/prod/ Production General

Flat is Justice Edition

Talk about music production, composition, songwriting and audio engineering.

Upload WIPs on clyp.it/

GIVE feedback and RECEIVE feedback.

>ATTENTION!
DO NOT post Soundcloud, YouTube or any other links where you are not anonymous (unless somebody asks you for it). That is considered self promotion and will usually result in a bad feedback.

YouTube channels that you should subscribe to:

>Point Blank Music School
youtube.com/channel/UCIWNozFjO8yVdJFsGKVmPgg

>Pensado's Place
youtube.com/user/PensadosPlace

>SeamlessR (in-depth music production and sound design tutorials, based on FL Studio)
youtube.com/user/SeamlessR

>BusyWorksBeats (same as above, a lot of good new content coming)
youtube.com/user/busyworksbeats

>ADSR Music Production Tutorials
youtube.com/channel/UCf5UKh_cj2_5pUomhyswWYQ

>Justin Omoi
youtube.com/channel/UCMnmXvv9JHJPsrrob-gEn5A

>WarBeats
youtube.com/user/nfxbeats/videos

>Samori Coles (not many videos, but a few good ones on compression and EQ)
youtube.com/user/homestudiotutor/videos

>Modern Mixing
youtube.com/user/ModernMixing/videos

>Image Line Tutorials (for FL Studio users)
youtube.com/user/imageline/playlists

Previous thread:

Other urls found in this thread:

vstitorrent.com/ableton-live-suite-9-7-1-no-install-symlink-installer-win-x86-x64/
youtube.com/watch?v=TmOUm0FdWQw
clyp.it/ve1gx2rg
sparkfun.com/products/9117
amci.com/plc-automation-products/me15-absolute-analog-rotary-shaft-encoder/)
vstitorrent.com/izotope-ozone-advanced-8-00-fixed-vst-vst3-rtas-aax-win-x86-x64/
youtube.com/watch?v=4v7EugD5jNo)
vstitorrent.com/izotope-ozone-7-advanced-v7-00-osx/
goreshitarchive.bandcamp.com/album/tomboyish-love-for-daughter
clyp.it/voiyly0v
clyp.it/bigct31c
clyp.it/jz4rwmtw
clyp.it/eugfyzif
clyp.it/tphi1jig
discord.gg/AnwWRrQ
instaud.io/1uOZ
clyp.it/smua0w35
clyp.it/jufftc5p
twitter.com/NSFWRedditGif

>anime shit
don't do that

Don't do what, user?

This could have been a good thread if not for your cringy weeb trash

Where the fuck do I find a good copy of Ableton?

tpb and crack it. Or get a job and buy it.

Shuten is a cutie

vstitorrent.com/ableton-live-suite-9-7-1-no-install-symlink-installer-win-x86-x64/

thoughts on Michael Boddicker?

youtube.com/watch?v=TmOUm0FdWQw

Music is about the end result. Nobody should give a fuck about the process except for people whomst also make music, but that is caring about the process, not the music. They are two seperate things. People who fail to understand this are doomed to think that there is such a thing as objectively good music. Obviously you can see from my music that just because you have a process nailed down autistically, that doesn't make it good. I just actually understand this, and therefore don't pretend my music is as good as my process is.

Sorry, I was in a bad mood for that post, but I said you didn't understand compression because of the way you were talking about mastering.

Creating a rich mix comes from the wonderful synergy of multiple things: Clarity of each sound, Layers (Same sounds playing the same thing), Full coverage of the frequency spectrum, and Organization.

Orchestras sound so badass because they nail all four of these things without even needing EQ or Compression, however, if you're not using some instruments that are already predetermined to do this, you have to use some modern techniques to help make it shine and get there.

