Balance kick and bass fundamentals for a cohesive low end
Problem: muddy or weak low end, kick and bass not working together
The relationship between the kick and bass is crucial for a clear and punchy low end. If the kick feels too quiet or buried, it may be due to the bass overpowering the low frequencies. Conversely, if the kick is too loud…
Avoid over-reliance on plugins for low-end issues
Problem: overusing plugins for low-end issues
Many producers reach for complex plugins to fix low-end problems, but the solution often lies in simple level adjustments and frequency balancing. The key is to focus on the fundamental frequencies of the kick and bass…
Focus on fundamental frequency balance for glueing kick and bass
Problem: kick and bass not working together
The glue between the kick and bass comes from their fundamental frequencies being in harmony. This doesn't require any complex processing — just careful listening and level adjustments. By ensuring that the kick and bass…
Use shelf filters to cut just above the low-end for clarity
Problem: low end is muddy, lacks clarity
Using a shelf filter to cut just above the low-end (e.g., 80Hz or 100Hz) can help remove muddiness while preserving the low-end presence. This technique allows the producer to clean up the low frequencies without…
Use a low-cut filter to remove unnecessary low frequencies
Problem: muddy or cluttered low end
Applying a low-cut filter helps to clean up the low end and prevent muddiness in the mix. This is especially useful for background elements that don't need to occupy the same frequency range as the kick or bass. The…
Cut sub bass frequencies (around 110Hz) to avoid clashing
Problem: muddy low end from overlapping sub bass frequencies
Cutting the sub bass frequencies (around 110Hz) in each bass layer helps prevent them from clashing with each other and with the kick drum. This is especially important in genres like trance and house where the low end…
Reduce muddiness in the 250-500Hz range for clarity
Problem: muddy and unclear low end
The 250-500Hz range is a common area where basses can become muddy. Reducing this range in each bass layer helps to clear up the low end and make the bass section more defined. This is especially useful in genres like…
Use a low cut to maintain clarity in the low end
Problem: low end feels muddy or unclear
The speaker mentions the importance of applying a low cut to maintain clarity in the low end of the track. This helps prevent muddiness and ensures that the bass and kick can coexist without clashing. A low cut can be…
Use a plugin like TITARSON to control low-end
Problem: uncontrolled low end, poor translation
TITARSON is a plugin that helps control the low-end by grabbing and holding the sub-bass frequencies. Setting the crossover to around 80Hz and reducing the level by 2-3dB helps keep the sub-bass under control while…
Use Tight Arse to control and tighten the low end
Problem: boomy or undefined low end
Tight Arse is a plugin that helps control the low end by tightening up the bass and making it more punchy. It prevents the low end from becoming too boomy or undefined, which can make the track sound muddy. This is…
Balance sub bass with higher frequency elements
Problem: sub bass clashing with higher frequency elements
The producer notes that the sub bass may be overpowering because the higher frequency elements in the chords are not as lush or present as in the reference track. This highlights the importance of balancing the sub bass…
Use a low cut on the sides only to clean up the low end
Problem: muddy or loose low end
Cutting frequencies in the side information (stereo field) at around 80Hz helps remove unwanted low-end energy that's not centered. This makes the low end tighter and cleaner, especially for vinyl mastering. It also…
Cut frequencies below 20Hz to control sub-bass
Problem: uncontrolled sub-bass
Frequencies below 20Hz are often not audible on most consumer speakers but can still affect the overall feel of a track. Cutting this range with a low shelf helps control the sub-bass and prevents it from overwhelming…
Add a subtle boost around 40Hz to enhance low-end punch
Problem: lifeless or thin low end
After cutting the very low end, adding a small boost (around 1dB) at 40Hz can enhance the punch and presence of the low end. This helps the bass and kick sit better in the mix without making the low end feel too thin or…
