seriously... this is driving me nuts. HOW DO CLEAN UP LOWEND!?
- Thread starter Emdprodukt
- Start date
Something I read read before that an electronic producer who used alot of bass and low end stuff does might help you,
Set a Low pass on your mix master bus pretty low so you're just hearing the low end, make adjustments until it's clear and then raise it's level so you can hear more high end. you don't leave it on, you just use as a tool to focus on listening to the low end to help keep it nice and clear.
It's pretty useful- I've used it a couple of times on projects where the low end was totally breaking my balls and it definately helped me out
Set a Low pass on your mix master bus pretty low so you're just hearing the low end, make adjustments until it's clear and then raise it's level so you can hear more high end. you don't leave it on, you just use as a tool to focus on listening to the low end to help keep it nice and clear.
It's pretty useful- I've used it a couple of times on projects where the low end was totally breaking my balls and it definately helped me out
ahjteam
Anssi Tenhunen
HeadCrusher
Member
ahjteam
Anssi Tenhunen
http://www.kvraudio.com/get/2842.html (this ones pretty rad, but its not very musical)
http://www.kvraudio.com/get/2030.html
http://www.kvraudio.com/get/2353.html
http://www.kvraudio.com/get/3931.html
http://www.kvraudio.com/get/2030.html
http://www.kvraudio.com/get/2353.html
http://www.kvraudio.com/get/3931.html
egan.
daylightdies.com
But the lowest D on a guitar(assuming you are tuned a whole step below standard) is an octave below that (73hz). Are you saying you want the fundamental to be 12dB down? Ultimately if it sound good it doesn't matter but I thought it was worth clarifying.
This link is pretty cool but I would add that 5 string bass goes down to 31hz when tuned to standard and a 7 string guitar goes down to 62hz. Again, it doesn't matter if it sounds good and as Ahjteam mentioned most systems roll off long before they get the fundamental of a low B on a bass.
ahjteam
Anssi Tenhunen
Its because I have the bass guitar and thread was about cleaning the lowend. Ever heard of term called "bass buildup"? The buildup at 73hz would be quite drastic with quadtracked guitars. But you do got a point, I usually go by the ears before numbers and of you think the 145 dulls it too much, you can always try to change the filter frequency a bit lower or change it to 6db/oct etc.
HeadCrusher
Member
Thanks.
I wasn't looking for something musical anyway. Just wanted something to cut away anything below a certain frequency. Now that I've read a thread at KVR I don't know if that's a good idea though.
Well, I'm going to have a try.
egan.
daylightdies.com
Sure. I just didn't want folks to get confused. FWIW personally I would use a shelf to handle what you're talking about but it doesn't really matter if it works.
TheWinterSnow
Den Mørke Natt
personally going against the grain of everything that was said, listening to the mix with a sub I can say that the lowend isn't all over the place. It could be tamed though so you can bring in some warmth which the mix is missing.
I like to keep the kcik where its at bass wise. I usually don't touch a pass on it. If the drums sound fine on their own but the bass sounds fucked up when you add bass, i would put a pass on the bass and bring it up until the out of control area is gone. Even if the bass sounds fine all by itself, if some of the lowere frequencies fight, you need to get rid of them, and I find that the kick is responsible for a huge amount of the hugeness in a mix so the bass has to be sacrificed rather the kick. Gutiars, I usually find myself passing at around 50, but I use a 7 String and drop C/B tunings, you would be able to get by with more rolloff if you are at a higher tunning, but I really don't think it is necessary.
To me, the trick is finding the right high pass and eq for the bass that really sets the track apart. I like to think of the kick as the ultimate low, and the bass meshes with the upper end of the kick and the bass also meshes with the low end of the guitars. In a way, the bass is gluing together the kick and the guyitars by being right in the middle. Find that pocket and don't let the bass come down as low as the kick.
I like to keep the kcik where its at bass wise. I usually don't touch a pass on it. If the drums sound fine on their own but the bass sounds fucked up when you add bass, i would put a pass on the bass and bring it up until the out of control area is gone. Even if the bass sounds fine all by itself, if some of the lowere frequencies fight, you need to get rid of them, and I find that the kick is responsible for a huge amount of the hugeness in a mix so the bass has to be sacrificed rather the kick. Gutiars, I usually find myself passing at around 50, but I use a 7 String and drop C/B tunings, you would be able to get by with more rolloff if you are at a higher tunning, but I really don't think it is necessary.
To me, the trick is finding the right high pass and eq for the bass that really sets the track apart. I like to think of the kick as the ultimate low, and the bass meshes with the upper end of the kick and the bass also meshes with the low end of the guitars. In a way, the bass is gluing together the kick and the guyitars by being right in the middle. Find that pocket and don't let the bass come down as low as the kick.
The best way to avoid that or atleast reduce it to minimal is to do it from the start.
What i do when mixing a full scale project is to always balance the eq on single tracks... before even thinking about making things fit it is always best in my opinion to balance all individual tracks which then can be shaped together. For example by doing this, low end rumble between bass, guitars, toms and kicks will already be able to hold them selves in their eq range without in a sense battleing each other for the presence of the sound.
Also another thing leading from this is work in stages... say you start with the drums... get them cleaned up so no frequencies are trying to rip your teeth out and then cut other freqencys of individual tracks to fit in to rest of the kit... then once you have a nice solid kit sound and you are confident in it... design the guitar sound around the kit. you can near enough never expect your favourite guitar sound to fit your favourite drum sound without encountering frequency's fighting each other. by fitting the guitars to the drums when the drums are already solid will mean that your mix will hold itself together much better... you can then move onto cutting the bass into the guitars and the vocals into the instruments. After this will come the mastering... if you are not satisfied with you mixes overall colour tonality... this is your time to shine. even the slightest of EQ polishing can bring a dull and unresponsive mix to life and as all of your tracks are equally balanced with each other... boosting such things as the low end will enduce depth but at the same time be able to hold its clarity much... much more.
What i do when mixing a full scale project is to always balance the eq on single tracks... before even thinking about making things fit it is always best in my opinion to balance all individual tracks which then can be shaped together. For example by doing this, low end rumble between bass, guitars, toms and kicks will already be able to hold them selves in their eq range without in a sense battleing each other for the presence of the sound.
Also another thing leading from this is work in stages... say you start with the drums... get them cleaned up so no frequencies are trying to rip your teeth out and then cut other freqencys of individual tracks to fit in to rest of the kit... then once you have a nice solid kit sound and you are confident in it... design the guitar sound around the kit. you can near enough never expect your favourite guitar sound to fit your favourite drum sound without encountering frequency's fighting each other. by fitting the guitars to the drums when the drums are already solid will mean that your mix will hold itself together much better... you can then move onto cutting the bass into the guitars and the vocals into the instruments. After this will come the mastering... if you are not satisfied with you mixes overall colour tonality... this is your time to shine. even the slightest of EQ polishing can bring a dull and unresponsive mix to life and as all of your tracks are equally balanced with each other... boosting such things as the low end will enduce depth but at the same time be able to hold its clarity much... much more.
HeadCrusher
Member
ahjteam
Anssi Tenhunen
Looks like that can't be downloaded anymore.
Yes you can.
http://www.savioursofsoul.de/Christian/?page_id=64
http://www.savioursofsoul.de/Christian/VST/Rubberfilter.exe
Hi best thing to do is high/low pass filter on every track you have to a specific frequency of the instruments, as digital frequency response extends way way lower than analogue tape and the low frequencies you cannot hear are still there masking other instruments destroying clarity !
HeadCrusher
Member
Similar threads
