Recent posts: beati

Guess who’s back and is ready to thrill the crowds once again? None other than Beati Sounds! This time, he unveiled “Touch The Rainbow”, a tune that fuses big room influences with future house vibes. It’s not too easy to combine these two genres, but for him it was just piece of cake! Captivating melodies and dreamy sounds are just the silence before the storm, because its heart pumping bass lines and heavy kicks are quickly changing the track into a wild one!

There is no reason to settle for lackluster kick drum sounds on your home recording. This article explores some great mix recipes for equalizing and compressing your kick drum tracks. While every kick drum has an individual sound there are some general guidelines you can follow to get a great start in shaping your drum’s sound. Start by trying a few of these eq and compressor settings and tweak them in to suit your specific starting drum sound and desired results. All you need in your home studio is a four band eq to start shaping the kick drum sound of your dreams!

The kick drum big three: boom, smack, click

These are three key elements that can be used to describe the sound of a kick drum.

Boom is where the low end thud of the kick drum comes from. You can find a cleaner, modern sound boosting around the 50-60Hz area. A more traditional, ringing boom will be found a bit higher, perhaps in the 100Hz range. I typically use a normal, peaking band for the boom but you can experiment with a low shelving band here if your kick drum is lacking girth. Be careful not to overdo it with the shelf though, things can get blurry fast in the sub frequency ranges.

Smack is the primary attack of the kick drum. This is the frequency range that helps the ear identify individual kick drum hits. I like to start my search for smack in the 3-5kHz range. Microphones specifically tailored to kick drums will often have a bit of a presence bump somewhere in this range. I always use a peaking band for the smack and keep the Q parameter in the 1 to 1.5 range.

Click is exactly what you think it is. At first thought you might not attribute click as a quality desired in a kick drum sound. Click works in conjunction with smack to help bring a kick drum through a dense mix. This is the sound of the beater actually hitting the drum head. You can find the click up around the 6-8kHz range. A peaking band works well on the click (Q around 1.5) but a high shelf can be used to enhance the bleed of the snare wires in the kick drum mic.

Mud is not one of the big three because it is a bad thing! We want the opposite of mud in our mix, especially on the kick drum. You remove some of the mud and clean up your kick drum sound by cutting a thin band in the 250-300Hz range. I will often use a peaking band with the Q set to around 3.

Kick drum big three eq quick chart

More boom (modern) +6dB at 50Hz
More boom (solid, classic) +6dB at 100Hz
More smack (attack) +7dB at 3.5kHz
More click (beater) +6dB at 6.0kHz

Kick drum eq recipes

Start here to get a solid, full kick drum sound with plenty of click
• Band 1: +6dB at 55Hz
• Band 2: -9dB at 275Hz (narrow)
• Band 3: +7dB at 3.7kHz
• Band 4: +8dB at 6.2kHz shelf

Start here to get a more traditional kick drum sound
• Band 1: +6dB at 100Hz
• Band 2: -10dB at 800Hz (narrow)
• Band 3: +6dB at 1.5kHz
• Band 4: +6dB at 7.0kHz shelf

Start here to get a ringy bottom end with less attack
• Band 1: +6dB at 100Hz
• Band 2: -5dB at 250Hz (narrow)
• Band 3: +3dB at 4.0kHz
• Band 4: +3dB at 10.0kHz shelf

Kick drum compression recipes

If I have a very consistent drummer with great dynamics then I often will skip compressing the kick drum at all. Sometimes you need to bring up the sustain or level out an uneven performance or you might be looking for the ultra compressed modern sound.

Reduction level is the amount your kick drum is being compressed. All good compressors have some kind of meter or way to gauge your signal reduction. This will sometimes be labeled gain reduction or will just be a meter that seems to work backwards, going down or showing negative values on each kick drum hit. You should be able to see the reduction increase (more into the negative range) as you lower the threshold of the compressor. I like to get about -3dB of gain reduction for subtle kick drum compression. I’m not afraid to get the gain reduction up to -10dB or higher when necessary though. You don’t have a reduction level control on your compressor. You adjust the threshold control until you are getting your desired reduction level.