Clarity of each sound is going to come from seperating each instrument into it's own little spot in the frequency spectrum, and maximizing headroom to get each one as loud as it can be within you're preferred volume range for that sound. You can also use sidechaining to get two sounds that coexist in the same spot on the frequency spectrum to get their own space in the time domain (Sub isn't there when kick plays, but is there whenever it's not, for example).

Layers should be self explanatory, but a lot of people fuck it up, and there's some advice i can give: first one is ALWAYS COMPRESS YOUR LAYERS TOGETHER. You should process each layer separately and hopefully play them in different octaves to give them their own spot on the frequency spectrum, but even still you should always end up compressing them togeth

er. Compression is acting more as glue in this situation, rather than as a loudness tool, which gives way to some less taught advice: Even EQing sounds that are in a bus together makes them sound more coherent together. This all ties into organization, which I'll get into later, but the short of it is that you should be bussing your layers together and processing them as a whole, as well as individually.

Full Coverage of the frequency spectrum is actually a bit misleading and up for debate. IMO you should nail every frequency throughout your mix, but this does not mean playing Pink Noise for your entire song! A good mix should be dynamic when you look at it through a spectrum analyzer, with some sections of the frequency spectrum disappearing entirely (see Zedd's Remix of Alive). But at the end of the day, you still want to hit all those frequencies, and at least be conscious of how you're doing it. A lot of people say that Pink Noise (google it) is the perfect frequency makeup for a good mix, I disagree, but a lot of songs have been mixed to it. Ozone 5's EQ has a way to profile pink noise, profile your mix, and then apply an EQ curve onto your mix to make it more like pink noise. If fullness is what you're after, this EQ curve it shows you should give you a pretty good idea of what to add/cut from your mix. Reverb is also great for filling out the frequency spectrum, because it sort of naturally does it in a way that's very unobtrusive, and can also be used as a way to push sounds 'forward and backward'. It's not very often used, but I've also even EQ'd my Reverb sends to get them to fit right in the spot where nothing else was (usually around 500 Hz for me), but I wouldn't necessarily recommend that. What I do recommend, However, is sidechaining your reverb to things like your kick, snare, and main lead sound. This way, all three of those things still come through very clear, but you still get that fullness of the reverb when they aren't there.

Lastly, is organization. Organization is probably the most important element to any mix, and is probably the most understated technique there is.

I bought a book called 'The Mixing Engineer's Handbook' a couple years ago and read it front to back. At the end of it there was a bunch of interviews with famous mixing engineers, and all of them said that they hate mixing now because everyone does shit in a DAW and NOBODY labels it. So the first thing they do is listen through everything and rename it to something useful. THIS IS HUGE. If you have to audition a sound before you know what it is, you are wasting time during your mix. You need to be able to hear a problem with a sound and instantly pull up it's fader/FX chain. But organization goes beyond that. Organization is also about how you bus your sounds too. How you think of each element. I like to think of it as like each of your individual tracks are kind of like Assembly Code, and when you start bussing them together, you're starting to use C instead of Assembly. It's just thinking at a higher level.

I break all my mixes down into 5 Major Parts: Drums, Bass/Sub, Rhythms, Leads, and FX.

Rhythms, Leads, and FX go into their own bus that I call 'Sidechain' because I then sidechain that to the kick/snare, Bass/Sub gets it's own sidechaining (and other processing) independent of everything else, and then the Drums get their own major bus. All three of these then go into the Maester channel.

This is my stock template that I've been using for a while, and it helps me fit each sound into where I want it to go on a macro level. It's sort of like I have 5 mini mixes that I do, then 3 bigger mixes, then 1 whole mix.

But that isn't where the organization ends. As I said before, you should also be bussing your layers together! So in each of the 5 main busses, you will often see multiple smaller busses to help group individual layers together, and treat them as if they were one sound.

Put simply, the very act of grouping sounds together in a bus and then processing them will glue them together and make them sound more coherent. With careful enough planning, you can actually put a large group of sounds into their own space, and then put another large group of sounds into a different space. This is the essence of mixing, and in a lot of very good and dynamic mixes, you can hear this really well.