Add a dynamic 240Hz boost for low-mid weight
Problem: low-mid lacks weight, track feels thin
A dynamic EQ set to 240Hz with a slightly wider Q can be used to add weight to the low-mid range. This helps the track feel more present and full, especially during transitions or when the low end needs more impact. The…
Use a combination of EQ techniques to achieve a tight low end and open top end
Problem: lack of balance between low and high end
Combining a mono low end with an open, dynamic top end using EQ can create a more balanced and professional-sounding mix. This approach is especially effective in dance music, where a tight low end and a wide, open top…
Use glue compression on low-end bus for smoother kick/bass interaction
Problem: muddy low end, competing kick/bass
Applying a compressor to the low-end bus (kick + bass) with slow attack and fast decay helps smooth out transients while maintaining punch. The visual representation of the compressor's effect on the waveform helps…
Maximize low end for glue and impact
Problem: weak or muddy low end
Using a maximizer on the low end bus enhances the punch and presence of bass and kick without over-compressing. The speaker shows this by applying Ozone's maximizer to the low end, making the bass and kick feel more…
Side-chain the rumble to the kick for rhythmic pulsation
Problem: static, unmoving low-end
Routing the rumble sound through a sidechain filter that opens on the kick's attack creates a pumping effect. This adds rhythmic movement to the low-end, enhancing the techno track's groove. The technique is common in…
Cut low frequencies from rumble to layer with sine wave sub
Problem: muddy, overlapping low frequencies
Removing sub-bass frequencies (below 60Hz) from the rumble allows a sine wave synth to occupy the lower register. This creates a clear separation between the rumble's mid-low frequencies and the sub's fundamental tone,…
Fix low-end issues in mixing, not mastering
Problem: over-reliance on mastering for low-end fixes
The speaker emphasizes that mastering should not be used to fix fundamental low-end problems (e.g., kick and bass masking). Instead, these issues should be resolved during mixing using techniques like high-pass filtering…
Use mid-side EQ to tighten low-end stereo imaging
Problem: phase issues in low end, poor mono compatibility
The speaker recommends using mid-side EQ to make the low end (60-250Hz) mono in the side channel. This prevents the bass from becoming 'phasey' or 'wobbly' on mono systems. By cutting 60-250Hz in the side channel with a…
Avoid over-cutting in mid-side EQ for warmth preservation
Problem: over-cutting in mid-side EQ, loss of warmth
The speaker warns against aggressive cuts in the mid-side EQ's side channel, as this can remove natural stereo width and warmth from the low end. Instead, they recommend using a gentle slope (e.g., 6dB/octave) and…
Use mid-side EQ to cut low frequencies in the sides only
Problem: bass sounds loose, low end is smeared
Low frequencies in the side channels can make the bass sound loose and smeared. By applying a low cut (e.g., 80-120Hz) to the sides using a mid-side EQ, you tighten the low end and make the bass sound more central and…
Apply dynamic EQ in mid channel at 160Hz with fast release and slow attack
Problem: narrow mix, muddy low end
A dynamic EQ cut at ~160Hz in the mid channel (not stereo) with 2dB dynamics and 3.5 cue setting creates space for low-end transients. Fast release (quick in/out) adds movement while slow attack lets bass transients…
Dynamic processing in mid channel creates rhythmic low-end movement
Using dynamic EQ in the mid channel (not stereo) allows for targeted frequency shaping that responds to transients. This approach avoids stereo width loss while adding rhythmic energy to the low end. The technique…
Layer two base sounds for pumpy low end
Problem: muddy or weak low end
In the example, two base layers (kickstart and sub) are used to create a pumpy low end. This technique is common in big room and progressive house to add depth and impact to the bass. Layering ensures the low end remains…
Apply low-cut filtering to pads for clearer low-end definition
Problem: muddy low-end from pads
The speaker applies a low-cut to pads to prevent frequency masking with other elements. This is critical in techno mixes where sub-bass and pads compete for space below 200Hz, ensuring clarity without losing pad texture.
