Less bass can be louder in the mix I like to use pro-mb + Saturn/Blackbox etc. Push down low end with pro-mb, therefor you can up the level of your bass instrument. And saturating bands to give a more FEEL of bass + making it audible on small speakers. Do you concur Doctor
We do a similar thing in rock. And metal. Usually it’s to stabilize the lowend. then add back the top with what ever flavor you want. Consists of one track of bass low passed, clean with a lot of compression and a limiter so you don’t get those dropouts in the fundamentals. Then I personally like to run the high end track through a guitar or bass amp for my saturation,distortion. Maybe a chorus effect to spread it out. Same basic idea but adapted for an electric bass guitar.
@@WeissAdvice no.. you just duplicate it and you make one track just the subs and the other the midrange. That way you can effect one different from the other. Sometime I’ll use the amp and the DI for this purpose. But it’s always the same performance. Not actually double tracked. Although… I have done that too. Not very often though. Another thing I’ve done a few times when the bass isn’t giving me that sub info I want. I turn the bass line into midi and use a simple sub synth to fill out the sound. I’m sure you’ve heard all these ideas before but it’s awesome putting them into practice.
@@WeissAdvice I actually did that double tracked bass idea not to long ago. It was an original recording it a client. But I basically just doubled up the pet on the choruses where the song got heavier and I used a distorted mid range sound for the second track. Then when it dropped back into the more mellow section it was the original bass by itself. That turned out well. And I used a stereo amp effect for that mid range track and kept the regular bass track mono.
Great way I use often too and very good tip on the linear phase eq to check. Sometimes i will run another parallel track with the Bass pitched up an octave running into distortion and tuck it into the mix. Great stuff!
Another clear explanation of a useful concept. Thank you. The concept of combining multiple tracks with different qualities to sum to the desired outcome is powerful.
All this talk about bass reminded me about that plugin Basslane. Have you tried that yet? I have the free version and it works well. Haven’t really used it outside of testing it but maybe I can remember for the next job or project to whip it out.
@@WeissAdvice It's allows you to narrow the stereo width of frequencies below a defined threshold. Has a Side Harmonics feature that adds upper bass harmonics to for definition and pseudo bass width without problematic stereo content in the subs. There’s a pro version too. But the free one is pretty useful.
@@WeissAdvice dude! Tone Empire just put out a new AI machine. Learning plug-in of an analog piece of hardware. It’s a bespoke piece of gear that the guy made. It’s pretty much a vari mu I think. Really slow compressor but this thing is a new way of modeling analog hardware and it sounds amazing. Amazing! Go check out the video on the Tone Empire TH-cam about the LVL01. That’s what it’s called. There’s a video where Bahrain explains what he’s up to with the tech and it’s so promising. There’s a free trial and it’s on sale. You gotta tell me what you think. Watch the video too.
There's technically some pre-ring that comes from using Lin phase, but I've never found it to be particularly audible. I would say if you need to ease off deep bass in the lows steal my technique. I set the corner frequency from well below the fundamental tone of the 808 and I use a very very broad Q. I find this to be a really pleasing way of rolling off deep lows that also preserves the punch cleanly.
Hey! Thanks 😊 so much for sharing this technique! I have a question in this regard: is this bass treatment applicable to any deep bass track, regardless of genre? I have Trap/HipHop music in mind when asking this question.
Yes! Most of my deep bass techniques come from working with 808s in Trap and Hip Hop. I just find they cross over really well into other genres. Basically the overtones/saturation/distortion is the sauce. Sometimes you want to enhance what's already there. Sometimes you might need to reinvent what's there. Sometimes the 808 is perfect as is.
Also! A future video request if you're willing... Sometimes we gain match according to average or perceived level so that we're not fooling ourselves when it comes to what we're adding or taking away from a given sound (say, when we're saturating) but there's definitely some times when you want to hear the change in level that's occurring and (again, situation dependent) just match the peak value. I'd like to hear some insights into your workflow on occasions when you believe one approach is more appropriate than the other and vice versa.
