My Entry to the "💗🎺 🎷 🎸Artzone & Musicoin EDM Contest🎸🎷🎺💗" - "Deep In The House" by D-VINE

Today I am entering my track "Deep In The House" into the
💗🎺 🎷 🎸Artzone & Musicoin EDM Contest🎸🎷🎺💗
.

Here is an example, one of my favorite songs, of how I got housed,
"Gabriel" (Live Garage Version)
by
Roy Davis Jr ft Peven Everett

Here a some VST's I used:

Fabfilter Eq
UAD LA2A
Rvox
Lexicon Reverb
UAD Precision Limiter

In the mastering chain I also included our analogue compressor Urei 1176 clone, which added the warmth to the sound.

I will explain again why to bother with M / S editing:

By separately processing center and side signal components, all important mix elements such as bass drum, bass, and lead vocals can be compressed, controlled in their dynamics and made more compact, since these instruments are usually mixed in the mono center.
Dynamic vocals can be effectively stabilized, making the important bass/bass drum range more powerful and present.
On the other hand, of course, the side parts of the stereo file can also be kept more transparent and stable without being too dynamic on the important transients of the bass drum, snare or vocals.
A stronger compression of the sides can also bring the effects used in the mix out more clearly.

To give the important, low frequencies of mostly mono mixed bass drums and basses the necessary space in the mix and thus to make the mix more transparent and balanced, you can use a gentle low-cut filter on the side parts, for example.
Also, the highs of the side signals can be raised without risking too much hissing sharp emphasis on the center lead vocals. Drum overheads, keyboard surfaces, guitar walls and effects can be refined through silky heights, without the lead vocals' S-lute becoming too dominant.

Using a de-esser on the mid-range signal effectively counteracts annoying sibilants and sharp sibyllants without sacrificing the brilliance and transparency of drum overheads or room signals.

The M / S principle helps to control the stereo width of the stereo file very effectively. If you slightly increase the level of the side parts and lower the middle information for it, this results in a seemingly widened stereo base because of the emergence of phantom sound sources. If you overdo this process, it can result in very extreme & usually undesirable effects.

Playing with the possibilities of M / S splitting of the stereo signal, sometimes can create very crazy effects.
In particular, the combination of compressors and gates in conjunction with cross-routed side-chaining can create creative sound designs that can "run" from the center to the sides, depending on frequency or dynamics or vice versa. Attentive experimentation is required here, always with a critical view towards the fidelity of the developing result.

Huggins,
D-VINE