' Forget all those fancy mastering plug-ins that you've heard about like Ozone and T-racks, man, forget them. and like you give some great infos on Master buss and PRO L settings. Thanks for all your great tricks and approach in the way of mixing House Music.Ĭould you please check about this guy which is a great producer et delivers very good mixes.? I guess he's famous on GS. Experiment and see what gets you the sound you like. Contrary to clipping, a limiter with more relaxed attack/release settings or a compressor on drum bus will give you a different sound and will turn down the level of both sounds when they hit together. If I want to preserve the kick I'll cut away at the snare more aggressively.

How you solve these things depends on what you want to preserve or compromise. And of course placing your snares/claps slightly early (by ear) helps as well. Use HPF to cut out as much low end from your snare as needed to help it fit there. Clipping or soft clipping settings can provide a more crunchy sound here rather than spongey/suffocated. Play the drum track and see how it sounds.

Try setting your kick drum to -1db and set your limiter to -0.5db (or -3db and -2.5). My primary use for a limiter is to limit/soft clip the overs created by sounds layering together. The kicks without snares layered on them aren't peaking even 1db lower right? Typically the kicks are at or close to 0db with or without snare layered on.

Any ideas?A lot of the time the answers can be seen in finished commercially available tracks. Do you really want to remove the initial attack / punch of the clap so it fits around the kick or vice versa? Because for me this compromises my production style. What do you do about claps / snares in 4X4 dance music? When my kick and clap hit at the same time, they are both a lot louder than the kick all alone.

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