reset all of your knobs to default and start the mixing process over again.
I have been mixing a track for the past week and thought I was close to being finished when I realized it had no focus. I kept trying to add different machines for a lead sound only to discover I already had a lead but it was hanging out with the sub bass right in the middle of the mix. I added some width to it, and brought it up close where it became more of a focal point. This completely transformed the track and gave it new direction and inspiration.
So if you have an old track laying around that you just couldn't figure out why it didn't sound good when you finished it, try a remix.
Ok thanx for the lil explaination of the width knob. I had it told two me not use it on drums. Sometimes i lead off my drums..... idk if this helps or hurts me. Idk. Thanx anyway.
There are still some mixing guidelines that should be followed, like not adding width to drums, and basses. The point is that you can completely change the whole feel of a track if it's mixed differently.
this. I am grappling with similar lately, learning how low octave sounds can really change character when you scrape, color, scrape, etc and end up with mostly high frequencies. up until recently I was mindblown everytime I heard a low octave lead cutting through a wall of sound, because I hadn't learned the tricks. all that aside, this seemed a good place for a random question for the caustic masses. how low is the limit? can the melody/lead be on essentially the same octave as the bass? LOWER?! I know they say the rules and theory are just suggestions and if it feels/sounds right, it is, but I just gotta ask.
In bass music like dubstep, drum and bass etc.. the basses are the lead or part of other lead sounds. Traditionally bass was mixed in the center in mono so as not to muddy up the mix, but now what artists do is mix the leads and basses together to make kind of a super bass which goes from the lowest of octaves all the way up past c4. The trick is still keeping the low frequencies centered in mono. That's where tools like multi-band compressors come in. So to answer you question yes your leads can be the same octave as your bass. One way to accomplish a bass as discribed above is to use a subsynth on pure sine for your sub, then using the same notes on another machine for your synth sound which you can pan or widen as long as you cut the low frequency from it so it doesn't phase with the sub. I'm working on a track where I use this method, hopefully it will be finished soon.
makes a certain kinda sense. I guess I figured that was what was probably going on in that kinda stuff, I was asking about a more call and response with the bass style lead, but the same concepts apply I figure... just make sure its not interfering with the bass, mix accordingly, and go with what you think sounds right. or something!