My Entry to the "💗🎺 🎷 🎸Artzone & Musicoin EDM Contest🎸🎷🎺💗" - "Deep In The House" by D-VINE

in artzonemusicoin •  6 years ago  (edited)

Hello !


Today I am entering my track "Deep In The House" into the
💗🎺 🎷 🎸Artzone & Musicoin EDM Contest🎸🎷🎺💗
.



Click the pic to play the song <3

What's the story behind "Deep In The House"?

Well, I simply love House & Garage music from the 90's, love to get lost in the groove & sweaty on the dancefloor to it.
Back in 1996 I started my DJ career with Drum & Bass, being the music lover I am & also not very keen on limitations, I ventured out into other genres, one of them was House.
"Deep In The House" is about my love to House Music.

Here is an example, one of my favorite songs, of how I got housed,
"Gabriel" (Live Garage Version)
by
Roy Davis Jr ft Peven Everett


I created "Deep In The House" using Studio One, the MiniLAB from Arturia, the Analog Lab soundbank & samples.

Here a some VST's I used:

Fabfilter Eq
UAD LA2A
Rvox
Lexicon Reverb
UAD Precision Limiter

In the mastering chain I also included our analogue compressor Urei 1176 clone, which added the warmth to the sound.

As I mentioned before, I always do Mid/Side (M/S) processing, consider it an important step.

I will explain again why to bother with M / S editing:

Dynamics:

By separately processing center and side signal components, all important mix elements such as bass drum, bass, and lead vocals can be compressed, controlled in their dynamics and made more compact, since these instruments are usually mixed in the mono center.
Dynamic vocals can be effectively stabilized, making the important bass/bass drum range more powerful and present.
On the other hand, of course, the side parts of the stereo file can also be kept more transparent and stable without being too dynamic on the important transients of the bass drum, snare or vocals.
A stronger compression of the sides can also bring the effects used in the mix out more clearly.

Frequency image:

To give the important, low frequencies of mostly mono mixed bass drums and basses the necessary space in the mix and thus to make the mix more transparent and balanced, you can use a gentle low-cut filter on the side parts, for example.
Also, the highs of the side signals can be raised without risking too much hissing sharp emphasis on the center lead vocals. Drum overheads, keyboard surfaces, guitar walls and effects can be refined through silky heights, without the lead vocals' S-lute becoming too dominant.

De-Essing:

Using a de-esser on the mid-range signal effectively counteracts annoying sibilants and sharp sibyllants without sacrificing the brilliance and transparency of drum overheads or room signals.

Stereo Width:

The M / S principle helps to control the stereo width of the stereo file very effectively. If you slightly increase the level of the side parts and lower the middle information for it, this results in a seemingly widened stereo base because of the emergence of phantom sound sources. If you overdo this process, it can result in very extreme & usually undesirable effects.

Crazy Cross-Effects:

Playing with the possibilities of M / S splitting of the stereo signal, sometimes can create very crazy effects.
In particular, the combination of compressors and gates in conjunction with cross-routed side-chaining can create creative sound designs that can "run" from the center to the sides, depending on frequency or dynamics or vice versa. Attentive experimentation is required here, always with a critical view towards the fidelity of the developing result.

I hope this was informative & makes sense on why to do Mid/Side (M/S) processing. <3


I wish you all have a magnificent start into this new week& hope you enjoy "Deep In The House"

Huggins,
D-VINE

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