound one after the other.

The first one sounds a bit more aggressive which I prefer, but a lot of that is down to the amount of saturation on everything which was lost when I took the mastering off, but that could be easily added back per instrument to regain that, but the drums sound so pathetic compared to the second one. They're hiding under the limiting on the first where on the second they're BIG.

Mixing needs some work but you get the idea.

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Moar big and punch yes.

Loudness-normalised next to the old one this is so much nicer. It's also *way* easier to mix because you're not constantly fighting every other sound to squeeze it in.

I'm glad I explored loudness though cause I think my production ability is a lot better because of it, and I can still use a lot of the principles within it more locally to make individual sounds really aggressive.

I'm hype now though I may need to finish/release this,,,

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I think the ideal is like, a mid-point between this and the really loud one. I've got a lot of the "oomph" back as the drums aren't being completely flattened, but the loud mix just sounds far more aggressive which is what I want.

So I need like, the compression and loudness from the first but with the nice tall transients and space of the second, and I think that's probably gonna involve selectively compressing sounds together rather than squashing the master.

Also, I was avoiding compressing the drums because just turning them up instead sounded nicer, but in practice that's gonna require really tall drum transients which'll really drop the loudness of everything overall. I think like, *some* compression but not loads and enough attack time to not eat the transient, plus saturation to clip the top off the transient but keep it loud is gonna be ideal.

This stuff is so fascinating damn.

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