After first track i decided to think about the number of vst and avoid very sophisticated processing chains so hope u will like this one

 

What plugins (inst/fx) did you use ?

 

falcon, khs mostly

 

great track. what's khs ?

 

kilohearts plugins

 

sick!

 

Your hihats and other higher end stuff is still a bit hidden in the mix vs the main reese which is a bit on the loud side - you can roll off a few db on the reese and other layers from say 9khz with a hi-cut filter so that you have more room for those top end bits to come through. Also putting some saturation or distorion on your hihat bus will really help them cut through without you needing to increase the gain on those tracks.

In terms of variation I think you need some more call/response type stuff so you have different growls at the end of 16 bar sections and also more fx/sweeps to help build the emotion - yeah there's a riser early for the first main drop into the reese, but not much after that.

I think the reese on here didnt have the little gaps from the sidechain your earlier track did so definitely a step in the right direction.

 

I don't like very bright hi hats or tops, maybe i'm afraid to overdo with them. I will condsider brighter tops next time

 

They don't need to be 'bright' in that you need to boost the frequencies, but if you cut a little of the top end on that reese, they'll be able to shine through a bit more anyway.

 

You've addressed every point brought up previously. That's actually kind of impressive, even. I know I was way more stubborn : )
There's still some space to address them even more, but that's the matter of experience, and right now I won't bring this up. How about a more advanced advice instead? To truly bring your production to a next level, not just to polish and perfect what's already there.

You need to do more with that bass regarding either harmony or groove.
Right now, a long, droning growling bass is playing a very simple harmony. So simple in fact that it doesn't feel intentional and doesn't contain any emotion.

If you want to keep that style of bass, it would be better to think your harmony through. And do think about it as a harmony and not as a melody. The bass plays roots of the chords, and all the other things fill up the chords. This is the hard, but also the most fulfilling way to improvement. It leads to Darkstep territory, like classic Current Value and these two BSE albums that turned darkside DnB upside down. Wanna be there - learn the feckin chords. That takes time, of course, so at first you can try something simple. Just play with notes until you settle on something that brings emotions. Preferably without the bass at first, just low piano notes, so you don't get distracted by that sick bass you designed

Alternatively, you can keep the simple progression, but add groove to the bass by introducung rhythmic modulations to it. Something like a couple of notch filters tied to LFOs - a classic Neuro filter movement. This will also bring in some emotions. IMO less interesting, but for the purpose of being a versatile producer, it would be good to try both and see where it leads you.

 

Last edited: Jan 16, 2024

There are so many ways to produce, another time I thought something interesting. for some reason, such a bass is quite cool, although it’s cold and mechanical, it probably depends on the artist's mood.