I have video here that explains some of my thoughts on level matching - I think it's more valuable for demonstration than it is for mixing tbh: th-cam.com/video/ulbzTw6Od1o/w-d-xo.html
I did listen on a laptop earlier today. The early examples are definitely a little underwhelming on small speakers - could've been pushed further for demonstration purposes. The last example however is nice clear.
@@WeissAdvice true! I know this because ironically I was actually listening on my phone speakers when I wrote that comment! That said-new iPhone speakers are surprisingly high fidelity for how small they are. I wouldn’t say I could hear the first few examples WELL, but I could hear them… and not thaaaat much worse than later when I listened again on monitors with a sub. Truly incredible how tech is evolving, I wonder if there’s any AI or sub harmonic enhancing trickery going on in new Apple phones kuz it really sounds at least as good as any modern TV or consumer computer speakers
@@WeissAdvice the new iPhones are also stereo when you hold them in landscape mode. And designed so when the phone is pointed at your face, there’s a true sense of L/R separation, even though the two speakers are like 6 inches from eachother. They must be doing something with phase to enhance the sides without affecting the center blend, if you can get your hands on an iPhone 13+ or 14+, listen to one of your own videos on it! If you haven’t done that before, I promise you’ll be impressed
You dropped this as I was struggling. Bass eats so much headroom it's ridiculous. Thank you sir.
Yup, and the lower it goes the more it eats.
WEI$$ tha MVP fr 💪🏻🏆🏆🏆🏆✨
Thank you Edgaras!
Auto thumbs up and comment as I know this will be brilliant
Thanks Void!
i subbed because i've never seen anyone casually explain phase modes in pro q
It goes over a lot better here than it does at dinner parties.
Less bass can be louder in the mix
I like to use pro-mb + Saturn/Blackbox etc. Push down low end with pro-mb, therefor you can up the level of your bass instrument. And saturating bands to give a more FEEL of bass + making it audible on small speakers.
Do you concur Doctor
I love how personal you can get with tricks like this. There's so much potential for crazy fun stuff.
YES - the nature of the distortion and the exact way you choose to work it can become a bit "signature". I love opportunities for that.
Sweet... Thanx fam.
Thanks Tebogo!
Thanks for this
Thank you FL!
We do a similar thing in rock. And metal. Usually it’s to stabilize the lowend. then add back the top with what ever flavor you want. Consists of one track of bass low passed, clean with a lot of compression and a limiter so you don’t get those dropouts in the fundamentals. Then I personally like to run the high end track through a guitar or bass amp for my saturation,distortion. Maybe a chorus effect to spread it out. Same basic idea but adapted for an electric bass guitar.
Andy Wallace bass chorus 🤩
So it's double tracked bass?
@@WeissAdvice no.. you just duplicate it and you make one track just the subs and the other the midrange. That way you can effect one different from the other. Sometime I’ll use the amp and the DI for this purpose. But it’s always the same performance. Not actually double tracked. Although… I have done that too. Not very often though. Another thing I’ve done a few times when the bass isn’t giving me that sub info I want. I turn the bass line into midi and use a simple sub synth to fill out the sound. I’m sure you’ve heard all these ideas before but it’s awesome putting them into practice.
@@WeissAdvice I actually did that double tracked bass idea not to long ago. It was an original recording it a client. But I basically just doubled up the pet on the choruses where the song got heavier and I used a distorted mid range sound for the second track. Then when it dropped back into the more mellow section it was the original bass by itself. That turned out well. And I used a stereo amp effect for that mid range track and kept the regular bass track mono.
Great way I use often too and very good tip on the linear phase eq to check.
Sometimes i will run another parallel track with the Bass pitched up an octave running into distortion and tuck it into the mix. Great stuff!
Thanks J!
Pure Logics , Nice one ! 💯💎 I’ve done similar without the decap. You keep being on point why I’m subscribed to this channel.
Izotope tonal balance comes in handy for noobs like me and referencing other tracks with the kind of energy that I'm aiming for.
Yea... it can be helpful, but definitely rely on your judgement overall
Man, you are spoiling me with all this bass content!! Love it. Working on a mix right now this will help with. Appreciate it brotha!🤘🏽
You get the Low End guide from the newsletter?
@@WeissAdvice of course! No way i was missing out on that 🤘🏽
Another clear explanation of a useful concept. Thank you. The concept of combining multiple tracks with different qualities to sum to the desired outcome is powerful.
