Dubstepforum.com

option B (pop and implode)

do a couple of mixes and save them as very clearly marked files
then burn a cd with all the different mixes

check them on a range of home stereos, headphones and car stereos

then choose your favourite

without a proper set of monitors and control room its probably the best way

Frequency Analise are your friend

I like to have the sub sitting at around 50-55 Hz otherwise people seem to complain that their Hi-Fis aren't playing it. Also if you have logic the sub bass pluggin is don.

-JQ- wrote:Well.. since i only got some headphones to work with and a lack off sub.. i can only know what my finished beats sound like through the phones...

So quick question..

In my mixing down process, do I need to lower the sub more than usual so after i compress it, it's not louder than normal??
compensation early on for the volume lift the track's gona have after the compression if you like..

how the hell am i suppose to mix something i cant barely hear? lol

How does everyone else (with & without a sub) deal with mixing in the sub bass..
or do u just put it as loud as you can and complain you had shit speakers after they pop & implode?

Thats why its not a good idea to mix on headphones. At the moment I am in the middle of mastering my latest track and I can here the sub-bass notes at around 40-70 hz (depends on the notes you played).

I have NO sub woofer. Only good monitors in a room with acoustic treatment (bass traps/foam tiles and diffusers/mini diffusers) and I can HEAR & FEEL the bass. Its shaking the desk/room.

Using proper compression to keep you sub at a constant level is key to a strong bottom end but placing it in the mix takes some practice. I prefer it to be just under the kick drum in terms of level. Also make sure you roll off all below about 30hz before going into a compressor and roll of any mid-high frequencys you cant hear on your sub too.

Rendr wrote:Frequency Analise are your friend

income the 'ears not eyes' purists

Rendr wrote:I like to have the sub sitting at around 50-55 Hz otherwise people seem to complain that their Hi-Fis aren't playing it.

If you're making Dubstep then that's their problem - you cant control the quality of the speakers people are listening to your music on


Just A/B on a wide range of systems with tunes you aspire to

faun2500 wrote: Thats why its not a good idea to mix on headphones.

depends what headphones.

in ear headphones work well for sub bass. It doesn't matter really what you are using for the mix as long as you are use to it.

I play music on my Sony walkman every day for a few hours so I use the same headphones for mixing:D

as a rule of thumb i would probably say that you should mix your sub bass a bit quieter than you think you should.

and yes play your mix on as many systems as possible - i use my monitors, some nice hi fi speakers and headphones. also got a mate who is kind enough to play my stuff in fabric early on, which is a pretty good way of telling how your mix sounds

james fox wrote:as a rule of thumb i would probably say that you should mix your sub bass a bit quieter than you think you should.

Agreed on this, very strongly!

Err on the side of careful when it comes to subs. I may just be speaking for myself but I much prefer to bring up sub than bring it down in mastering.

Too-loud subs that sit right next to the kick are a real PITA to sort out

man ive got the seinheizer 215. i must say i think they're pretty good for listening to tracks on the train, but for EQing they're a nightmare. When i listen to anything ive EQed with them on, afterwards every other system sounds like the track lacks in bass.

just my bit of expirience.

terasene

terasene wrote:man ive got the seinheizer 215. i must say i think they're pretty good for listening to tracks on the train, but for EQing they're a nightmare. When i listen to anything ive EQed with them on, afterwards every other system sounds like the track lacks in bass.

just my bit of expirience.

terasene

Pro headphones not ones for DJ monitoring
check
http://www.dubstepforum.com/viewtopic.p ... headphones

If my sub is pure sine (mostly still not) i cant see any point of using compressor, just eq. Or still....?

There's less point eqing a pure sine than compressing it.

Using a nice compressor can generate all sorts of overtones etc in the signal ('warmth' if you will). This can give greater projection/definition, and help with as well as audibility when a system's sub reproduction is rubbish. Emphasis here is on nice comressor though

Eqing after that compressor (ie once the harmonics are a part of the signal) can also help give nice results. Eqing a pure sine is pointless

ok then, good to know

Looks like have to read about compressors again. But how does compressor produces harmonics? I assume cutting the peaks of sine?

The moment something isn't a pure sine wave, it has other content of some sort. The moment something isn't a pure sine wave, it has other content of some sort. The moment something isn't a pure sine wave, it has other content of some sort.

So important I said it three times

Even very very very very very gently rounding the very tops of a sine makes it not a pure sine any more = harmonic content. In fact, impossible not to distort it. A sine is the purest signal there is, the most simple. It is a contradiction in terms to say 'impure sine'. This is basic physics/theory.

The particular shape of the transfer curve and perhaps time constants etc etc - ie the way a compressor or processor distorts the sine wave - will affect the harmonic distribution produced. This is in part what gives different compressors their different sounds.

BTW 'distortion' here is the word in its purest sense, not 'distortion plugins' or fuzzboxes whatever.

Generate a sine wave and distort it differently, listen to the different sounds you get from digital clipping, soft fuzz, a good compressor etc etc etc.

You can look in an analyser too, but that won't tell you too much about how it sounds. get to know the different sounds of different processes and it becomes a useful tool.

a too-loud sub will take away from the impact of the tune. seriously. deep sine wave bass makes things (on a proper rig) feel full, round, warm, thick... but not banging.

provided your sub stays w/in a simple range (say, an octave and half) which is what probably 90% of dubstep tunes do, and your synth is playing at nera max-velocity all the time (again, really reall common) there's really no reason to compress sub-- unless you're looking for the distortion artifacts that Macc mentioned.

in that case, distort/compress away.

in my experience, tunes that have a very compressed sub region tend to sound "contained" and less-than-bangin. some things respond really well to compression, and get a really exciting bigger-than-life sound. Low-pitched sine waves are generally not one of them.

hmmm, to add more mess

http://www.kvraudio.com/forum/viewtopic ... 5805130d81

http://www.gearslutz.com/board/rap-hip- ... -bass.html



Maybe just interesting to read. I will read...and practice...

alvin18 wrote:If my sub is pure sine (mostly still not) i cant see any point of using compressor, just eq. Or still....?

Thats just crazxy talk! lol

You still need to use compression and eq even if its a pure sine wave. Especially to roll of below 30hz. This is just to control the dynamics and keep the sub at a constant level when its playing different notes. The eq bit is to clear out some bits that are gonna suck-up your headroom when mixxing.

Doing things like this can be the difference between a good and bad mix. But dont take my word for it. Google some big name engineers and get their tips on bass and the compression of.