Ok, night spent in studio (this is really bad for my regular job), thanks all for the suggestions, I tried this:

- Converting the low-mid bass line to mono, this helpt but killed the "biggness" of that bass sound that is kinda essential for this tune.

- Sidechaning low-mid bass line, moderate sidechaning didn't do much and heavy sidechaning killed the groove and just made the bass pump, which is not what I wanted in this case. Also that bass sound itself is made of "bass sound + reverb + sidechain" (this combination sometimes gives pretty cool sounds by the way, Benassi way), bounced and inserted to an audio track.

- So, what solved it in the end was the good old EQ as DJ RANN & Eldritch suggested. I thought I was safe with the low-mid bass line cause I had a low cut at 100Hz, however I stared to narrow the bass line even more a there it was. It somehow collided with the other bass elements somewhere in 100-200Hz area, so a low cut just above 200Hz made it sit nicely in the mix. This changed the character of the tune a bit, but to the better.

The rest of the EQ is fine, no mids leaks down to the bass area and the high end is bright and shiny, only a few hihats are a bit harsh, but that will be taken care of 2night. I also routed the 4 bass elements to a bus and compressed them a little with sonaksis stereo compressor which gave real good punch to it

Cheers everyone

Falck- Glad to hear you sorted it and would like to hear the tune when you're done!

One other thing I thought for future reference is to use spatial panning/separator FX on each element. I've heard tracks with things that usually collide and after making sure there were no frequency conflicts and the normal panning was more or less sorted, they did benefit greatly from spatial fx. Just a thought and could be useful next time.......

quote:

Originally posted by DigiNut Many Phazon and RLA sound systems (among the most respected in the world, and found in many of the most popular clubs) have a frequency response from 20 Hz. Now, I didn't design these things, but I'm going to assume that they probably wouldn't waste their money designing systems like this if it didn't make any perceptible difference. Edit: I can't seem to find the RLA models with that range. Either I'm mistaken, or those models aren't in production anymore, or those ones I read about a while back were custom builds. I'm not sure which. Anyway, it's still true of the Phazons, and when you're dealing at peak power levels of 50 kW, the sub-low frequencies really do matter.

Frequency response doesn't mean anything unless there's a graph or a dB limit to go by.
Hell, my Alesis M1 Mk2s (which have 6.5" drivers) boasts a response from 38Hz-23.5 kHz.
The truth is that they are relatively flat down to about 50 Hz and the start to drop off dramatically.

quote:

Originally posted by Eldritch Frequency response doesn't mean anything unless there's a graph or a dB limit to go by. Hell, my Alesis M1 Mk2s (which have 6.5" drivers) boasts a response from 38Hz-23.5 kHz. The truth is that they are relatively flat down to about 50 Hz and the start to drop off dramatically.

Of course, that's why they also tell you the crossover point. I really have no clue what a Phazon or RLA crossover point is, but it doesn't matter - even though the frequency response drops off at the low end, the stated frequency response does tell you the minimum frequency that it's capable of putting out. If they state it as starting at 20 Hz, that means that you'll get some 20 Hz sound out of it, however little it may be.

When you're dealing with the power levels used in clubs, even a 20 dB drop in the bass is still going to be felt.

Seismic frequencies are generally in the 1 - 20 Hz range. People can definitely feel those.

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Back to the original request, I couldn't find a vst tool to invert phase, but here's a dx one... http://www.analogx.com/contents/dow...audio/phase.htm

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