- Started from the bottom bass boosted how to#
- Started from the bottom bass boosted full#
- Started from the bottom bass boosted series#
- Started from the bottom bass boosted tv#
it's less common on basses due to the changing nature of the root note, but it's still been done to add some heft. This is super common on kick drums, to add a gated 50-60hz sine (sometimes with a little distortion for missing fundamental).
Started from the bottom bass boosted full#
Low frequencies on a bass guitar are full of odd harmonics that just fill the spectrum with "mud".įor this, you also do a high passing filter (just like you would with missing fundamental) but in this you add a triggered or gated sine wave to augment a lower note. Waves patented an algorithm to do this, and created MAXXBASS as probably the most well known plugin to use missing fundamental to give the illusion of more bass. Your brain will hear "60hz" even though it's not even there. I.E., if you have a note at 60hz, create a harmonic at 120hz, 240hz, etc and then reduce the fundamental. Only if you take that and add more even order harmonics, you can eventually remove the fundamental tone and hear very little difference. Don't we already know that from somewhere? TUBES! In other words, 2nd harmonic distortion can be used to make something sound "more full". The human brain will reconstruct frequencies from higher overtones that your ears hear. Etc, don't have the size or excursion to reproduce much below 100hz, nevermind 60hz or lower.Įasy.
![started from the bottom bass boosted started from the bottom bass boosted](https://i1.sndcdn.com/artworks-000082953439-rlh21h-t500x500.jpg)
Started from the bottom bass boosted tv#
How do they make it sound so big from such small speakers that don't have the frequency response to reproduce those low frequencies? Earbuds, bookshelf speakers, TV speakers, small car speakers. Here's a Youtube vid with examples that I found.Īnd another with more mathmatical explanation.Įverybody seems to think that they need huge bass frequencies to make a recording with "huge bass" frequencies, however, they don't ask the question: Harmonic synthesis using the missing fundamental theory.Įn./wiki/Missing_fundamental if you don't believe ME, go watch a bunch of Pensado's place and he uses these a ton of times.ġ. There are TWO ways to do this, usually used together.
Started from the bottom bass boosted series#
There's a 500 series hardware of it as well from Little Labs.īut here's how it's done. I just like resonant filters anyway, so this product has got my attention. It is a high pass filter with a resonant peak at the cutoff frequency, so you can theoretically get a really big boost at some low end part, without a wall of subs behind it. I haven't tried it yet, but I'm really curious about the UAD Little Labs VOG Voice Of God.
Started from the bottom bass boosted how to#
I am just completely into this sound, right now, so I'm learning more about how to do it right. Using a compressor or limiter on the mix bus is just like any other compression scheme, you have to spend the time getting the ratios, attack, and release behavior right, or you can end up with either a pumpy distorted mess, or a really smooth and loud mix, or something in between. Some of the stereo compressors have a sidechain HPF that can help with this, allowing the compressor to pump less with every kick. You have to be careful not to push it too far, though, because it can be overpowering and make the mix sound smaller. If you start boosting under 100 Hz on your kick drum, you'll get this massive whump under everything with a lot of power to it, that will really drive the master limiter or compressor. Kick drum transients exist in a very, very low frequency. For example if the drum transients are already at the top most level of your basic mix, which is pretty common, the bus dynamics processor will take care of that, just by pushing the fader up on the drum. You still might need it though for uneven performance dynamics on individual instruments.
![started from the bottom bass boosted started from the bottom bass boosted](https://i.ytimg.com/vi/4Hqzsi913XU/sddefault.jpg)
This is the Andy Wallace school of thought. When you're using a mix bus compressor or limiter, you can get away with far less compression on individual tracks. And by leveling up the quieter sustain elements, you might be using the Fletcher Munson curve to an advantage, if you are wanting to hear bass, which the human ear is much less sensitive to than mid frequencies. I think a lot of transients sound "bright," so by filtering them out a bit, you're left with an overall bassier sound, subjectively.
![started from the bottom bass boosted started from the bottom bass boosted](https://i.ytimg.com/vi/jkJB1rnEiO8/mqdefault.jpg)
This will pump up everything all at once, including the bass frequencies. A compressor and a limiter react a little differently, so it's good to experiment with both. I think a good place to start is mixing with a limiter on the master bus, like Fabfilter Pro-L or something, and/or the Andy Wallace trick of an SSL at 4:1 ratio driving anywhere up to 8 dB reduction. I'm actually kind of excited by it, and really prefer this type of mix. I think BIG BASS is the sound of now, along with loudness, and limiting or heavy compression.