How to mix dubstep songs

how to mix dubstep songs

How To Make Dubstep: 15 Essential Tips You Need To Know!

Jul 02,  · In this tutorial, we learn how to mix dubstep style music. A lot of people don't like dubstep because it's hard to time, but it can be done because you are just pushing the pitch control all the way down. A lot of bass will be in dubstep, which is why it is called dubstep. To count the timing, you must become familiar with dubstep and count time with the bass. The Epic Dubstep by SolarMusicSound | AudioJungle.

You could pitch the Electro up and the Dubstep down so they meet at bpm. If you have a Electro tune and the same Dubstep remix you could speed up the Electro tune in the build before the drop and then drop the Dubstep tune instead. Kind of cheap way imo is to echo out, vinyl break or spiral.

With Trap and Dubstep you could experiment with half or double bpm etc. Have fun! Whenever I move up in tempo I try to line up the buildups so both songs would reach the drop at the same time. When the snare starts I start people may hate this button but it would be extremely difficult to do this without it to pitch the tracks up, with sync on to keep them at the same tempo as the speed up.

I use filters, EQ, and effects on the slower track as it builds then bring it completely out on the drop. Works best when the faster track has space before the drop, like the Carnage remix of Spaceman for example. When I move down in tempo I either use a reverb or delay effect with the freeze button, then bring in the other track with a filter on at a section without drums.

Mash up the Electro track into a big build then drop the Trap or Dubstep. How to mix trap, electro, dubstep, etc? This topic has 5 replies, 6 voices, and was last updated 5 years, 9 months ago by York Klug. Viewing 6 posts - 1 through 6 of 6 total. March 23, at pm Diego Donis Participant. David Lindberg Participant. Hi there, You could pitch the Electro up and the Dubstep down so they meet at bpm.

Thomas Bowersox Participant. March 24, at am How to get big arms in two weeks Holiday Participant. Lamid45G Participant.

July 15, at am York Klug Participant. By using this site you agree to our privacy and cookie policy. Read it here. OK Cool :.

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Mixing the kick By adding a low cut at 70/hz, using aggressive compression with a ratio of 6 to and a very fast attack setting ( – ms), with about 8DB gain reduction then adding a 3/4DB mid boost (khz) and high boost (khz) the kick drum will stand out a lot more in the dubstep mix. Power tip: When using compression on dubstep the attack can be the most important factor. Feb 05,  · Who wants to make DUBSTEP, but doesn't know where to start!?This video is for you! I met so many of you that just watched my videos but didn't have the grasp Author: MOONBOY. Jul 15,  · In my opinion, and as mentioned above, one of the easiest ways to mix electro and dubstep together is to find a track that transitions from BPM to 70/ BPM. Examples of such tracks include “lasers up” by Barely Alive and “Hold it Down” by Datsik (the Doctor P remix).

Dubstep is all about the loud in-your-face sounds, but adding depth to your track will fill out the mix and give your track a more professional sound. Adding the right complimentary sounds that are front and center, providing contrast to the other sounds, can be extremely effective here. Reverb tails — Adding the occasional washed out reverb to your basses or other elements can give your mix a more three-dimensional vibe. Delayed out elements — Just like the reverb tail, delayed out basses and ornamental elements can add an extra dimension to your production.

Take out high and low frequencies — Another way to create depth in your tracks is to simply use subtractive EQ.

Removing high or low end information from your basses or ornamental sounds at certain points in the drop can add another layer of interest. A call and response is a succession of two distinct musical phrases usually played by two different instruments , where the second phrase is heard as a direct commentary on, or response to the first. You can hear the call in the beginning of the phrase, and the short staccato notes at the end are the response.

Dubstep relies on this basic element of musical form to create interest and variation. Go to the drop at and you can hear the call and response. The high pitched stabbing synth is the call and the talking bass line is the response. Start with two main bass sounds and create a call and response with these sounds over 1 or 2 bars.

Pitch bending and modulation can help inject life into your dubstep basses. The quick rhythmic flares, dipping and diving, and tonal transformation of these basses can be an exciting part of your song. Quick little sharp pitch bends — Adding the occasional quick pitch bend may not seem worth your time, but believe me, it is! Add sharp little pitch bends throughout your bass line, and hear for yourself the movement it creates.

Try creating pitch bends that suck you into the next kick or snare. Long pitch bends — Long pitch bends work extremely well to add suspense and interest.

This provides the tonal and rhythmic interest needed to progress your bass line throughout the song. Volume automation — This is one of the most underrated production techniques. Simply automate the volume of your bass to create rhythmic interest.