Use the 'septer test' to evaluate low-end clarity
Problem: muddy or unclear low end
The 'septer test' is a method used to check the clarity and balance of the low end in a mix. It involves listening to the mix through a speaker or headphones while focusing on the interaction between the kick and bass.…
Use a sine wave bass for low-end support without clashing
Problem: muddy or clashing low end
Using a sine wave bass provides a clean and punchy low-end that doesn't interfere with other low-frequency elements in the mix. This is especially useful in trance and melodic techno where the low end needs to be present…
Use a sub bass in the 30-65Hz range for optimal power and clarity
Problem: sub bass is too low or too high
Setting the sub bass to fall between 30 and 65Hz ensures that it has enough power to be felt without being too low or too high. This range is ideal for sub bass because it provides a strong foundation without clashing…
Prioritize kick, bass, and snare before adding other elements
Problem: muddy low end, poor depth
Establishing the foundation with kick, bass, and snare first ensures proper low-end balance and depth. This approach prevents later elements from masking these critical frequencies and allows for more precise mixing of…
Refine low end with volume, EQ, and transient shaping
Problem: muddy or lifeless low end
After stress testing, adjust volume, use EQ to carve space, and apply transient shaping to enhance clarity and impact. Focus on restoring punch and presence if they're lost during limiting. This step ensures the low end…
Address low-end masking during production phase
Problem: Last-minute low-end fixes during mixing
Adjusting the 808's attack during production (not just mixing) can prevent low-end masking issues. This proactive approach saves time during mixing and ensures better separation between kick and bass. The speaker notes…
Adjust sub 100Hz region in kick if VU is too hot
Problem: overloaded low end, muddiness
When the VU meter indicates the kick is too hot (overloaded), reducing the sub 100Hz region helps prevent muddiness. This adjustment maintains the kick's punch while avoiding frequency clashes with bass elements. The…
Boost low end with EQ or sub harmonic generator
Problem: insufficient low-end energy, weak bass
When a bass lacks sub-100Hz energy, it feels weak and unsupported. Boosting this range with a shelf EQ or using a sub harmonic generator (like a plugin that adds harmonics below 20Hz) adds depth without overloading the…
Mistake: Overloading low end with presets or loops
Problem: overloaded low end, loss of clarity
Many presets and loops (e.g., from Splice) include excessive sub-100Hz content, leading to a 'boomy' mix that masks other elements. This is a common pitfall in genres like big room and progressive house, where overuse of…
Use side chain compression to resolve kick-bass clashes
Problem: kick-bass masking, muddy low end
When kick and bass compete in the 80-200Hz range, side chain compression on the bass (triggered by the kick) creates space for the kick to cut through. This is a staple technique in EDM and progressive house to ensure…
Mistake: Boosting low end without addressing harmonic content
Problem: thin, lifeless bass
Boosting frequencies without ensuring the necessary harmonic content is present can lead to a lack of energy and impact. For example, boosting a bass track that lacks sub harmonics will result in a thin, lifeless sound.…
Use a shelf instead of boosting to fix muddy low end
Problem: muddy low end, kick buried under bass
Over-boosting the low end can create muddiness. Instead, use a high-pass shelf to remove unnecessary sub frequencies (e.g., below 40Hz) and a low-pass shelf to tame excessive low-mid frequencies (e.g., 200-300Hz). This…
Address stereo inconsistency in sub-bass for better focus
Problem: disorienting low end, lack of focus
Stereo sub-bass elements can create a sense of disorientation when mixed with other low-frequency instruments. This is a conceptual insight into how stereo imaging affects low-end clarity. Producers should prioritize…
Narrow stereo image below 100Hz for low-end clarity
Problem: disorienting low end, lack of focus
Stereo information in the sub-100Hz range (common in synths like Reese) can cause disorientation and muddiness. Narrowing this to mono below 100Hz creates a focused, centered low end that complements a mono kick. This…
Avoid over-compression to preserve low-end presence
Problem: muddy or weak low end after compression
Excessive compression reduces dynamic range, causing the low-end to become less defined and punchy. The speaker demonstrates this by showing a VU meter dropping significantly after heavy compression, indicating lost…
Use high-pass and low-end boosts together to tighten and enhance low end
Problem: muddy low end, lack of definition
Applying a high-pass filter at 70Hz while boosting the low end below 16Hz creates a tighter, more defined low-frequency response. This technique allows the low end to remain present while removing unnecessary sub-bass…
Balance kick and bass frequency priorities
Problem: muddy low-end competition between kick and bass
The speaker notes that depending on the track, the bass can be 'forward of the kick' or vice versa. This highlights a workflow decision about frequency masking in the low-end. It's a conceptual approach to managing the…
Balance transience and low-end for clarity
Problem: muddy low end, unclear transients
Managing the relationship between transients (e.g., kick, snare) and low-end frequencies is crucial for a clear mix. The speaker highlights ensuring transients aren't masked by low-end content, which prevents muddiness.…
Adjust lows during mastering for balance
Problem: insufficient low-end presence
The speaker mentions boosting lows slightly during mastering to even out the frequency spectrum. This adjustment ensures the low end is present without overpowering other elements, maintaining a competitive loudness…
Phase in/out determines energy cancellation or addition
Problem: muddy or weak low end due to phase cancellation
When two signals are in phase (0°), their amplitudes add, doubling energy. When out of phase (180°), they cancel. This is fundamental to low-end clarity and sub-bass impact. Producers must ensure kick and bass are in…