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New Normal (Subbass Mix)

I've read a lot of different things from different people. My advice would be to listen to how the sub sounds on a big system that can go all the way down to the 40hz range. Or just use a freq analyzer and compare to noisia tunes or whatever. Skrillex has nice sub levels too on the Scatta tune. I personaly found the ideal peak DB of sub bass to be exactly 3db higher than kick drum when high energetic dancefloor tune is being made. Last edited: Aug 22, Not really sure what Im doing wrong.

Any help would be greatly appreciated as to whats going on in this track. What this guy actually does to my ears , he has the kick with some "ok" low end and then when the bass part comes he adds the sub. But then there's another problem, when you actually go this low with a bass you can't really introduce harmony because you will have places in the octave where the bass is just not audible from the most speakers and then have some regions in the octave where the bass pops out cause the speaker can actually respond.

So what the guy does given the freedom of the electronic music he hits one note or one bass frequency and just let's it wobble down there. The kick now has a context in which can actually exist with its own sub frequencies and make a very heavy beat.

I listened to the track with in-ear headphones before moving to my a7x's and it really shows what's done in the bass area in a way that's not so bassy but reveals some overtones of the frequencies laying down there. This one is pretty simple actually. It's purely sounds like a sidechained sub line. I'll break it down in more detail with what I think he did. It sounds like a kick with mediocre low end but actually is getting it's punch from some frequencies higher up on the spectrum, aka more from the mids and maybe even a tad from the highs.

He may have actually rolled off the low end of the kick around hz and boosted it a bit around It sounds like they did it in this with a super fast attack around or less than 10ms and also a release that is quite short.

This will make the sub only duck out quickly when the kick hits and won't give it the "ducking effect" from using too much release common in a lot of dance music. Because such clear delineation of the spectrum makes life easier at mixdown, it's tempting to rely on it universally, but more natural-sounding styles benefit from more evenly spread warmth. This kind of EQ'ing can be tough work, and it's not uncommon to be making half-dB adjustments in this range right up until shrink-wrap time.

Low mid-range EQ settings are often so finely balanced that they're the first things to go off the boil when the arrangement changes. In this situation, multing switching individual tracks between more than one mix channel is definitely your friend, because it allows different EQ for each section.

It may leave no more than flap and fizz on the bass channel, but you'll never get the proper stereo 'chug' out of the full mix if you low-cut the guitars instead. One secret weapon at your disposal when mixing any bass part is its higher frequencies pretty much anything above Hz , which bring the bass's unique timbral character to the fore, pushing beyond its functional role in supporting the groove and harmonies to demand more direct attention from the listener — especially on smaller playback devices.

If EQ simply won't deliver the mid-range definition you're after, the recorded bass tone probably has little energy in the spectral pocket you want to fill.

Distortion can also produce harmonics, but try out different processors, as they can have widely contrasting characters, and decent freeware distortion plug-ins are ten-a-penny these days: you can find links to some favourites at www. The danger here, though, is that it's easy to over-egg the woolliness frequencies of your mix, so some compensatory equalisation of the bass-enhanced signal is frequently necessary.

Restricting yourself to EQ cuts in this scenario is sensible, since that tends to restrict the main phase-shifts which often seem to have the subjective effect of making the timbre less 'solid' to areas of the frequency spectrum you want less prominent anyway. Even expertly programmed synth-bass parts often benefit from some smoothing of unwanted level variations. Holding the bass's position in the balance mostly requires juggling the Threshold, Ratio, and Make-up Gain controls or their equivalents , but the attack time parameter can also be very important, especially if you're piling on the gain reduction; too fast, and the compressor will start rounding off individual LF waveform peaks, resulting in distortion; too slow, and the gain-reduction won't catch short-term hot spots, or may over-emphasise note onsets or pick noise.

To be fair, both outcomes can be useful on occasion, but the most useful settings for modern productions tend to lie between one and 30 ms. Your release time setting, by contrast, is largely dependent on how prominent you want the note decays, as well as how much gain-reduction you're applying.