I don't want to ruin the end of this big post with something that makes you forget all of it, but another huge tip that I thought of halfway through writing is that EQ, Distortion, and Compression are NOT the only effects to mix stuff, even if they are definitely the most important. Tasteful use of Phaseres, Flangers, Choruses, Stereo Widening (Clone sound, put one in each ear, then delay one ear by a few ms or more), Panning, Tremelo, Delay, and even degrading a sound with a bitcrusher or something similar can actually be huge tools in a mix! It's hard to explain a good use for each one, but I like to think of it as affecting each sound in a 2 dimensional plane. Some will either move it left and right or widen it left and right, and others will either push it forwards or push it backwards. None of these things will really move it up or down though, so don't worry about that. Sometimes choruses and Phasers can move it both left and right and forward and back, but for the most part all these effects should be used with the goal of either moving forward/back, or affecting left/right.

Okay, I'm done now.

tfw write autistic mixing post for person who's probably not even in this thread

Linear movement across Hz sounds better than Logarithmic movement across Hz because muh vintage

If you don't understand what I'm talking about, that's okay. I made a nice audio demo for you here -> clyp.it/ve1gx2rg

Essentially, if you look at a spectrum analyzer, odds are that if one inch is the distance between 100 and 500 Hz, then that same inch might be the distance between 1000 and 5000 Hz. The scale moves exponentially as you go upwards. This is because Octaves work this way, and in general practice, this is how we view the frequency spectrum. It's easier for us to hear the difference between 50 and 60 Hz than it is to hear the difference between 15,500 Hz and 15,510 Hz despite it still being a 10 Hz difference.

But obviously, a logarithmic scale like this takes a lot of thinking and maths, and early hardware wasn't always made with this in mind, leading to a lot of effects looking at things linearly, or as if 1 Hz = 1 Hz all across the spectrum. In terms of movement of something like a phaser in my example, we tend to hear the logarithmic movement as being more of a straight line up/down, and the linear movement being more of a speeding up/slowing down line up and down.

Pretty interesting stuff if you ask me

Someone suggested me a MiniLab MKII as a portable controller. Can someone tell me if the knobs are rotary encoders (which only move in steps of +1 or -1 ) or regular potentiometers?

chad steven slate vs virgin steve dudu

rotary encoders dont move in steps of +1 or -1, they just rotate around forever in either direction.

I don't know for sure, but their website uses the term encoders, and all their applications say for tweaking effects, so I would guess they're rotary encoders

i want to hold her horns while i thrust my cock in her mouth and cum down her throat

is it possible to get professional sounding masters from ableton's stock plugins?

my ozone trial is over and i dont want to spend $500 on it.

>rotary encoders don't move in steps of +1 or -1, they just rotate around forever in either direction

Honestly I don't know what's the proper terminology. I had a BeatStep, which rotated around forever but you could "feel" they rotated in steps, and only sent messages to increase or decrease value by 1. For example, if I assigned a knob to a parameter, I had to turn it several times in order to get to the value I wanted. I'm afraid the MiniLab knobs will have the same action, which is shit for manipulating parameters like cutoff or LFO rate on real time.

thats interesting. there's one thing I don't get: when I send an instrument to a return track, why can't I send the whole thing 'send only' to another return track?

Don't do that

theres a solution for that you know? :)

objectively wrong

nice

yes

oh, mb. what you're referring to is digital vs. analog, and considering the price, I'd say that it's digital (meaning it will move in steps like that). How hard each click is, I couldn't tell you, but I can tell you that putting analog rotary encoders in something like that is much more expensive (sparkfun.com/products/9117 vs. amci.com/plc-automation-products/me15-absolute-analog-rotary-shaft-encoder/) tho like said, there are better and worse digital encoders so I couldn't really tell you that. Try looking for one at guitar center or kennelly keys

This depends on your daw, but in FL studio, you just have to check the signal path and make sure it won't create a feedback loop (it will stop you from making an actual feedback loop). In ableton, I think you have to manually make return tracks in order to do this, basically make a parallel bus.

