Create a sub kick by lowering the octave of the kick drum
Problem: weak or thin kick drum
To build a powerful low-end foundation, the kick drum's octave is lowered to emphasize the sub frequencies. This creates a deeper, more impactful kick that serves as the backbone of the low end. This technique is…
Use the 'Marty' mode in Dangan to increase precision in the low-end frequency range
Problem: imprecise low-end frequency cutting
The 'Marty' mode in Dangan adjusts the size of the frequency 'beans' in the spectrum display, making it easier to target and cut problematic low-end frequencies. This is especially useful when working with bass-heavy…
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…
Use triangle wave for sub bass design
Problem: lifeless sub bass, flat low end
Triangle waves are preferred over sine waves for sub bass because they contain more harmonics, making the sub bass feel fuller and more dynamic. Sine waves are pure tones with no harmonics, which can make the sub bass…
Use envelope modulation for punchy sub bass
Problem: sub bass lacks punch, buried in mix
Modulating the pitch envelope on the sub bass with a short attack and decay can add punch and definition. This technique helps the sub bass cut through the mix without being too harsh. The envelope's range controls the…
Cut high frequencies on sub bass to avoid muddiness
Problem: muddy low end, sub bass clashing with other elements
Rolling off high frequencies on the sub bass helps prevent it from clashing with other bass layers and mid-range elements. This ensures the sub bass remains focused on its role in the low end while allowing the other…
Use a frequency analyzer like Span to identify sub-bass
Problem: inability to hear sub-bass on small speakers
Using a frequency analyzer like Span helps identify problematic sub-bass frequencies that may not be audible on small speakers or headphones. This allows you to make informed decisions about how to control the low end…
Use a low shelf at 14Hz to sculpt sub-bass
Problem: boomy low end, poor loudness and translation
A low shelf at 14Hz helps control the very low frequencies without completely removing them. This keeps the sub-bass present but under control, preventing it from overwhelming the mix. This is especially important in…
Use dynamic EQ to reduce sub-bass during transients
Problem: sub-bass overpowering during transients
A dynamic EQ can be used to reduce the sub-bass only when the low-frequency transients hit. This helps maintain the presence of the sub-bass while preventing it from overpowering the mix during loud sections. This…
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 EQ to carve space for the kick in the low end
Problem: muddy low end, kick buried under bass
The kick and sub-bass often compete in the 80-200Hz range, causing muddiness. By cutting a narrow shelf or notch in the bass around 150-200Hz, the kick can sit more clearly without losing its punch. This is a common fix…
Use reference tracks to evaluate sub bass presence
Problem: unclear sub bass presence in mix
The producer references a track by Crochet to evaluate how the sub bass should be used in the intro. This is a common practice in mixing to ensure that the sub bass is present and impactful in the same way as in…
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 EQ to shape sub bass intro for better clarity
Problem: sub bass overpowering intro elements
The sub bass can be overwhelming in the intro if not properly shaped. By using an EQ to gradually bring the sub back in, the producer ensures it doesn't overpower the other elements. This technique allows for a smoother…
Avoid cutting too much low end from the sub bass
Problem: losing sub bass weight by over-cutting
While shaping the sub bass with EQ, it's important not to cut too much of the low end, as this can remove the essential weight and presence of the sub. The producer in the video is cautious about this, ensuring that the…
Experiment with sub bass intro timing and automation
Problem: static sub bass intro that doesn't build naturally
The producer experiments with the timing of the sub bass intro and uses automation to control its presence. This allows for a more dynamic and engaging intro that builds up naturally. It's a common workflow in electronic…
Layer different bass types for a full and dynamic bass sound
Problem: thin or one-dimensional bass
Layering a traditional sub, a mid bass with body, and a second mid bass with more aggression and clarity creates a full and dynamic bass sound. This approach combines the best of both FM and traditional bass styles,…
