![]() ![]() One thing I keep in mind when I’m looking for “loud and punchy” is using a long enough attack time to let the transient parts of the drums cut through. Different compressors add color by bringing up the softer parts of a sound in a unique way. By having one heavily compressed (-8db gain reduction) and one dry track, we are able to maintain the transients of the sounds, and ensure the presence of the sound in the mix. ![]() When applied properly, it can add loudness and fullness to a mix, as well as color, or texture to sounds. This will accentuate the difference between static and dynamic elements of the composition.Ĭompression is what makes a track sound THICK. To further make the drums stick out of a track, consider using a transient shaper to DECREASE the punch of the sample or melody line. If they’re not punch enough, consider using a transient shaper to really dial in the snap of your individual drum tracks. This is the first step to achieving stupidly loud tracks: make your transients nice and clear. A track that is relatively dynamic, and not crushed by a limiter/compressor is thought to have clear, crisp transients. The first initial 5ms that reach our ears. More specifically, transients are the BEGINNING of these sounds. Transients are sounds that are very quick, like a snare, hi-hat or kick drum. There are a few key concepts to keep in mind when considering dynamics: ![]() Ideally, you don’t want a track to be at maximum loudness for an extended period of time, but you DO want your track to be consistent, and have depth. It all comes down to what’s called dynamics, or the difference between loud and quiet sounds in the mix. ![]() There’s certainly an art to tracks that clearly clip, but still remain listenable. Have you ever wondered how Travis Scott and Mike Dean ( get ridiculously loud tracks? Yes of course they clip here and there (and everywhere in between), but there’s more to it than that. ![]()
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January 2023
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