Don't be an arse

not being an arse, just letting user know that theres an alternative solution to spending 500 quid.

and to follow up on that
heres ozone 8

vstitorrent.com/izotope-ozone-advanced-8-00-fixed-vst-vst3-rtas-aax-win-x86-x64/

I'm in ableton and all my return tracks have only grey send knobs. they do nothing when I put them on send only either

oh shit, my bad, thought you were recommending him to pay for mastering service

Carry on then

Okay, this video here (youtube.com/watch?v=4v7EugD5jNo) will show you how to route audio the hard way in ableton. Basically, you have to route your sends the hard way into a regular audio track (like what he labels bus) and then from there you should get working send knobs again. I don't know for sure tho because I haven't used ableton in years and don't have it installed to try

on mac tho and too lazy to install windows just for keygen

vstitorrent.com/izotope-ozone-7-advanced-v7-00-osx/

Where do most people sample breakbeats from? For example, the first track of this album: goreshitarchive.bandcamp.com/album/tomboyish-love-for-daughter

Waddup pals, i've been working on this track for a while now and it sounds like a fucking mess. Is there any way to help that?
clyp.it/voiyly0v

I don't know if your MIDI controller will support it but he one I have (BCR2000) supports editing of the knobs to support acceleration - ie: if you turn the encoder a 1/4 turn slowly it'll increment in steps of 1 , reaching 10 by the end of the rotation, but if you move it quickly it'll ramp up more quickly (it doesn't jump increments, it just ramps them up) and it would reach maybe 50 by the end of the 1/4 turn rotation.

>Where do most people sample breakbeats from?

Search Youtube for "Breakbeat Compilation"

In the olden days people had to listen to their collection of vinyl records for drum breaks (parts of a song where there were only drums), and then mark that spot on their record and play it into a sampler. Basically that just meant listening carefully for it from loads of music (Reggae used to have a ton of them) nowadays though, you can just go on Google and type in "drum breaks and find loads of them really easily. There's also some good torrents filled with breakbeats out there. Honestly, if you just look even a little bit, you'll get overwhelmed with them.

Working with them is a whole other subject tho

the melody part sounds very discordant with it self, is it in the same key?

I guess thats on purpose (well you see doctor?, should probably sound sick)

>I guess that's on purpose

Notes out of key should generally be intentional IMO. I didn't listen to what you posted, but it sounds like you might want to actually listen to user and try putting them all in the same key to see how it sounds. Can always undo if you don't like it

the midi notes that i input into ableton have all of the sudden a ferry low velocity on default. does someone know how to fix this?

Man I pretty much am these threads.

I'm thinking about putting OBS back on my computer and just recording short tutorials for when people ask the same questions on here. Does that count as self promotion?

press v and it will put the default note velocity up by 20

the worst that happens is you waste time and maybe people call you a shill

thx

>Does that count as self promotion?
no, or at least not unless you make an effort to promote yourself.

it would definitely help the general as a whole; could also incentive others to do the same.
if you want a general to be good you need to put work into it and it seems you're willing to do that so give it a shot.

and basically what said.

clyp.it/bigct31c
How do we feel about this one?

liking it a lot actually, sick sounds

Alright, cool. I don't have infinite free time, so it'll be a while before I'm up and running with it, but I do think it could be beneficial, and I'd really like to see these threads get better.

A problem I had before with this was editing tho, so I'll have to look a bit harder into video editing if I'm really gonna do it this time

yeah man its nice.

only thing that stuck out to me was those little "beep beep beep beep's" that first come on around 0:37.

they sort of appear to be "outside" the rest of the mix.
other than that its a very nice song.

Are there tricks to using polyrhythms?

