First you must try to find out why you are self sabotaging your relationships…

Do you panic and make bad decisions because of this? Do you have a short fuse and get angry easily?

You must sit and think what happens, think about HOW you are making these same mistakes and what exactly you are doing to mess up the relationships, then when you know what it is you’re doing, you may be able to work out why you are doing this, then from there you can work on not doing the same things over and over. Without knowing the why, it’d hard to resolve what ever issues it is you have, so you must search for this answer.

Hmm the best way to get the vocals out of a tune, if you can find an instrumental of the exact song and reverse the polarity of it, and play it over the top of the song with vocals in, due to phase cancellation, providing the instramental is the exact same as in the full tune, the music vanish and you will be left with just the vocals.

Failing that, you could try using a gate with a frequency dependent trigger, and set the trigger frequency to that of the main body of the vocals, but in all honesty, these things rarely turn out how you want them unless you manually slice things exactly where you want.

Believe me, I’ve probably spent 1000’s of hours just cutting sections out of things over the years, and I’ve yet to find any automatic chopping thing that can do it as well as a bit of time and patience can.

I’m surprised you haven’t dropped the gay bomb yet.

Hookas

Heard there’s some really nice sheesha bars … 😛

@Headie 563323 wrote:

1210 mk2’s. Had mine over 20 years and still going strong without a single problem. I actually started out on belt drives and played at a few parties with belt drive turntables in fact i have played on some of the worst turntables going (all-in-ones with pitch controls under the actual vinyl etc), but direct drives are the ones to go for.

Ever tried using them nasty old Citronic console mixing thingies from 15+ years ago? They are the worst decks I have ever used without a doubt; Literally like mixing on your nan’s hifi. I have no idea how this company still exists, they should of gone bankrupt within a few years of opening with gear like that!

[ATTACH=CONFIG]86516[/ATTACH]

Oh man, my mates sister naively hired a pair of them for me and her brother to DJ on for her birthday party. Worst party (music wise) ever. To top it all off, the headphone channel on the mixer was fucked! It was only coming out of one ear, and was SO quiet even with the music not playing out the main speakers, the chatter from the room would drown out what little you could hear in the working can. I literally don’t think there was more then a handful of mixes all night that didn’t clang and go massively out of time. We ended up just fading out and starting the next tune from the top as although directly listening to the needle in the groove was better then listening to the headphones(!) it still was impossible to sort out. O.o

Could of been a really nice party as well, poor girl had rented out a massive function room at the side of a pub, even put a tab behind the bar!

Hey, nice idea. I like the bad company type bit after the second drop. That synth is really good, as is the bass.

One main bit of constructive criticism though is that the song as a whole sounds way too muddy and bass heavy, and very dull in the high end. A very important tip you should know, is high pass EVERYTHING that isn’t your sub bass (apart from mby your kick, but even that in some cases) at around 80-90Hz, and any sounds that can be high passed higher, like hats for example, do so (providing your high-pass isn’t taking anything from the sound if you’re going higher then 80-90Hz). The reason you do this is to clear up space for your sub bass to sit without other low frequencies overlapping it and making the low end muddy (very very important in D+B).

You might think, for example, “well this is a high hat, it has no low frequencies in it!?”. Well it may not sound like it has but it does (unless the sample has already been treated and had the very low end removed), even on a spectrum analyzer, it may only show a tiny amount of activity in the bass/sub bass range, however, although this may not be a problem on it’s own with just a high hat and a sub bass going on, when you have multiple layered tracks all with a small amount of low frequency content, the bass frequencies build up and start to interfere with the clarity of your low end, making it start to become muddy, lack clarity and definition and loose it’s punchiness. If you have a separate sub bass and mid bass, you would even want to high pass you mid bass at around 80Hz (you would want to tweak the settings of this high-pass a fair bit to make sure you’re not leaving too big of a gap between your mid bass and sub, or you’re not overlapping them in such a way, to such an extent, that you’re adding too much sub from your mid-bass over the top of your actual sub!

Besides clearing out the very low end, you want to make room for your kick, which in D+B is the next lowest frequency element. without going into too much detail, you can side chain a compressor on your sub so the kick triggers it and ducks the volume of the sub every time the kick hits to give the kick more space and not fight so much with the sub (as they will most likely have overlapping frequencies. Another thing you can do is make a few dB reduction using an EQ in the sub at the main frequency that your kick is hitting at (normally around 100Hz, but you’d need a spectrum analyzer to be accurate, still always use your ears to make the final decision on anything you ever do with music). You can also Low shelf filter the sub end of your kick, so you’re not totally removing it, but you’re reducing it below 80ish Hz to give room for the sub, but without loosing important low end frequencies from the kick, it depends what sounds best to you, with regards to them specific samples/sounds you are using in that song.

With the vocals, in D+B music, I would say you want to high pass them around 100ish Hz minimum give or take, it all depends on the vocals frequency content characteristics as to how you treat them sonically, but for sure you want to clear them out of your sub frequencies, and more then likely your kick and snare area too (snares could be hitting around 250Hz, so have a look on your spectrum analyzer and work out where the main thump of the snare is hitting at). If the vocals start to sound too thin when cutting around 250, you can get them out the way of the kick by lowering the frequency of your high-pass filter a bit, and making a dip in an EQ on the vocals where the snare is hitting, and/or low-shelf a few dBs from even up to 350ish Hz if you wanted.

After doing all this, (don’t forget I’ve only gone into detail about the kick bass and vocals here, you’ll still need to high-pass absolutely everything else other then your sub) the low end of your track should be cleared right out of muddyness.

Please make sure to post an updated version of it for us to listen to! Then I can try to give some more ideas of how to bring out the high end.

If you got any questions feel free to ask, if I know the answers I’ll tell you what I know. Good luck and happy producing!

Probably something to do with him talking about heroin addiction maintenance. I got worried it was about the whole site being removed, sounds like he’s just gone to Google and asked for his name to not return any search results. Interesting that you may be able to get this done just by request. Would be interesting to look into it more as it goes.

Here’s the tool you need …

[ATTACH=CONFIG]86327[/ATTACH]

You’re welcome. 😛

It’s a cash flow problem … should be back up be the weekend. 😉

Nice, how long would that last?