Dubstepforum.com

this thread=make the base loud, but not 2 loud also dont make it boring 2, but also, keep it boring

#basscannon

I have a question...

Is it normal to separate the tracks for the dropworks and sub bass?

And how would I go about pitching up the sub bass audio to match a similar pitch change in a dropworks track or should I just leave the sub bass alone?

test_recordings wrote:

Samuel_L_Damnson wrote:I would just lowpass at 30 hz unless u are playing some very low notes. 50 is too high imo

Do you mean highpass? There aren't many notes between 20 and 30Hz to make it worth it

Lol yea I meant high pass. Well I don't rly see the point in high passing so I keep it low so there's no chance of it messing up any low notes.

dansci wrote:I have a question...

Is it normal to separate the tracks for the dropworks and sub bass?

And how would I go about pitching up the sub bass audio to match a similar pitch change in a dropworks track or should I just leave the sub bass alone?

You could use MIDI.

NinjaEdit wrote:

dansci wrote:I have a question...

Is it normal to separate the tracks for the dropworks and sub bass?

And how would I go about pitching up the sub bass audio to match a similar pitch change in a dropworks track or should I just leave the sub bass alone?

You could use MIDI.

Yeah I'm still a noob to navigating this stuff so I'm generally clueless...

When I use midi, and I play the sub bass, I usually get a clicking noise between the notes. But when I convert the individual midi notes into audio and string em together like in the same track, I get rid of the clicks. It's pretty good except for when doing modulation or pitching.

Try adjusting your attack and release.

Or put a lowpass at the end of ur signal chain.

Trichome wrote:

Banesy wrote:I am calling you out only because your comment misleads people into over processing a sub.

which is why I said "layer that shit up"

anyway my point was that you don't need a pure sine to have heavy sub. in fact I almost always drive my subs a bit because it reduces the dB level but sounds audibly the same volume (allowing you to turn it up louder and get ridiculous amounts of bass in your tune without it clipping or overpowering everything) I can almost guarantee the majority of tunes with good subs aren't pure sine waves. listen to a Commodo tune and theres your proof.

just cos you've only ever managed to make good sub basses with pure sine waves doesn't mean making good processed ones is impossible...

You are very right. There are tons of ways to make subs and people should most Def experiment and be creative. I think sub issues more so come from mixing them wrong so people should probably start with a sine wave and learn how to make it work before getting complicated.

dansci wrote:I have a question...

Is it normal to separate the tracks for the dropworks and sub bass?

And how would I go about pitching up the sub bass audio to match a similar pitch change in a dropworks track or should I just leave the sub bass alone?

Copy and paste the midi from your melodic part into your sub track....in Ableton at least it copies the pitch evelope and pastes it. Set your sub synth patch to the same pitch bend parameters and you are all set.

dansci wrote:

NinjaEdit wrote:

dansci wrote:I have a question...

Is it normal to separate the tracks for the dropworks and sub bass?

And how would I go about pitching up the sub bass audio to match a similar pitch change in a dropworks track or should I just leave the sub bass alone?

You could use MIDI.

Yeah I'm still a noob to navigating this stuff so I'm generally clueless...

When I use midi, and I play the sub bass, I usually get a clicking noise between the notes. But when I convert the individual midi notes into audio and string em together like in the same track, I get rid of the clicks. It's pretty good except for when doing modulation or pitching.

This is where low passing comes into play. I use FM8 for my sub and it has a terrible click to it. If I setup a lowpass filter at 100hz, it takes the clicking out.

on this sub/sine ting

vivek says he uses square waves always because they give him more harmonics

RKM wrote:on this sub/sine ting

vivek says he uses square waves always because they give him more harmonics

Yeah, it's pretty popular thing to do. I confess that I don't know who is Vivek, but anyways, square and triangle waves have that odd harmonic which usually sits nicely between kick and the snare if they are in key. For example if you write you song in G, you would have your sub around 50Hz, kick around 100Hz and snare around 200Hz. The odd harmonic from square/triangle sub ends up being around 150 Hz, so it doesn't clash with snare or kick that much. Tbh I think triangle works better since it's like a square with less mid/high end content, so you don't have to lowpass it so heavily.

Banesy wrote:

dansci wrote:

NinjaEdit wrote:

dansci wrote:I have a question...

Is it normal to separate the tracks for the dropworks and sub bass?

And how would I go about pitching up the sub bass audio to match a similar pitch change in a dropworks track or should I just leave the sub bass alone?

You could use MIDI.

Yeah I'm still a noob to navigating this stuff so I'm generally clueless...

When I use midi, and I play the sub bass, I usually get a clicking noise between the notes. But when I convert the individual midi notes into audio and string em together like in the same track, I get rid of the clicks. It's pretty good except for when doing modulation or pitching.

This is where low passing comes into play. I use FM8 for my sub and it has a terrible click to it. If I setup a lowpass filter at 100hz, it takes the clicking out.

Did you try adjusting the release in FM8? But default there's no attack or release.

I process my sub like you would a bass guitar. Sub mixes and running through amp/cab emulation.


Essentially - this :

Nice, I was thinking of reamping one through a proper valve amp. That way even a simple reece would sound phat as fuck...

Lo There.

Usually I Just resample a sub note.
You'd tell me why to resample?
Well because when you use a resonant filter to fatten up the note of your key, and then move to another key your resonant peak will be screwed and will change your sub volume.
Sub has to be consistent volume always, that's what I've learnt.
So you'll keep that fat note without volume changes.
Just add in your sampler an LFO to your pitch or amplitude.
Dunno maybe saturation?
The trick is automating that LFO, not just the rate but even more important the AMPLITUDE of the LFO (how much the lfo affects parameters to wich is assigned).

my 2 cents.


Oh! I almost Forgot. I just noticed this on a Killawatt tune.
He uses MAXXBASS....it gives an incredible thickness hard to reproduce without it.

Hashkey wrote:Well because when you use a resonant filter to fatten up the note of your key

I used to do this with keyboard follow on the filter cutoff so no resampling. don't still know how accurate it really is, probably depends on the synth.

RKM wrote:what's a good frequency in general for high passing subs, (why did i hear mala does like 50hz, tried doing that and it was almost inaudible)

Samuel_L_Damnson wrote:I would just lowpass at 30 hz unless u are playing some very low notes. 50 is too high imo

NinjaEdit wrote:A good place to hit is 45hz (E-F), so 30Hz is far too low.

I've never hi passed my sub... New information. Is it necessary?

I thought he meant lowpass. Highpassing the very lows out of your mix would help give you some headroom. If you're using an unprocessed sine it shouldn't make difference.

shit always get that wrong