Tried making something with them, but I think it's sounding too shit

clyp.it/jz4rwmtw

Thanks, man. Good to know I might be getting good at this.
I used them as a contrast to the bass heavy riff, so I guess them sticking out is a good thing. But if they're just weird sounding, I might go back and find a way to mesh them in better. Thanks for the listen.

Sounds good to me. Nicely done.

How could I get an album cover? I can't do any graphic design myself.
If I made a thread on requesting an album cover including the things I want on my album cover, would they do it for me? Or is that rude?

the sticky says no

clyp.it/eugfyzif

requests go to /wsr/

but i doubt you'd have any luck there desu or anywhere else for that matter... unless you're looking for 12 cocks simultaneously ejaculating and that.

L O U D
Just the way I like it ;)

Mixing is a little out there tho. Square wave little guys could use some reverb, and it sounds like your kick drum is pushing the limiter and making everything quieter, which is pretty undesireable so consider sidechaining it to the bass, and doing some EQ work to get the two to work together better

Keep up with the loud music tho friend =)

>clyp.it/jz4rwmtw
Pretty sweet atmosphere, but I didn't really hear any polyrhythms? Everything sounded 4/4 to me. When I think of polyrhythms, I think of like something in 6/8 playing at the same time as something in 4/4, like this clyp.it/tphi1jig

Basically, the kick is in 6/8, while the snare is in 4/4. The hat is there to emphasize which is which. First it plays in 4/4 and emphasizes it with the quick little flick of the wrist. Then after the little fill, it goes into 6/8 and emphasizes it with the quick little flick of the wrist. This then repeats for the second half.

I chose 4/4 and 6/8 because they overlap so much, making the snare work really well, and the hats harder to distinguish between which is which.

I don't really know if this is what people actually mean by polyrhythm tho. This is just alwasy what I've thought of

Honestly, I don't even know if that's 6/8, it's just a triplet rhythm lmao

Hey /prod/, how do you guys go about finding drum samples? There are so many goddamn options and I really don't know where to start

What's the /prod/ consensus on Rick Beato? At first I thought he was a meme trying to peddle some weird perfect pitch course, but I've been watching a couple more of his videos and he seems like a really genuine autist.

KOAN Snares are 10/10 even if they are blatantly illegal (ill.Gates first noticed them going around, then they went out and said do not use them) depending on what you make, Boi 1da's sample pack is great, just needs some organization after you download it. The meme answer is to make your own, but really, download some packs then try and use them to make your own samples. Learn a bit about compression and look at some professional samples and try and mimic their volume shapes

samples from mars if you like drum machines like i do

God I fucking hate those samples. That's like the first pack I downloaded, and I have literally never been able to use them. I can see how some people would like them, but not me

what samples do you like

i agree with you about they are not for everyone though

Beato is an autist and I find his videos uncomfortable to watch (especially when he drags his kid in for no reason) but in fairness he's a pretty knowledgable dude when it comes to jazz theory

Thanks for the tips with sample packs. How do most people even go about making drum samples? Just playing around with noise generators or what? I'm kind of a retard with this stuff.

Will take a look, thanks

>don't have enough money to buy a nice enough mixer where I can mix and EQ all my instruments
>don't have enough money or space to buy a bunch of rackmount EQs to feed into a compact mixer
>don't have enough money to buy any decent audio interface that has enough inputs where I could mix on a computer
>bought a shitty 8 track recorder because its easy and contains everything I need
>it broke because its fucking 25 years old

FUCK recording with any sort of quality is expensive

hardware cucks btfo

did you even read faggot its not like an audio interface with 12-14 inputs is any cheaper

I listed some above, I also like these two packs i got from r/EDMProduction in like 2014, Lex Luger's drums, Survival Drums, Lennart Schroot's sample pack, mjNichols' sample pack, Evil Needle's sample pack, and this Xfer pack I illegally downloaded a while ago (tho i dont usue it anymore)

Yeah I tend to avoid the ones with his kids. I'm trying to watch his theory videos now though, and I really love them. You basically have to be autistic to explain that shit and he just fucking does it lmao

>can't possibly record things seperately

If you have some sort of local guitar store you can cop old 16 channel mackie/behringer mixers for cheap. They usually get a ton of them in and can't move them.