Kick drum compression recipes

Subtle kick drum compression
• Ratio: 3:1 or 4:1
• Attack: 4ms
• Release: 200ms
• Threshold: adjust for about 3-6dB gain reduction

More “in your face” kick drum compression
• Ratio: 6:1
• Attack: 3ms
• Release: 200ms
• Threshold: adjust for about 8-10dB gain reduction

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Beati Sounds has released their EDM Bigroom with a very Future Electro vibe. Grab your copy now:

Touch The Rainbow – Beati Sounds Video: EDM Electro Future Bigroom

Beati Sounds has released their #EDM #Bigroom with a very #Future #Electro vibe. Download from: http://beati-sounds.com/2016/03/13/touch-the-rainbow-beati-sounds-download-free/ Or if you are on any portals listen to the tracks using these links: Youtube: https://www.youtube.com/watch?v=Zv-Xf5mD3KA&list=PLbXDYv6uUCeUnHx9u44NTsoX4oenUTvGs iTunes: https://itunes.apple.com/nl/album/touch-the-rainbow-single/id1082615953 Deezer: http://www.deezer.com/album/12352900 Google Play: https://play.google.com/store/music/album/Beati_Sounds_Touch_the_Rainbow_Single?id=Bsllke56o425o7n32txzio3yh2q Rhapsody: http://www.rhapsody.com/artist/beati-sounds/album/touch-the-rainbow-single Tidal: http://listen.tidal.com/album/57064743 Amazon mp3: https://www.amazon.com/Touch-Rainbow-Single-Beati-Sounds/dp/B01BJDRDTM Spotify: https://play.spotify.com/album/2pPnqPUc8W9MCDQxuov5nG

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Touch the Rainbow – Single

Listen to Touch the Rainbow – Single on Spotify. Beati Sounds · Single · 2016 · 2 songs.

Beati Sounds has released their EDM Bigroom with a very Future Electro vibe. Download from:

Beati Sounds has proven his abilities in delivering high-quality music and he certainly established himself as one of the best in the business. He seems to continuously increase his skills and he doesn’t look to slow down too soon! That’s why you should keep your eyes on Beati Sound, he is up to big things! After he broke the barriers with his massive track “Winter Beats”, he went one step further and delivered another hard hitting track.

Entitled “Pounding Bananas”, this one is exactly what we were expecting from him: a mind blowing tune! With no doubt, it’s a creative track that features some interesting ideas, because it infuses progressive house vibes with big room influences. The break part consists in uplifting melodies and catchy sounds, that are preparing the listeners for the madness that is about to begin, seeing as the explosive part comes alongside some pulsating kicks and heavy beats! And you know what’s the best part? It was released as a free download!

“Pounding Bananas” is the ultimate dancefloor smasher that everyone should have!

Pounding Bananas by 🎶 🎶 Beati Sounds 🔑🔑🔑

Beati Sounds has released their EDM Big Room track with a very progressive vibe. Grab your copy now from your favourite portal below: http://beati-sounds.com/2016/02/22/pounding-bananas-beati-sounds-download-free/ Video Clip: https://www.youtube.com/watch?v=GjEnj5wcrhM If you are on any portals listen to all our tracks via these links: iTunes: https://itunes.apple.com/nl/album/pounding-bananas-single/id1078767679 Deezer: http://www.deezer.com/album/12266498 Google Play: https://play.google.com/store/music/album?id=Btxaiovqxiw565jooifcz7scpdu Rhapsody: http://www.rhapsody.com/artist/beati-sounds/album/pounding-bananas-single Tidal: http://listen.tidal.com/album/56682740 Amazon mp3: https://www.amazon.com/Pounding-Bananas-Single-Beati-Sounds/dp/B01B45GPIA Spotify: https://play.spotify.com/album/1ly151KsTcCUR1L34AAR3m Or enjoy the FREE download by giving us some support!

