HOW TO COMPRESS SUB BASS FULL

WHY IS THE LOW END SO DIFFICULT TO MASTER? The ultimate goal is to program the вЂmicroвЂ™ transient-spike to be long enough that it accurately hits you, but not too long where it becomes identified as something else getting the вЂspeaker coneвЂ™ to spike/punch you with the refraction (the upward thrust of the transient sound). In order for вЂpunchвЂ™ to properly translate across all systems, the вЂtransient spikeвЂ™ must be greater than that of a tom drum or Hi-Hat, but with a shorter sustain/release phase that follows making it TOO long will merely create a sustaining sound.

(I am NOT getting into the intricacies or various strategies involved with employing these methods, but rather, the various ways to get them sounding correct/satisfactory once youвЂ™ve successfully produced them).

The process changes slightly when dealing with an 808 (that you wish to bind the kick to) it started with Hip-Hop, gradually branched out to all the other genres, and now, manufacturing a kick/bass hybrid is standard practice.

NOTE: The simplest way to do so is by utilizing a вЂspectrum analyzerвЂ™ in order to gain a veracious perspective of both individual elements, and the frequencies of which they occupy that way, youвЂ™ll know the preciseВ areas that need to be manipulated. NOTE:В Although the conjoinedВ sum of these 2 components are known as the вЂlow end,вЂ™ I highly suggest (when mixing and producing) that you dissociate them from each other the kick and bass are 2 separate, yet equally critical, elements that contribute uniqueВ determinants that should NEVER be fighting for space.Д®ven when a kick or bass sound exemplary on their own, when combined, thereвЂ™s always that unfortunate possibility they could produce a completelyВ diverse/undesirable effectвЂ¦ this is why sound/sample selection is so vitally paramount.Д¬reating accurate space for each element routinely requires some meticulous sculpting, but choosing a kick and bass that clash from the start (e.g., share the same fundamental or occupy similar spaces) is NEVER in good practice I sincerely advise avoiding that. Truthfully, the only commonality these two elements share (in regards to composition) is the frequency-range of which they occupy. The kick, on the other hand, is designated as the driving/underlying force behind the percussiveВ sequence providing punch-leading, and driving the percussion. The bassВ is utilized as a songвЂ™s вЂfoundationвЂ™ and is the driving/underlying force behind all harmoniousВ elements.Д®ven though the patterns that constitute your bass line are known to change, itвЂ™s essenceВ does NOT, and the tone that youвЂ™re familiar with (in regards to being paired with the track) typically stays consistent as well. An inordinate amount of producers seem to think that the purposes/responsibilities of these 2 (highly distinctive) elements are synonymous when, in fact, they most certainly are NOT. When managing your low end, remember thisвЂ¦ whereas itвЂ™s habitually considered to be ONE factor, the low end is actually composed of VARIOUS contributing factors the 2 prominent ones being the вЂkickвЂ™ and the вЂbassвЂ™. The sensation of chest vibration is reported over a broad range of low frequencies, although it appears significantly more pronounced in mid-bass frequencies (around 100+ Hz), as opposed to lower bass (below 60 Hz). Two of the most illustrious effects of вЂhigh-level,вЂ™ low frequency sound is what can be вЂfeltвЂ™ more than heard (the sub range) as well as what we refer to as the вЂpunchвЂ™. In fact, it is commonly said that low enough frequencies are solelyВ felt, and not actually heard at all.

HOW TO COMPRESS SUB BASS FULL

The main reason why the вЂlow endвЂ™ is so crucially important when attempting to achieve a full sound is because, without the weight and foundation of palpableВ low frequencies, the listening experience can be characterized as unsatisfactory or insufficient (seemingly hollow/empty), as strong bass is oftentimes described as being FELT just as much as it is heard.

How to compress sub bass