Slight touches of reverb can create a sense of physical distance - so if the instrument is "too close" you can move it further back with the rest of "the band".  If you are a real wizard, you can use sidechain compression to dial in your poke-outs, but I still have trouble hearing/understanding the nuances.  I've been on this tape compression kick this year, and that has such a definitive "ceiling" for the poke-outs.  I actually just bought a plug-in program to help with mixing, so I'm excited about that.  I think dub is cool but yeah, hard to make sound good instead of a pile of delay sludge.  So in that sense, you want your crisp bass and kick to poke out of the delay sludge!

Do you think the BOUM is worth the money?  I almost got an Analog Heat MKii but then my wallet backed off from the ledge

Great track!

Slight touches of reverb can create a sense of physical distance - so if the instrument is "too close" you can move it further back with the rest of "the band". If you are a real wizard, you can use sidechain compression to dial in your poke-outs, but I still have trouble hearing/understanding the nuances. I've been on this tape compression kick this year, and that has such a definitive "ceiling" for the poke-outs. I actually just bought a plug-in program to help with mixing, so I'm excited about that. I think dub is cool but yeah, hard to make sound good instead of a pile of delay sludge. So in that sense, you want your crisp bass and kick to poke out of the delay sludge! Do you think the BOUM is worth the money? I almost got an Analog Heat MKii but then my wallet backed off from the ledge :) Great track!

Thank you! I agree about reverb - it can do the same "glue" job as a compressor but obviously more oriented toward simulating space and blurring things a bit more. I'm finding a similar thing about low-pass filtering too - I'm so used to use it for synths with resonance a la "acid" but a simple non-resonant one can do so much to sand things down.

This is my first attempt at dub in a while and I don't think it's great or anything but I think it's passable. I was fascinated with King Tubby and his process a while back. Did you know that his equipment could only record 3 tracks at a time? So one track would be drums AND bass, another would be maybe vocals and guitar, another would be brass and organ, etc. That limitation I think actually may have helped him keep things from becoming an echoey mess.

I really like BOUM. It is so easy to twist a couple knobs and just make stuff sound good. I'm particularly fascinated with that mix knob and how delicate the interplay between dry and smooshed can be, especially in concert with the other controls like the low pass filter and the compressor. I think of it as my "make sound good"-ing machine. That said, it is my first dedicated hardware compressor so I don't have much to compare it to. From what I've read, the Heat is better for getting weird, which is usually my jam, but I like having a machine I can reliably use to warm and glue, so I think the BOUM is a nice complement to my other weird/noisy gear. For what it's worth, I was thinking about picking up a 3630 or an RNC (or a Heat) before I got the BOUM. At this point if I wanted to augment or replace it, I'd either get some crazy Drawmer thing (way too expensive to justify) or something in Eurorack like the Mutable Streams.

[quote=orangedrink]Slight touches of reverb can create a sense of physical distance - so if the instrument is "too close" you can move it further back with the rest of "the band". If you are a real wizard, you can use sidechain compression to dial in your poke-outs, but I still have trouble hearing/understanding the nuances. I've been on this tape compression kick this year, and that has such a definitive "ceiling" for the poke-outs. I actually just bought a plug-in program to help with mixing, so I'm excited about that. I think dub is cool but yeah, hard to make sound good instead of a pile of delay sludge. So in that sense, you want your crisp bass and kick to poke out of the delay sludge! Do you think the BOUM is worth the money? I almost got an Analog Heat MKii but then my wallet backed off from the ledge :) Great track![/quote] Thank you! I agree about reverb - it can do the same "glue" job as a compressor but obviously more oriented toward simulating space and blurring things a bit more. I'm finding a similar thing about low-pass filtering too - I'm so used to use it for synths with resonance a la "acid" but a simple non-resonant one can do so much to sand things down. This is my first attempt at dub in a while and I don't think it's great or anything but I think it's passable. I was fascinated with King Tubby and his process a while back. Did you know that his equipment could only record 3 tracks at a time? So one track would be drums AND bass, another would be maybe vocals and guitar, another would be brass and organ, etc. That limitation I think actually may have helped him keep things from becoming an echoey mess. I really like BOUM. It is so easy to twist a couple knobs and just make stuff sound good. I'm particularly fascinated with that mix knob and how delicate the interplay between dry and smooshed can be, especially in concert with the other controls like the low pass filter and the compressor. I think of it as my "make sound good"-ing machine. That said, it is my first dedicated hardware compressor so I don't have much to compare it to. From what I've read, the Heat is better for getting weird, which is usually my jam, but I like having a machine I can reliably use to warm and glue, so I think the BOUM is a nice complement to my other weird/noisy gear. For what it's worth, I was thinking about picking up a 3630 or an RNC (or a Heat) before I got the BOUM. At this point if I wanted to augment or replace it, I'd either get some crazy Drawmer thing (way too expensive to justify) or something in Eurorack like the Mutable Streams.

It's good dub.

It's good dub.

Thank you!

[quote=Devieus]It's good dub.[/quote] Thank you!

A great dub. Minimalistic and perfectly dosed effects. I love the filtering and the washed out delay. This is the essential part of dub and a good summer track.

A great dub. Minimalistic and perfectly dosed effects. I love the filtering and the washed out delay. This is the essential part of dub and a good summer track.

Thank you! This one felt good to make. I might do some more.

[quote=Q-Rosh]A great dub. Minimalistic and perfectly dosed effects. I love the filtering and the washed out delay. This is the essential part of dub and a good summer track.[/quote] Thank you! This one felt good to make. I might do some more.

I have absolutely no knowledge about the specificities of Dub but I enjoyed the combo of a relaxed pace track, with a nice booming bass and the background layers. Good way to start work today.

I have absolutely no knowledge about the specificities of Dub but I enjoyed the combo of a relaxed pace track, with a nice booming bass and the background layers. Good way to start work today.

You just described all the things I like about dub Thank you - I'm glad it helped get the day started!

[quote=Kedbreak136]I have absolutely no knowledge about the specificities of Dub but I enjoyed the combo of a relaxed pace track, with a nice booming bass and the background layers. Good way to start work today.[/quote] You just described all the things I like about dub :) Thank you - I'm glad it helped get the day started!

I don't know those names! More to learn. I feel how you're dubbing. Yeah a tencho ish dubby. Minimalz. Loves bass!!

I don't know those names! More to learn. I feel how you're dubbing. Yeah a tencho ish dubby. Minimalz. Loves bass!!

Definitely some tencho. Thanks man!

[quote=miraclemiles]I don't know those names! More to learn. I feel how you're dubbing. Yeah a tencho ish dubby. Minimalz. Loves bass!![/quote] Definitely some tencho. Thanks man!