Combine this with the cutoff automation and you have a killer bass line. Experiment with modulating your detune knobs, reverbs, phasers, and any other parameter. Resampling in music production means recording a copy of a specific sound to audio, whether the original source was a MIDI instrument or another audio file.

Resampling can be an excellent tool for producing Dubstep bass lines. You can create more complex edits, be more creative, and save CPU. Then cut up the audio and arrange the chops in your drop. Re-Resample : Take your resampled audio, throw on your favorite FX plugins and resample the audio for even more complex variations. When flipping through your bass presets or sound designing, it can be tempting to throw in every single bass sound that you hear and like.

Doing this can confuse the listener and obfuscate the identity of your track. Stick to three or four main sounds in your drop. This will give you plenty of variation and interest in your drops while keeping the identity of your song intact. Mixing these bass lines so they appear up front can help you achieve a loud and present mix. Next throw on a saturator and dial in the settings to taste. This can help bring out the detail in your sound, make the signal louder, and help flatten out peaks.

While there is no right or wrong starting point for the creation of your drops, I have found that following a certain order of production can sometimes help yield better results. Drums — These are the foundation of your track.

They give the song movement, speed, and create momentum for the emotional intent. That is why I usually start programming at least a basic kick, snare, and hat pattern before moving on. I prefer to create the basses second and not first because the drums give you a basic set of rhythmic boundaries to work within.

Creating the basses first may lead to interesting results, but it may be more difficult to fit in a drum pattern. Remember, setting boundaries for your productions is not always a bad thing. Sub — Now that you have your basses, you can easily find room for your sub. Subs are also part of the foundation of your track, so why not put them in after the drums? Laying down the sub-basses first will put too much of a restriction on the patterns of your mid-basses and potentially lead to less interesting bass lines.

Bringing in the sub after the mid-basses lets y0u add the low end weight to your drops with the main idea of the drop already in place. Ornamental Sounds — You should add your ornamental sounds last.

Doing the ornamental sounds first or before your basses is premature because the theme of your track is not there yet. Having this theme is important, as it gives a purpose to the song and gives you a direction to follow, making it easier to fit in the ornamental sounds in context.

Giving your elements room to breathe and not having them continually play will give the listener a break from that particular element and make it that much more impactful when it returns. It also leaves room for other sounds to shine in the mix. People just get distracted with the complex movement of these bass sounds. It just means you need to leave room for one element to play at a time. At the end of a phrase? Strip back your bass and allow a killer drum fill to play.

Need a variation in your bass? Alternate between one of your drop sounds. The key is to allow the listener to just focus on one primary sound.

Include silence : Who ever said including small gaps of silence in your tracks was wrong? Take out some of your basses and leave room for FX, percussion and other ornamental sounds to shine. Dubstep music is mostly created for clubs and festivals. A solid sub-bass presence is necessary for the mix to shine through on these sound systems. Without a strong sub-bass, your track might not carry enough power to excite your audience.

The sub notes from D 0 to B0 carry the most sub weight with F0 being the most powerful and ground shaking note. Choosing a key that stays closely centered to having F0 as your root note will give your track the most low end power possible.

This is why so many dubstep tracks are written in F minor. Most Dubstep songs will, at some point, be filled with an ominous atmosphere that creates a sense of suspense and chaos for the listener. This particular vibe complements a heavy bass drop perfectly. You could of course work on a happy dubstep track without an ominous atmosphere, but a majority of tracks will contain this ominous atmosphere to help set the stage for the drop.

Use cinematic drums — These types of drums works perfectly here. Throw in big toms, washy cymbal crashes, and quick percussion to instantly transform the vibe of your track! Use a pedal tone — A pedal tone is a sustained note that holds out for 8 bars or more.

The use of this pedal tone can create tension and suspense — so load up your favorite synth, real instrument, or a combination of both to create a rich pedal tone in your intros, verses, and builds. Use low-pitched horns — You may have noticed that low pitched horns are used in tense and suspenseful moments in films.

Take advantage of this and try them out in your tracks. Use bells or other high-pitched synths — The use of bells or a high-pitched timbre-rich synth can really amp up the ominous atmosphere of your track.

Playing a short suspenseful melody can be great here. You'll also receive a FREE gift immediately. Train Your Ears Become a Member. Search for:. Share Tweet. Daniel Strongin Daniel is a caffeine dependent, entrepreneur, music producer, sound design junkie, and world traveler crazy about teaching modern electronic music production through his site SoundShock.

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