Layer different bass types for a full and dynamic bass sound
Problem: thin or one-dimensional bass
Layering a traditional sub, a mid bass with body, and a second mid bass with more aggression and clarity creates a full and dynamic bass sound. This approach combines the best of both FM and traditional bass styles,…
Use a volume shaper to time the sub to avoid clashing with the kick
Problem: kick buried under sub, lack of rhythmic clarity
The sub is only played on the second half of the beat to give the kick full priority on the first half. This prevents the sub from masking the kick and ensures the kick can punch through clearly. This technique is…
Use a volume shaper to control the timing of the sub for rhythmic clarity
Problem: kick buried under sub, lack of rhythmic clarity
The volume shaper is used to ensure the sub only plays on the offbeat, giving the kick full priority on the downbeat. This is a crucial step in maintaining rhythmic clarity and ensuring the kick can be felt and heard…
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 sub oscillator to deepen the bass
Problem: weak or thin-sounding bass
Adding a sub oscillator to the bass adds more low-end depth and weight, making the bass feel more powerful and present in the mix. This is especially useful in genres like house and trance where a strong, punchy bass is…
Set kick to peak at -12dB and sub-bass to average -20dB for proper gain staging
Problem: clipping or muddiness in low end
Setting the kick to peak at -12dB and the sub-bass to average -20dB ensures proper gain staging and prevents clipping. This is crucial for maintaining headroom and ensuring the low end is balanced and clear. This…
Adjust the sustain of the sub bass to match the rest of the track
Problem: sub bass doesn't match track dynamics
If the sub bass has a plucky envelope and the rest of the track has sustained elements, the sub bass may not match the dynamics. Increasing the sustain of the sub bass ensures it aligns with the rest of the track and…
Add sub-bass sine wave for low-end weight
Problem: thin low end, lack of impact
Layering a sine wave sub-bass with the lead adds depth and physicality to the sound. The creator uses a separate oscillator set to sine wave and detuned slightly for thickness. This technique is critical in genres like…
Use a long kick and fat sub bass for Drumcode-style low end
Problem: thin or undefined low end
Drumcode bass relies on a long, sustained kick and a thick sub bass to create depth. The kick's extended decay interacts with the sub's low-frequency energy, producing a resonant, room-filling low end. This approach…
Use mono processing for sub bass to enhance clarity
Problem: muddy or indistinct sub bass
Routing the sub bass to mono focuses its energy in the center of the mix, reducing phase cancellation and making it more impactful. This is especially useful when layering with other low-frequency elements. The technique…
Apply distortion to sub bass for harmonic richness
Problem: lifeless or flat sub bass
Adding subtle distortion to the sub bass introduces harmonic overtones that enhance its presence in the mix. This technique adds warmth and complexity to the low end without compromising its fundamental frequency. The…
Use linear phase filtering for clean sub bass cutoff
Problem: muddy or resonant sub bass
Applying a linear phase high-pass filter to the sub bass removes unnecessary low-end frequencies while preserving phase coherence. This technique ensures the sub bass sits cleanly in the mix without introducing phase…
Identify and align sub-bass for better low-end cohesion
Problem: incoherent low end with layered bass
When working with complex bass layers, it's important to identify the sub-bass (the lowest octave) and align it with the kick. The top-bass layers (higher octaves) don't typically interfere with the kick and can be left…
Use linear phase EQ for precise low-end shaping
Problem: phase issues when shaping low end
Linear phase EQ avoids phase shift that can occur with standard EQs, making it ideal for precise low-end shaping. This is especially useful when splitting a bass into sub and top sections, as it maintains the integrity…
Split bass into sub and top sections for better control
Problem: lack of control over bass frequencies
Splitting the bass into sub and top sections allows for more precise control over the low-end and mid-range frequencies. This is especially useful when working with samples or synths that don't have perfect alignment. By…