Yea - it's a reoccurring theme on my channel just for that reason.
All this talk about bass reminded me about that plugin Basslane. Have you tried that yet? I have the free version and it works well. Haven’t really used it outside of testing it but maybe I can remember for the next job or project to whip it out.
Never tried Basslane. What's it do?
@@WeissAdvice It's allows you to narrow the stereo width of frequencies below a defined threshold. Has a Side Harmonics feature that adds upper bass harmonics to for definition and pseudo bass width without problematic stereo content in the subs. There’s a pro version too. But the free one is pretty useful.
@@WeissAdvice dude! Tone Empire just put out a new AI machine. Learning plug-in of an analog piece of hardware. It’s a bespoke piece of gear that the guy made. It’s pretty much a vari mu I think. Really slow compressor but this thing is a new way of modeling analog hardware and it sounds amazing. Amazing! Go check out the video on the Tone Empire TH-cam about the LVL01. That’s what it’s called. There’s a video where Bahrain explains what he’s up to with the tech and it’s so promising. There’s a free trial and it’s on sale. You gotta tell me what you think. Watch the video too.
Nice one ! 💯💎
Thank you!
What's your stance on liner phase on the bottom end .. I hate cutting any bass below 50 because the phase changes the 808 to much..
There's technically some pre-ring that comes from using Lin phase, but I've never found it to be particularly audible. I would say if you need to ease off deep bass in the lows steal my technique. I set the corner frequency from well below the fundamental tone of the 808 and I use a very very broad Q. I find this to be a really pleasing way of rolling off deep lows that also preserves the punch cleanly.
Why The Hozer? I noticed you are using this eq a lot. I have plenty eq's but this one sounds interesting.
Hey! Thanks 😊 so much for sharing this technique! I have a question in this regard: is this bass treatment applicable to any deep bass track, regardless of genre? I have Trap/HipHop music in mind when asking this question.
Yes! Most of my deep bass techniques come from working with 808s in Trap and Hip Hop. I just find they cross over really well into other genres. Basically the overtones/saturation/distortion is the sauce. Sometimes you want to enhance what's already there. Sometimes you might need to reinvent what's there. Sometimes the 808 is perfect as is.
"Mixing With Reverb" launch sale is on until February 15th. weissadvice.com/products/mixing-with-reverb/ use the coupon code: REVERB20 ; for 20% off.
PULTEC BABY.
Also! A future video request if you're willing... Sometimes we gain match according to average or perceived level so that we're not fooling ourselves when it comes to what we're adding or taking away from a given sound (say, when we're saturating) but there's definitely some times when you want to hear the change in level that's occurring and (again, situation dependent) just match the peak value. I'd like to hear some insights into your workflow on occasions when you believe one approach is more appropriate than the other and vice versa.
I have video here that explains some of my thoughts on level matching - I think it's more valuable for demonstration than it is for mixing tbh:
th-cam.com/video/ulbzTw6Od1o/w-d-xo.html
Lol make sure you listen to this video on NX7s, auratones, or a phone speaker. JUST KIDDING
I did listen on a laptop earlier today. The early examples are definitely a little underwhelming on small speakers - could've been pushed further for demonstration purposes. The last example however is nice clear.
@@WeissAdvice true! I know this because ironically I was actually listening on my phone speakers when I wrote that comment! That said-new iPhone speakers are surprisingly high fidelity for how small they are. I wouldn’t say I could hear the first few examples WELL, but I could hear them… and not thaaaat much worse than later when I listened again on monitors with a sub. Truly incredible how tech is evolving, I wonder if there’s any AI or sub harmonic enhancing trickery going on in new Apple phones kuz it really sounds at least as good as any modern TV or consumer computer speakers
@@WeissAdvice the new iPhones are also stereo when you hold them in landscape mode. And designed so when the phone is pointed at your face, there’s a true sense of L/R separation, even though the two speakers are like 6 inches from eachother. They must be doing something with phase to enhance the sides without affecting the center blend, if you can get your hands on an iPhone 13+ or 14+, listen to one of your own videos on it! If you haven’t done that before, I promise you’ll be impressed