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Probably it's you

RandoRando wrote:Is it just me or does anyone else not notice that 75% of the people in here and confusing high pass and low pass?

HIgh Pass, your letting the HIGH frequenices PASS through. High passing a sub@20hz would allow the sub to play everything ABOVE 20 Hz

Low pass a sub @60Hz would allow the sub to play everything BELOW 60Hz, which would allow the mix to leave room for the kick which could be 60-120 Hz.

High pass /''''''''''

Low pass ''''''''''''''\

Both for ninja accuracy, below 20hz just pushes air on a lot of systems and generally doesn't add any weight.

dubesteppe wrote:40 seems preatty high, most car subs can hit around 30. big systems respond even lower. most people high pass at 20

Do you have any evidence on this?

sycotronix wrote:i low pass sub @ 65 - 70 hz with boosting around the 55hz range depending on the fundamental freq ,high pass kik @ 70 hz.so even if my sub & kik is playing together , they dont interfere with each other & makes mix muddy.
i hope im doin it rite..any comments pls

I dont think boosting sub frequencies are a good idea personally.

joshisrad wrote:I don't do SHIT to my sub. No need to lowpass or highpass it. Unless you are going for a musical effect where the sub bass is reduced in volume when you play higher notes, in which a lowpass would be acceptable. There is no muddiness or any other frequency at ALL if you are using a sine wave.

This sounds right to me but what do I know...

i normally cut everything below 30hz

i love how varied the conventions are on this
we really need to do some A/B 'ing on an appropriate system

Refuzed wrote:i normally cut everything below 30hz

thats where all the low weight is!! my subs are tuned to 30hz. cut 20 hz and below, its not really neccessary but if you use linear phase EQing you might gain a few DB headroom.

Using the same formula every time is how you end up with a formulaic sound, the more varied the conventions the better.

Ghost of Muttley wrote:Using the same formula every time is how you end up with a formulaic sound, the more varied the conventions the better.

Well put!

my 2 cents:

I like very clean and very tight sub frequencies... I spent a lot of time fine tuning said area... I high pass absolutely everything, including kick drums and bass synths so that my sub can dominate that entire band. When it comes to cutting below my sine wave? sometimes. depends on what key signature im in i usually have a roll off filter as to not have the LOW subs too loud but still there... i might be doing it wrong, i might be doing it right, who knows?

cmgoodman1226 wrote:A sine wave has no harmonics or overtones, but it still occupies a range of frequencies.

A sine wave only occupies a single frequency, not a range. Its the purest waveform there is.

Ghost of Muttley wrote:Using the same formula every time is how you end up with a formulaic sound, the more varied the conventions the better.

I might be wrong, but i think this is only true to a point. Firstly, its good to learn the conventions so you know why they're there, then you can decide if you wish to break them. Secondly, i don't think some things should be changed, like keeping the sub in mono or filtering out <20hz frequencies which don't do a tune any good.

Ghost of Muttley wrote:Using the same formula every time is how you end up with a formulaic sound, the more varied the conventions the better.

But its nice to improve said formula still.

Maybe everyone should post a track and then say what technique they used for the subs.... ?

VirtualMark wrote:

cmgoodman1226 wrote:A sine wave has no harmonics or overtones, but it still occupies a range of frequencies.

A sine wave only occupies a single frequency, not a range. Its the purest waveform there is.

Ghost of Muttley wrote:Using the same formula every time is how you end up with a formulaic sound, the more varied the conventions the better.

I might be wrong, but i think this is only true to a point. Firstly, its good to learn the conventions so you know why they're there, then you can decide if you wish to break them. Secondly, i don't think some things should be changed, like keeping the sub in mono or filtering out <20hz frequencies which don't do a tune any good.

Its true that you need to learn technique before you can develop a style, but that's not the same as sticking to a set approach every time imo.

Some subs sound wicked with harmonics, or u might find rolling off 20hz drops weight out if its a particularly stripped tune .

Distance talks about rollin off at 30 and boosting 50
It varies a fair bit, well it should anyway

Do it when it sounds how u want it to sound > doing it all the time

high cutting the sub at 20/25hz - or rolling off around 28hz - is COMMON PRACTICE. what's up with everyone being in fight mode?

VirtualMark wrote:

cmgoodman1226 wrote:A sine wave has no harmonics or overtones, but it still occupies a range of frequencies.

A sine wave only occupies a single frequency, not a range. Its the purest waveform there is.

Ghost of Muttley wrote:Using the same formula every time is how you end up with a formulaic sound, the more varied the conventions the better.

I might be wrong, but i think this is only true to a point. Firstly, its good to learn the conventions so you know why they're there, then you can decide if you wish to break them. Secondly, i don't think some things should be changed, like keeping the sub in mono or filtering out <20hz frequencies which don't do a tune any good.

I think you're misinterpreting information. I understand the theory behind a sine, but load a pure sine into any spectrum analyzer and tell it's only occupying 1hz.

frequency = wave cycles / second

if a sine wave is playing at 40hz, means there are 40 cycles per second.

i know what it looks like on a spectrum analyzer, but you all are arguing a moot point. a sine wave, one in which the cycles are consistent, is at ONE frequency.

a

i personally try not to mix audio by using my eyes