I literally only created an account to answer to this

>but that is caring about the process, not the music
NO, Lots of music depend on "production" shit, most of all techno, but to give a really clear example, there's some kind of ambient that is done via a two-step process that involves an lfo and an 8ch mixer; first you record the individual notes of a scale with different lfo parameters manipulating either amp or filter, then you record every note into the mixer, then the composition consists entirely of playing with the faders. (Then you play with sends for xtra touch.)
> ALWAYS COMPRESS YOUR LAYERS TOGETHER.
only if you seek wall of sound, you can create richer novel textures by not doing this
> but this does not mean playing Pink Noise for your entire song
> what is drone
> what is pink sound compressed with a bus with fader game with resonant freqs

> each of your individual tracks are kind of like Assembly Code, and when you start bussing them together, you're starting to use C
this was the main trigger
Following this analogy:

Assembly is the point of the sound design process when you are manipulating distinct frequencies to generate a distinct timbre, C is the midi information, Java is the general composition, Scripting languages are the FX automation, HTML is the arranement, Javascript is the mix, CSS is the masternig
>Sidechaining everything to the drums
>Not sidechaining the bass
>No parallel compression bus

>Tasteful use of Phaseres, Flangers, Choruses, Stereo Widening (Clone sound, put one in each ear, then delay one ear by a few ms or more), Panning, Tremelo, Delay, and even degrading a sound with a bitcrusher or something similar can actually be huge tools in a mix!
This reads like a mixing engineer handbook literal quote


The production tools should be used creatively if you live in this century, and mixing is merely the art of being able to hear the mix the same way in a variety of gear at a variety of volumes

>theres a solution for that you know? :)
yeah its called bitcoin miner

I just picked up a SM58
your guys thoughts on it?

>he doesn't have an Audionews account

>fags think theyre cool for pirating

As long as you buy the software after, it's ok

For polyrhythms, thinking it has to be multiple time signatures is usually not the best way of thinking about it. You could have a 3 against 4 polyrhythm in 12/8 by itself, just by having accents on every third and fourth beat. Whether it's 6/8 or triplets also just depends on the rest of the song.

discord.gg/AnwWRrQ

I don't know much about music equipment, I'd like to know where I can learn about it.

Thanks

What are you interested in specifically?

Wow edgy.

That was a great way to nitpick individual words I said and miss the whole point, but I'm still gonna argue with you anyways because of pride or something.

>lots of music depend on "production shit, most of all techno

All recorded music depends on production shit lol. But at the end of the day, it's the final product that matters. I could make a whole song in Microsoft excel using Fourier Transforms that I figured out by hand (which I am currently doing), but if it still sounds like something anyone could do with an additive synth, then it still sounds like something anyone could do with an additive synth. It's just 2^24 numbers between -1 and 1. That's all it will ever be. Whether you prayed to god and then recorded yourself shoving a Mic up your ass or not, it's still just those numbers.

>only if you seek wall of sound

Actually no, compression =/= brickwall compression. I literally specifically said to use it like glue when I mentioned that. Pretending that not compressing sounds together somehow makes it richer is also pretty dumb. By that logic we should not put any compression on any master because it would sound richer. Also, just to really point out that you're dumb, I was trying to help someone who specifically said he wanted a fuller mix which compression undeniably helps with.

>implying drone is a good example of a good mix, or that having literally one sound run through a bunch of equalization effects is a mix at all

Pro tip: mix implies that there's more than one sound at a time.