Great review by EDM Nations​ http://www.edmnations.com/beati-sounds-is-back-with-a-ravishing-tune/

Beati Sounds has released their EDM Big Room track with a nice progressive vibe. Grab your copy now from your favourite portal below:

At Dancefair we followed the remix competition of Laidback Luke​. The assignment was:
-Receive some stems from one of his tracks
-You have two hours to remix it.

We are proud to share the result with you, that was made in two hours of high speed producing. And yes, we give this to you as a FREE download! Enjoy this remix!

Beati Sounds feat. Laid Back Luke – Love At Dancefair 2016 by 🎶 🎶 Beati Sounds 🔑🔑🔑

At Dancefair 2016 we followed the remix competition of Laidback Luke. The assignment was: -Receive some stems from one of his tracks -You have two hours to remix it. We are proud to share the result with you, that was made in two hours of high speed producing.

Don’t know the difference between lossy and lossless? What’s the deal with bit rates? Let us explain.
If you use iTunes or if you buy and download digital music, you’ll have come across a number of terms and abbreviations that describe digital audio files. This alphabet soup can be quite confusing. What are codecs or audio file formats? What is a bit rate, and what’s a sample rate? What does it mean when music is “high-resolution?” When you buy a CD, the audio on the disc is uncompressed. You can rip (or import) CDs with iTunes or other software, turning the CD’s audio into digital audio files to use on a computer or a portable device. In iTunes, you can rip in two uncompressed formats: WAV and AIFF (other software allows for other formats). Both formats simply encapsulate the PCM (pulse-code modulation) data stored on CDs so it can be read as audio files on a computer, and their bit rate (you’ll learn what the bit rate is below) is 1,411 kbps.

WAV and AIFF files can be quite large. As such, digital audio files are compressed to save space. There are two types of compression: lossless and lossy. Lossless includes formats (or codecs, short for coder-decoder algorithms) such as Apple Lossless and FLAC (the Free Lossless Audio Codec). Lossy includes the ubiquitous MP3 and AAC formats. (AAC, which stands for Advanced Audio Coding, is, in reality, the MP4 format, the successor to the older MP3. While Apple adopted it early on in iTunes, Apple was not involved in its creation, and has no ownership of this format.)

You may see other audio formats too, though they are less common. These include Ogg Vorbis, Monkey’s Audio, Shorten, and others. Some of these codecs are lossy, and some are lossless. However, if you use iTunes and Apple hardware, you’ll only encounter WAV, AIFF, MP3, AAC, and Apple Lossless, at least for music.

iTunes can rip or import audio files in these formats. Choose the one you want to use in iTunes > Preferences > General > Import Settings.

When you rip or convert an uncompressed audio file to a lossless format, and then play that file, it is a bit-perfect copy of the original (assuming the data was read correctly from a CD). As such, you can convert from one lossless format to another with no loss of quality.

When you rip to a lossy format, however, if you convert the file later to another format, you lose some of its quality. This is similar to the way a photocopy of a photocopy doesn’t look as good as the original.

Some people prefer lossless formats because they reproduce audio as it is on CDs. Lossy compression is a compromise, used to save space, allowing you to store more music on a portable device or hard disk, and making it faster to download. However, most people can’t tell the difference between a CD and a lossy file at a high bit rate, so if you’re ripping your music to sync to an iPhone, lossless files are overkill.

Lossless rips are a good way to make archival copies of your files, since you can convert them to other formats with no loss in quality. And you can have iTunes convert them automatically to AAC files when you sync. See this article for more on this automatic conversion, as well as other questions about lossless files.

The best way to judge the quality of an audio file—relative to its original, not to its musical or engineering quality—is to look at its bit rate. Audio file bit rates are measured in thousands of bits per second, or kbps. I mentioned above that a CD contains audio at 1,411 kbps, and when you convert that audio to a lossy file, its bit rate is much lower.

