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Playlist of The Low End Mix Trick

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  • The Low End Mix Trick - TheRecordingRevolution.com

    9:44

    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    Something I learned from Jacquire King to get your low end to sit just right in the mix, no matter where you mix.

    For my free mixing video series, click here:

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  • My Favorite Trick For Fat And Tight Low End On Mixes | Slate Digital

    3:31

    Ask any mix engineer, “What’s the hardest thing to do in a mix?” and you can bet they’ll answer, “Getting solid, big and tight low end.” In this vlog I’ll show you one method that I like to use to get big and tight bottom end.

    Watch the video to learn this awesome trick and click Subscribe to get updates when we release new Vlogs.









    Song credit:
    Slightly Left of Centre

    info@slightlyleftofcentre.com



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  • Kick and Bass Low End Mixing Tricks w Ulrich Wild, Cameron Webb & Warren Huart: Produce Like A Pro

    21:02

    Before you mix kick drum and bass guitar, make sure you download this cheat sheet to reference when mixing:

    Used in this video:
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    Mixing and Producing Punk with Cameron Webb

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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Mixing Low End Like A Pro

    11:56

    In this video, we're covering essential tips and techniques for mixing bass you can FEEL!

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  • How to do the Pultec Low End Trick - Mixing Tutorial

    13:44

    The Pultec Low End Trick is a great way to add low end to your song or instrument without adding rumble, mud or anything else that sounds bad. Check out the video and try it out on your next mixing project.

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  • 3 Golden Rules for Low End Hip Hop Mixing | Lu Diaz

    9:35

    Multi-platinum producer/mixer Lu Diaz (Jay Z, Kodak Black, Pitbull) gives 3 tips for blending 808s and kicks to get a clean, punchy low end in your tracks. Get more hip hop production tips:

    1:16 Tip #1: Enhancing 808 Harmonics & Tone
    4:29 Tip #2: Multiple EQs for the Kick
    6:58 Tip #3: Sidechaining Kick & 808

    Plugins used by Lu Diaz in this video:

    Vitamin Sonic Enhancer:
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    SSL E-Channel:
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    Music: Feel It Babe by Realzz. Produced by The Track Burnaz.

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  • 8 Tips for Amazing Low End!

    44:41

    ➡️➡️Click here to learn more about these tips & download the cheat sheet:

    Tips for Mixing Low End:

    Monitoring - Can you hear the lows?

    You can’t mix what you can’t hear. Should you get a sub woofer? Closed back headphones will give you an extended low end. The Blue Headphones I use have an extended low end, they are not that accurate, however I am used them. While you’re learning your room don’t be afraid to check in other environments. There is nothing wrong with the car test, or the boombox test, or any other multiple ways of double checking what you are hearing! Many amazing Mix professionals check their mixes on multiple systems. Once you’ve got the low end to translate on many different systems you will start to understand how it should sound in your own mix room.

    Not All Low End Mix Tips are Created Equal

    Mixing a live recorded Bass Guitar is very different from mixing a programmed bass line, also mixing a live Kick Drum is very different from mixing a programmed one.

    Use A Frequency Analyser

    Using a Frequency Analyser will really help you learn what you’re hearing, especially if you’re working in an untreated room with issues and using headphones that don’t have an accurate low end.

    Don’t Boost What You Can’t Hear

    If you work mainly on 4, 5 or 6 inch monitors you can create great mixes as long as you understand you won’t be reproducing super lows through those smaller speakers. Don’t boost the frequencies that the speakers can’t reproduce effectively, if you do boost them and they start to become audible then you end up with excessive low end which will become evident in other systems.

    Don’t be afraid to high pass!

    Create space in the mix for clean Low End for the Kick Drum and Bass. Take care of your high passing on individual channels rather than trying to fix on the stereo master bus.

    Evening out Low End on Organic Instruments

    Plug ins like Waves RBass not only adds consistent low end it also adds harmonics, which (particularly on programmed sounds) can add extra sonic characteristics to your bass sound. Programmed Bass Synths and Bass Guitars will stand out of the mix more if you add definition by adding presence, high mids and even saturation.

    Keep Your Low Lows Mono

    High frequencies are very directional, low lows are not. Keeping the Kick Drum and Bass centred. Removing low information from the sides will help them feel firmly in the sides, giving your mix more width.