How you managed to just throw unrelated programming languages with different production elements is beyond me. I literally just wanted to use a simple analogy to explain that bussing sounds together allows you to think of your mix at a higher level. Thanks for the autism.

>this reads like a mixing engineer handbook literal quote

I guess that's because a fuckload of good mixing engineers agree?

And lastly, no, a good mix does not just mean that your song translates well across systems. A good mix means that every element being mixed is able to be heard clearly, while the whole song itself is still exciting to listen to. It's hard to get that clarity without chopping the balls off of every sound.

I get that you're different and not like totally mainstream or whatever, but you're literally a fucking retard when it comes to the art of mixing, and if you watched or learned anything about it, you'd realize that almost instantly.

Bonus points for you being extremely contrarian towards my posts for no reason whatsoever

Bleep stuff

>bitcoin
You mean monero?

I guess this makes more sense. I always struggled with polyrhythms

A studio ;)

how 2 make Arca saws?

Where does one get a studio tour?

I meant to say how* not where

Any tips on writing groovy basslines? I can't fucking do it. Should I be coming up with a chord progression and then building it around that, or just playing around on a pentatonic scale, or what?

If you know people who work there (which I'm assuming you don't) otherwise, I think it's kind of up to the studio but most of them shouldn't be afraid of giving people a tour if they're willing to pay. Just look for studios around you and try and get in contact with them

I'm bad at this too, but the generic advice is to focus on syncopation and to treat the bass as a percussion instrument before it's a melodic instrument

Hi /prod/
Been working on this track all night, I know certain things don't sit exactly well in the production but not sure what to do to fix it. Any suggestions appreciated.
Kinda jazzy/electronic.

instaud.io/1uOZ

The kick is too low and wooly
There is no melody line or point of interest

How do you think the kick should be?
you think it's fixable with EQ?
Maybe layer it with an acoustic one?

In my head the track is full of phrasings and melodies, I'm not looking for a main line to focus, it's more about the grooves and textures. Maybe to its detriment... Wouldn't know what to add/replace.

Luci, is that you?

>.>

Holy shit you guys I finally fucking did it. I finally got an actual, correct .wav file out of Excel! It's a little fucked because when I did my Fourier Transform, the 16th harmonic was taking it's real information from the 1st harmonic's real information, causing it to just kind of sound out randomly, but I mean I legitimately made an additive synth, sequenced a chord progression for it, and bounced it to audio entirely within Microsoft Excel.

clyp.it/smua0w35

it me Anthony, nice track, a bit rumbly on the low end but amazing nonetheless.

Haha, I'm actually reading this right now, something told me there might be someone who still replied to me in the new thread, but I almost didn't even open this one.

I'll be saving your posts, thank you. But to be honest, I'm not that much of a beginner, and (unfortunately) I actually know about most of the stuff you said, but knowing theory behind it doesn't necessarily mean I know how to apply it. You lost me at this part though:
Somebody once told me to use all kinds of analyzers to see the difference between the original and my track, but I don't really understand how to use them.

I have that handbook, haven't read it yet, though. :^)

Anyway, if you got some specific tips what exactly should I do to make this recreation better, I'd appreciate it. Didn't apply the changes other user mentioned yet, so reposting previous clyp because it 404'd.

clyp.it/jufftc5p

When you say it lacks the sub bass, do you mean about that bass which glides? Because I have that one. See, when I try doing things like these, I have trouble even registering everything what is playing and happening in the mix, but that's why I choose the """drops""" for this specific reason, so I can practice this when tons of instruments are playing at the same time. Also, I still can't hear that reverb on the snare in the original, wtf.

Ay yo! Thanks dude. I know the low end is rumbly in the transition in the middle, but you think it's rumbly all over? Is it from the bass or kick itself or other instruments?

Not sure, did you cut the lows off of everything that doesn't need them?

Why is this not a thing?
The event editor step thing is unintuitive as fuck

Because MIDI data isn't analog