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sub bass (pg. 2)
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| evo8 |
| Dont forget that even tho subbass might be inaudible, it can still be felt, can add a very powerful element to a track if played on a proper soundsystem at high volume... |
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| nicknack |
| sub bass is normally the second loudest part of my tracks, apart from the kick, and normalyl very very low freq but absolutely cranked to the max, fills out the bottom end very nicely |
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| Eldritch |
| quote: | Originally posted by evo8
Dont forget that even tho subbass might be inaudible, it can still be felt, can add a very powerful element to a track if played on a proper soundsystem at high volume... |
It depends on what you mean with sub bass. Most systems cannot output frequencies below 30Hz, even club systems. Frequencies below 30 Hz only eat up headroom and won't be felt any more than say frequencies at 50 Hz. Highpassing at 30 Hz is common in mastering. |
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| Theran |
| I (almost) always use a sub bass. Mostly this will be placed between the 30 and 60Hz. I think it gives a track nice depth, but if you have a very low bass, this isn't really necessary. I always make sure that my subbass is audible. |
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| evo8 |
| quote: | Originally posted by Eldritch
It depends on what you mean with sub bass. Most systems cannot output frequencies below 30Hz, even club systems. Frequencies below 30 Hz only eat up headroom and won't be felt any more than say frequencies at 50 Hz. Highpassing at 30 Hz is common in mastering. |
oh yeah absolutely, i always highpass at around 30Hz also, so maybe 30-50Hz isnt exactly sub-bass, i dunno! Id just be wary of cutting out too much sub-bass, then again if ur tracks arent for clubs it probably wont be noticed |
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| Vortex_SA |
| just remember everyone that a filter has a cerain curve (depends on the filter) so when putting a high pass running at 30hz it might just lower stuff until actually cutting it at lets say 10hz... that still leaves some inaudible sounds... just keep that in mind and know your filters... |
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| Eldritch |
| quote: | Originally posted by Vortex_SA
just remember everyone that a filter has a cerain curve (depends on the filter) so when putting a high pass running at 30hz it might just lower stuff until actually cutting it at lets say 10hz... that still leaves some inaudible sounds... just keep that in mind and know your filters... |
Yeah. I use a 36dB/Octave filter somewhere between 30-40Hz. |
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| evo8 |
| quote: | Originally posted by Vortex_SA
just remember everyone that a filter has a cerain curve (depends on the filter) so when putting a high pass running at 30hz it might just lower stuff until actually cutting it at lets say 10hz... that still leaves some inaudible sounds... just keep that in mind and know your filters... |
good point, i use the elliptical filter on the cambridge... |
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| Raphie |
bump :D
What kind of subbass do you guys use? I just tend to grab a Sinewave bass patch from my Virus, which seems to blend in nicely with higher basslines. However I do struggle to get the whole thing "running and thumping"
So this is what i do:
Have a kickdrum i am happy with uncompressed @ -8db
Have a "high" sawbass in a "running" pattern
Have the same pattern 1 octave lower with a sinebass
put both basses together on a subgroup which I sidechain with the uncompressed kick as trigger (where the bass overlaps the kick)
both come together on the master with no further compression. (or light masterbus compression)
Do you guys only use subbass in an offbeat pattern (so not copying the running bassline?)
Are you putting a delay on the high bassline?
reverb on the low?
What is it that makes this combo work magically together?
I understand the theory but for some reason I can't seem to get it 100% right. |
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| Vortex_SA |
| quote: | Originally posted by Raphie
bump :D
What kind of subbass do you guys use? I just tend to grab a Sinewave bass patch from my Virus, which seems to blend in nicely with higher basslines. However I do struggle to get the whole thing "running and thumping"
So this is what i do:
Have a kickdrum i am happy with uncompressed @ -8db
Have a "high" sawbass in a "running" pattern
Have the same pattern 1 octave lower with a sinebass
put both basses together on a subgroup which I sidechain with the uncompressed kick as trigger (where the bass overlaps the kick)
both come together on the master with no further compression. (or light masterbus compression)
Do you guys only use subbass in an offbeat pattern (so not copying the running bassline?)
Are you putting a delay on the high bassline?
reverb on the low?
What is it that makes this combo work magically together?
I understand the theory but for some reason I can't seem to get it 100% right. |
Make music man, not recepies... use your ears and sit and think a lot about what you want from the track and the sound and than implement it...
i don't use sub-bass my basses are low enough as i like em, reverb on a bass is a trickey thing i dont use, i dont find loosing "control" over my bass that exciting really :) , I'm reducing my room effects to make my music clearer, i like the sound of a track humble with minor room effects which gives it a very clear and not "smeared" sound.
and it all comes down to what you want to achieve really, if youll put up a sample i can help you imitate it but i don't know how much it'll help you in your creative process of creating a unique and interesting bassline. |
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| Raphie |
I am able to create basslines i am happy with, i am merely trying the technique which does not come to as easy results as some describe. What I am looking for is to find what makes that pushing effect you'll find from example in basslines from Paul Miller and Simon Patterson.
It seems to be a combo of effects and compression that makes the whole thing fly. I am not far off with the patterns (midi wise) i just not seem to be able to glue it together audiowise. This is not a general mastering question as i know how to finish tracks, i am happy with. Just interested in the technique. |
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| Vortex_SA |
| quote: | Originally posted by Raphie
I am able to create basslines i am happy with, i am merely trying the technique which does not come to as easy results as some describe. What I am looking for is to find what makes that pushing effect you'll find from example in basslines from Paul Miller and Simon Patterson.
It seems to be a combo of effects and compression that makes the whole thing fly. I am not far off with the patterns (midi wise) i just not seem to be able to glue it together audiowise. This is not a general mastering question as i know how to finish tracks, i am happy with. Just interested in the technique. |
Probably some compression, side chaining and equing are involved try it out... i dont know exactly what you mean but it seems like every bassline nowdays make use of these effects. |
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