Dubstepforum.com

deadly habit wrote:

Grimace wrote: so how come some tunes hit arround 35 hz 60 hz feels weak

http://www.gearslutz.com/board/masterin ... level.html
get some learn on

That Thread contains too many people agreeing with one another, it needs a splice of good old DSF arguments over stupid stuff like Mac vs PC or people who overuse their Burial inspiration

look at the people posting in it though

deadly habit wrote:look at the people posting in it though

Lol yep they're the big boys... But they're basically saying don't limit because it will fuck your tune up... I knew that anyway but have no other choice but to do it lol

some say to roll everything below 35hz then now i hear around 60hz?

When i look at my sub in a frequency analyzer although its a sine wav it looks like there are harmonics on lower frequencies, is it worth cutting the note harmonies bellow say.... around 20-30hz or do people leave them in, to get more bass vibration on club soundsystems, or would it just fuck up a speaker on a club system.

How about dont cut it at all unless it needs it - too many ppl doing things they dont need to bcos they read that someone else does them. I've never cut higher than 30hz and thats using a 36db filter (very important what type of filter is used as a 12db filter at this freq would make the bass sound very weak), sometimes even cutting that makes the track lose something so I dont cut at all depends on the sound. I think anything over 30hz is only gonna kill off the weight in your mix - killing the rumbles that the human ear cant hear in the 0-20hz region is the only point of filtering really. That goes for the mixing and mastering all too easy to have your tune castrated at the final hurdle by an engineer who doesn't know what they're doing and takes out too much sub, if that happens then no amount of turning up the bass on a DJ mixer will get it back.

The topic was brought up recently of automatically filtering below a certain level to give more headroom.

(Haven't read the whole thread but I'm guessing this is why you'd want to be filtering down there?)

the final agreement was that sometimes it gives you more headroom, other times it gives you less (due to it altering the phase relationships higher in the frequency spectrum)

lowpass wrote:The topic was brought up recently of automatically filtering below a certain level to give more headroom.

(Haven't read the whole thread but I'm guessing this is why you'd want to be filtering down there?)

the final agreement was that sometimes it gives you more headroom, other times it gives you less (due to it altering the phase relationships higher in the frequency spectrum)

Cheers lowpass , yes for the more headroom really. I will just leave it in cause it makes things rumble down low a bit more.

Sorry for digging, but I see no need in making a new topic.
What should be upper limit in sub bass? I'm finishing my 1st tune and I EQ'ed my sub like this:

rob sparx wrote:How about dont cut it at all unless it needs it - too many ppl doing things they dont need to bcos they read that someone else does them. I've never cut higher than 30hz and thats using a 36db filter (very important what type of filter is used as a 12db filter at this freq would make the bass sound very weak), sometimes even cutting that makes the track lose something so I dont cut at all depends on the sound. I think anything over 30hz is only gonna kill off the weight in your mix - killing the rumbles that the human ear cant hear in the 0-20hz region is the only point of filtering really. That goes for the mixing and mastering all too easy to have your tune castrated at the final hurdle by an engineer who doesn't know what they're doing and takes out too much sub, if that happens then no amount of turning up the bass on a DJ mixer will get it back.

Agreed, I had a big problem putting eqs on everything and then ending up with a really weak mix. This last song I'm working on now I've literally done nothing to (more of a productive choice to finish up the arrangement) and the mix sounds fatter than anything I've ever done. Now I'm convinced most producers really overthink mixing and have their tracks suffer. My new philosophy is to not touch anything until I can pinpoint a problem and then fix it. Sounds like it should've been common sense to me when I started.

edit:holy hell this thread is old

I'd move that first EQ point all the way to the left (30 hertz), it will roll off enough of the lows that you're worried about and won't cut any power from the lower sub bass notes. If you're really worried about the infra-sound get LAME and learn to program it to cut off those frequencies when it encodes to mp3.

I'm sorry why did this need a bump

Attila wrote: My new philosophy is to not touch anything until I can pinpoint a problem and then fix it.d

or on the flip, you hear something that's totally OK but needs to be magical.


back in the day when dubstep was system-only music, i'd argue that you need down to 29, 28hz. now, fuck it. 40hz is fine. truth is the notes played matter more. C is a bitch of a key to balance subs in.

Aerandir wrote:Sorry for digging, but I see no need in making a new topic.
What should be upper limit in sub bass? I'm finishing my 1st tune and I EQ'ed my sub like this:

Do not EQ, or compress your pure sine wave sub. It does not need it at all, just don't play any notes above 100-120hz and you're good to go.

I don't subscribe to this theory, every sine sub I've made has had harmonics progressively working up (and down) the spectrum that adds a lot of sound that may or may not be wanted. This happens whether I am sampling an 808 for sub bass, using Ableton's analog/operator, or using an external plug-in like Lusus or Synth1 (only have freeware). Infra-sound and midrange are both sounds that can be cut from the sub to retain power and flavor (if you're wanting only the sub). I usually lowpass sharply at around 100 hertz making sure I'm not lowering the volume of my main note any, and then highpass as far left as I can to cut the infra-sound, again making sure not to lower the volume of my main note.

alpz wrote:I don't subscribe to this theory, every sine sub I've made has had harmonics progressively working up (and down) the spectrum that adds a lot of sound that may or may not be wanted. This happens whether I am sampling an 808 for sub bass, using Ableton's analog/operator, or using an external plug-in like Lusus or Synth1 (only have freeware). Infra-sound and midrange are both sounds that can be cut from the sub to retain power and flavor (if you're wanting only the sub). I usually lowpass sharply at around 100 hertz making sure I'm not lowering the volume of my main note any, and then highpass as far left as I can to cut the infra-sound, again making sure not to lower the volume of my main note.

if every sine sub you've ever made has harmonics then you're doing something wrong

I'm using a single oscillator with sine as the wave form, playing in the 0 or 1 octave. Hard to fuck that up, man.

alpz wrote:I'm using a single oscillator with sine as the wave form, playing in the 0 or 1 octave. Hard to fuck that up, man.

You're sine wave is not creating harmonics that are effecting your mix. Low passing/EQ'ing is not necessary by any means and will probably just screw up the purpose of your sine wave.

- http://www.phy.mtu.edu/~suits/notefreqs.html - According to this chart, the last note you should play with a sine wave is about 123hz (B2). Look at any Dubstep/DnB track and sine waves all hit in the 30hz-120hz range.

If you're sub sounds off it's your mix that's off.

sorry if this is off topic. physics peeps out there, is there an actual limit to the frequency of the compressions through air we call sound. ofcourse there would be an upperlimit of how fast they could go, but would a 1X10^-3 Hz sine wave be able to be produced and since its not audible would just shake the shit out of you?

it depends rly, to be honest the only limit is the one you set for yourself.