# Details on music.



## adrenalinejunkie (Oct 17, 2010)

Grabbed this info from Hybrid audio technology's Facebook page. Figured this is a good section to share this. Enjoy....
Track: Summer song

Not a whole lot to say about "Summer song" really. It’s simple, it’s fun, its width is great, it has a nice full sound do it, and it has some great bass. But mostly, I love its width. The extremeties of this song should be well into the pillars… or outside the pillars… or mirrors… or the car next to you.

Track: I need a Dollar (Mustard Tiger Remix)

Aloe Blacc is an exceptional performer, has a wonderful voice, is versatile (seriously, go watch the above video), and the original version of this song was used as the title track for HBO’s ‘How to Make It in America’. But this isn’t about him, this is about gettin’ it on with some dubstep.

You’ll notice the dynamics aren’t great, but it’s OK, we don’t need a ton of dynamics for this track. I primarily use this as a tool (among many) to test sub-to-mid bass transitions. It doesn’t get particularly low, so it’s not a sub bass tool, but it’s great for blending & localization. (A couple other great songs for this are The Chemical Brothers — "Block Rockin’ Beats” and Bass Mekanik — "Phoenix”, both of which do get fairly deep into the sub bass).

From 0:40 - 0:60, there’s a surging sine sweep (and another from 3:10 - 3:25), and both do a great job at finding bad transitions and localizing drivers. There’s nothing else particularly special here, except it is fun to listen to if you’re in the mood.

P.S., the original version of this song is outstanding and has a completely different set of strengths.

Track: i am jen

This song has magical powers to it. I’ve employed it in many discs, and every single time it disarms even the harshest of skeptics. I purposely put it several tracks in, and within seconds of this track starting, the listener will lean back and settle into the seat. (By the way, a perfect lead-in to this song is “Nascence” from the Journey PS3 video game soundtrack).

It’s largely synth, but it’s so smooth and beautifully mixed, it just blends. The bass is smooth and provides a wonderful foundation without being overbearing. The intro starts out with smooth strings whose sustained decay give way to a mix of unusual percussion opening up wide, in particular on the left. Her voice is processed but rich, well focused, and it blends perfectly.

This track may easily be ruined however. It’s not very dynamic, and all the parts are mixed to similar levels, so if your system’s frequency response is not even keeled, the magic will be lost. If your midrange is trying to do too much, her voice can quickly go from processed to "blah”. If the sub/mid bass is too low or too hot, it will either remove the needed impact or overtake the other parts. Staging limitations may also remove from the song’s ‘impact’. When the percussion starts in at the beginning, as I said, it comes in from the far left, and when everything is working correctly, this should be a startling effect. Also, the higher frequencies will start showing themselves to be either too muted or too prominent. If too muted, the effect will be lost. If they are too prominent, they will dominate when her voice comes in and cause distraction. There’s a lot going on here, but when it all comes together, it’s incredibly rewarding.

Reference:
Music Reserve


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