Set slower, the compressor will retain more of each note's natural envelope, whereas faster settings will reset the gain-reduction more smartly and increase sustain.

It's also worth trying out any dedicated RMS level-detection mode should your compressor have one , since this averages out the fastest level fluctuations and will usually control bass parts more musically. Indeed, some classic compressors closely associated with bass, such as the Gates Sta-Level or Teletronix LA2A, don't exactly overburden the user with controls.

No matter how much you sweat over your compressor dials, some bass recordings will refuse to submit to your balance demands without unconscionable trade-offs in the tone or musicality of the line. If the compression only flunks out at certain moments, some audio editing might solve your problem, either by patching over idiosyncrasies with some well-behaved snippets copied from elsewhere, or by multing off troublesome sections for tailor-made remedial measures.

Because this problem is both time-varying and frequency-specific, it foxes straightforward compression or EQ, and although editing patch-ups, multing, or automated low shelving can all make useful headway, those approaches are depressingly laborious if the malaise is chronic. If you want to try this, start with attack and release times of around 5 and 80ms, then lower the threshold to just tickle the most bass-light notes. An additional complication with bass is that it's not just its own processing you have to consider, but also any additional dynamic-range adjustments separating it from the main mix bus.

This allows you to feed more subHz power from both instruments into the mix, so each sound is weighty when heard on its own; but when the two instruments play together, the compressor kicks in to stop their combined level chomping as much mix headroom. You can rarely push the ducking further than about dB per hit without the bass line beginning to sound odd, but this little bit of 'smoke and mirrors' is nonetheless slyly effective.

So popular is this stunt that numerous ways have been dreamt up for doing it. Some people also use fast-response mix-bus compression to similar ends, ducking the whole mix including the bass line in response to the kick drum, but I'm less enamoured of that approach because of the increased probability that other level surges from snares, toms, or lead vocals, say will trigger counter-productive bass-ducking.

Consider an archetypal rock verse-chorus transition, where the verse is sparser and tighter instrumentally, while the chorus introduces more sustain generally, as well as some extra high-gain guitar overdubs. In this situation, the mix-bus compressor detects that the average level increases significantly for the chorus, even though the peak levels on your DAW's output meters may not change much.

Most well-known bus compressors use RMS level detection, which, you'll remember, responds better to average levels than peaks, so our mix-bus compressor here turns the whole mix down for the choruses — in effect, the extra guitars duck the rest of the band.

Think about the sensation of being at a club where you can feel the beat vibrating through your body. You need subwoofers to really hear sub-bass — soundsystem culture knows how to do this right. At low frequencies just a pure sine tone generated with a synth is often the most powerful sub-bass.

Try a different pattern that works with your track. Make your kick hit about an octave higher, around Hz. Headphones work great as well. Most DAWs come equipped with a spectrum analyzer — or an EQ that allows you to visualize the frequency spectrum. Making sure those fat throbbing sub-basses are under control is not always an easy task. Here are 3 techniques that will help to keep your subs in check:. Compression, set with a slow attack and fast release, can push the transient through, whilst ducking the tail of the sound.

This greatly emphasises the punch knock of the sub bass. However, it may also make your lowest frequencies appear quieter as a result. To get the best of both sonic characteristics, try blending the original and compressed punchy sound together. The result will have a deeper sub from the original, whilst introducing the extra punch it needs to kick in the mix.

Sub-bass sounds are the deep, low- register pitched pitches approximately below 60 Hz (C 2 in scientific pitch notation) and extending downward to include the lowest frequency humans can hear, assumed at about 20 Hz (E 0).In this range, human hearing is not very sensitive, so sounds in this range tend to be felt more than heard. The low E-string on a bass guitar is usually tuned to Hz.

1 Replies to “New Normal (Subbass Mix)”

  1. Jun 13,  · Set the mix to % wet and send whatever you want to it. This works better for me than inserting one instance across the kick, one instance across the toms and one instance across the bass, etc. There is quite a degree of interactivity when these signals are summed and then processed by the same instance of Submarine; the ‘Drive’ and.

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