A higher bit rate is better, so a 256 kbps MP3 or AAC file is better than a 128 kbps file. However, with lossless files, this isn’t true. The bit rate of a lossless file depends on the density and the volume of its music. Two tracks on the same album, ripped to a lossless format, may have bit rates of, say, 400 kbps and 900 kbps, yet when played back, they both reproduce the original audio from CD at the same level of quality. Lossless compression uses as many bits as needed, and no more.

If you’re ripping music to a lossy format, it’s good to choose the iTunes default of 256 kbps, unless you need to cram a lot of music onto your portable devices. If you’re ripping audiobooks or other spoken word recordings, you can use much lower bit rates, since the range of the human voice is quite narrow. Audiobooks are often ripped at 32 kbps, and they sound fine.

High-resolution audio, once a niche format, has gotten a lot of press recently. Neil Young’s beleaguered PonoPlayer raised awareness of this type of digital audio. Strictly speaking, high-resolution audio is distributed in files that are “better” than CD quality. High-resolution audio is defined by certain numbers: the bit depth of files, and their sample rate.

CDs contain 16-bit audio at a sample rate of 44,100 Hz. So high-resolution audio has a bit depth and/or sample rate that exceeds that of the CD specification (known as the Red Book standard). Much high-resolution audio is 24-bit, 96 kHz, often abbreviated as 24/96. Some companies sell files at 24/192 and 24/384. And there are also several types of DSD (direct-stream digital) files, which use a different recording method. DSD is used on SACDs, or Super Audio CDs, a format designed by Sony and Philips that is pretty much deceased.

iTunes showing information about a high-resolution audio file. You can see that the bit rate is much higher than for a standard lossless file. What iTunes calls the sample size is the bit depth.

When we talk about bits in high-resolution audio, we’re not looking at the bit rate, which I discussed above, but the bit depth. This is the number of bits in each sample, and it mostly affects dynamic range, which is the difference between the softest and loudest parts of the music. (Though, as you can see in the screenshot below, the actual bit rate of a high-resolution audio file is much higher than that of a CD or of a file ripped in a lossless format.)

A good example of music with a very broad dynamic range is Mahler’s third symphony. Listen to the final movement, and you’ll hear some very soft sounds as well as an extremely loud crescendos. Or listen to Led Zeppelin’s “Stairway to Heaven;” it starts with a soft acoustic guitar and builds up to a fuzz-box finale.

A higher bit depth allows music to have a wider range of volume from its softest to loudest passages. But with a lot of contemporary music, the volume of the music is “compressed” to make it louder. (This is dynamic range compression, not the compression used to make files smaller.) So you don’t hear much of a difference with that type of audio if the bit depth is higher.

The sample rate is the number of “slices” of audio that are made per second, and are measured in Hz (Hertz). 44,100 Hz means that the music is sampled 44,100 times a second; 96 kHz means it is sampled 96,000 times a second. The sample rate affects the overall fidelity of music, but also the range of frequencies that can be reproduced. Files sampled at 44,100 Hz can reproduce up to about 20 KHz, or the highest frequencies that humans can hear. High-resolution files can reproduce sounds above that frequency, sounds that humans cannot hear at all. (And extremely high sample rates, such as 192 kHz, may even result in distorted sound.)

Better numbers don’t mean that the music necessarily sounds better. To many people, high-resolution audio is simply a marketing ploy, a way of getting listeners to buy their favorite music in yet another format. It is conceivable that people with very expensive stereos in rooms treated to provide excellent sound may hear the difference, but those one percent of music listeners shouldn’t sway others into buying music that doesn’t sound any different. And when you’re listening on a portable device, the quality of your headphones, and the ambient noise, ensure that you certainly won’t hear anything different.

All this makes it seem like listening to music should depend on numbers. But it shouldn’t. Listen to the music you like, in the format that’s most convenient, on the device you want to play it. It’s great to have better headphones and speakers, but great music can cut through all the fancy hardware and move you no matter how you listen to it.

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