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…
Remove low end under 100Hz from plucks to avoid clashing with sub bass
Problem: plucks clashing with sub bass, muddiness in low end
Plucks with low-end energy below 100Hz can compete with the sub bass, causing muddiness. By cutting this range, the plucks become more transparent and allow the sub bass to sit clearly in the mix. This is especially…
Boost 40-60Hz to add low-end weight to kicks
Problem: kick lacks low-end presence
Kicks with insufficient low-end (sub-100Hz) can sound hollow. Boosting the 40-60Hz range with a shelf EQ adds body and weight without overloading the mix. This is particularly effective for electronic samples that lack…
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…
Use a sub harmonic generator to add weight to bass
Problem: weak low end, lack of bass weight
When the original bass recording lacks low-end energy, a sub harmonic generator (like 'Infinity Bass' or 'R Bass') can synthetically add sub frequencies. This avoids over-boosting the existing low end, which may not have…
Sub harmonics are essential when the recording lacks low-end energy
If the original bass recording doesn't have sufficient low-frequency content, relying on boosting alone won't fix the issue. Sub harmonic generators are necessary to synthetically add the missing weight, as they create…
Use a sub oscillator to enhance the low-end of the bass
Problem: weak or missing sub-bass
Adding a sub oscillator to a bass synth provides a deeper, more powerful low-end. This is especially useful in genres like house and trance, where a strong sub-bass is essential for the track to feel full and impactful.…
Cut 30Hz on bass to reduce phase cancellation
Problem: phase cancellation in sub-bass range
Removing the sub-bass (30Hz) from the bass track eliminates phase interference with the kick. This is a common fix in trance and melodic techno, where sub-bass frequencies can clash with kick transients. However, the…
Limit bass frequencies to 32-64Hz for sub bass clarity
Problem: bass lacking punch or clarity
Move bass notes to the ideal sub bass range (32-64Hz) to ensure they are felt rather than heard. The speaker demonstrates this by transposing notes up an octave, maintaining power while avoiding muddiness. This is…
Use envelope view to align kick and sub levels
Problem: kick masked by sub, weak low-end punch
The envelope view shows the amplitude relationship between the kick and sub. If the sub's envelope is too loud during the kick's transient, it masks the kick's punch. Lowering the sub's level during the kick's attack…
Check phase correlation in low-end frequencies
Problem: thin or weak low end due to phase issues
Phase correlation between kick and sub can cause cancellation in the 60-120Hz range. The phase view in the plugin shows if the waveforms are aligned or inverted. If they're out of phase, the low end loses power and…
Mistake: ignoring phase correlation in low-end frequencies
Problem: thin low end, phase cancellation
Producers often skip checking phase alignment between kick and sub, assuming volume alone determines clarity. This oversight leads to thin, weak low ends due to destructive interference. Phase issues are subtle but have…
Monitor side chain for low-end competition
Problem: muddy low end, competing kick and sub
Using the side chain feature to route the kick to the sub's channel reveals how much the kick is affecting the sub's frequency range. If the sub's level drops significantly during the kick's transient, it indicates a…
The low end is a competition — kick and sub can't both live at the same frequency
Problem: muddy low end, unclear frequency roles
This mental model reframes low-end mixing as a spatial problem rather than a volume problem. Instead of boosting frequencies, the focus shifts to carving space for each element. This approach prevents muddiness by…
Use spectrogram view to analyze sub range below 250Hz
Problem: muddy low end, unclear kick/bass separation
The plugin's spectrogram view reveals how kick and bass frequencies interact in the sub range. By visualizing this, producers can identify overlapping frequencies that cause muddiness. This is particularly useful in…
Use aggressive low-pass filtering for sub-bass drones
Problem: high-frequency content masking low-end presence
To create a deep, sub-bass-focused drone, apply heavy low-pass filtering to remove high-frequency content. The speaker explicitly mentions cutting 'a lot of the high sounds' to achieve a 'super low' drone effect, which…