Thanks for the reply,
So firstly,
The solution I found was having each note of the Sub on its own sampler channel, and those channels within a Sub BUSS. The Pro-Q3 made it much easier to transpose the EQ settings. All that’s needed after duplicating the EQ insert is selecting all nodes, and moving them left or right. – For example if the root note/ key of the track is an A, and the rest of the progression being an F and a G, one simply moves all nodes over by -4 and -2 semitones (using the keyboard). The bx_subfilter if used might need to be set manually.
(To avoid copyright conflicts, I moved the Kick EQ around randomly, the frequencies in the screenshot aren’t important, I just needed to illustrate selecting all notes and moving them via the keyboard below.
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I had a few thoughts on the perfectionism idea.
I won’t debate whether I am one or not, but if I am one, it would be because everything I did before I saw these tutorials, simply wasn’t working or wasn’t good enough. If there are any aspiring artists reading this that spent hours, nights, days, weeks, months, tweaking a track before finally sending it to a few respectable labels…without hearing any response. Well…you aren’t alone on that.
We all have our strengths and weaknesses. While I can easily bang out chord progressions and leads blindfolded, I literally have to go step by step on the kick, sub, mid-bass, and kick & bass buss. I’m decent with mixing, but I hate the arrangement and automation part. I have ADHD and focus/ organization is something I collect monthly disability for, lol.
The Sub Progression, is one thing I received feedback on. The tracks I submitted to Vandit and whatever other labels years ago, I was able to get feedback from Mark Sherry because of his mastering service. The critique was that the sub-bass was a bit weaker when playing notes, other than the root tonic. And that while not as noticeable on his monitors, that it would be noticeable on larger club and festival systems. The rest of the feedback was something about being selective with third party EQs and plugins that might have higher latency or phase-shifting as they can cause phase issues in the mix down. (That’s what I might call perfectionism…but someone with his background might call necessary)
I mean, my friends have said that word ‘perfectionism’ but… a track either meets a respectable label’s standards for being ‘release-ready’ or it doesn’t.
As far as that goes, James Dymond’s tutorial is the most helpful on the surgical. I’m in Giuseppe’s masterclass, and while his is better than Armin’s, his content mostly focuses on the creative and sound design, he doesn’t go as deep as James Dymond on surgical and post-production. So…I’m finding that combined the information from GO’s with JD’s is helping with a few breakthroughs.
Sorry for the length… I mean, its not like its my life’s work or anything, lol (yeah, it is)