    Solve Your Problems inside of the Mix, not on your Master Bus

    This is a big one for me! I like to find the issues inside of the mix and deal with them at their source. Trying to fix low end on your Master Stereo Bus (Mix Bus) should be a last resort, removing above 20hz will severely remove real low end and compromise your mix. So if you feel like you’re reaching for this area then look for the cause inside of the mix, looking at the individual elements that generate the low end.
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  • The Bass Guitar Mixing Trick for a Massive Low End

    13:08

    ►► Download your FREE “EQ & Compression Cheat Sheet” →

    Bass is one of the main areas I see a lot of people struggling with in home studios.

    Getting the low end right is fundamental to a professional sounding mix.

    In this video I show you a trick I picked up from professional mix engineer, Matt Wiggins.

    All you need is an EQ and Compressor plugin.

    If you want your Bass Guitars to sound big and punchy, while keeping that low end locked in place, then this videos for you!

  • The Low Volume Mix Trick - RecordingRevolution.com

    6:49

    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    One of the simplest things you can do to ensure your mix sounds good everywhere is to play with volume.

    And I don't mean volume automation I mean checking your mix at different volumes. Specifically at super low volumes.

    A lot of times a mix will fall apart when you pull the volume way down, say -40db. That's a problem.

    In today's video, I share with you this simple little mix trick and the 4 things you need to listen for when checking at ultra-low volumes!

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  • Mixing Low End - Get Cleaner, Tighter, Louder Bass

    18:55

    Tricks and tips to get a more professional low end sound.

    ►Mixing Presets & Templates:
    *NEW* Divine Mixing Vocal Chains V3 (Waves):
    Divine Mastering Chains (Waves):
    *NEW* Divine Mixing Drum Chains (Waves):
    *NEW* Divine Mixing Vocal Chains V2 (Waves):
    *NEW* Divine Mixing Vocal Chains (Logic Pro X & Cubase):
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    Divine Mixing Session 1 (Mixing & Mastering Course):
    Divine Mixing Session 2 (Mixing & Mastering Video Course):
    Hip Hop Vocal Production (Lynda.com Course):

    ►Synth Presets & Drum Samples:
    8oh!8 Bass Presets for Serum -
    The Niche Kit (Creative Drum and Loop Kit) -
    Urban Dreamscapes for Serum -

    ►My Studio Gear


    ►Let's Connect

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  • Compression Trick For Glorious Punchy Low End

    8:20

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    Fun little trick for a bigger, punchier low end.

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  • Retain The Low End Punch Of Your Mix | MixBetterNow.com

    5:43

    Making sure you retain the fat and punchy low end of your mix is imperative... Don't over-compress and squeeze the life out of your kick and bass... Reach for the Sidechain on your favorite Compressors!

    Please be sure to SUBSCRIBE, LIKE and ENJOY :-)

    I'm giving away a FREE Aston Origin LDC Microphone on October 10th, 2016. All you have to do to enter is sign up on my e-mail list by clicking HERE:

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  • Mixing Low End...The Right Way

    6:03

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  • How to make nice and tight Techno Low End

    35:55

    Hi guys - in this video I want to show you the low end and rumble from two of my tracks. We are going through every track step by step talking about the effects of the used plugins and techniques.

    ♫ PLUGINS USED IN THIS VIDEO ♫
    ► U-He Satin:
    ► U-He Presswerk:
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    ♫ SAMPLES USED IN THIS VIDEO ♫
    ► PML Deep Premium V1:
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  • The Pultec Trick: Tips for Low End EQ | LANDR Mix Tips #11

    1:47

    Every serious engineer has a digital version of the classic Pultec EQP-1A program equalizer in their plugin folder.

    The Pultec is known for its broad and musical boosts and cuts, but over time engineers learned to exploit a quirk in its circuitry for a special purpose.

    I’m talking about the famous “Pultec Trick,” for boosting low end. It’s a secret weapon technique to enhance basses and kick drums that’s used by a ton of pros.

    First off, I’ll bring up a Pultec so we can take a look at the controls. Today I’ll be using Ignite Amps PTEq-X, which is a great freeware Pultec-style EQ.

    The high band has 3 frequencies for attenuation and 8 for boosts, but the low band has only 4 available frequencies for both cuts and boosts.

    This quirk allows you to boost and cut at the same frequency setting, at the same time.

    Due to the design of the hardware, the boost and attenuate bands aren’t at exactly the same frequency, and they create a unique overlapping EQ curve that can work wonders on bass instruments.

    The kick drum track I’m working with just doesn’t have enough power in the low-end. I’ll see if I can give it some authority using the Pultec trick.

    I’ll go ahead and add a PTEq-X to my kick track. One of the great things about using Pultecs is that they impart a really nice tone even before you add any boosts or cuts.

    I can already hear a bit of that character coming through on the kick drum.

    I’ll start by setting the bandwidth to sharp and the frequency to 60 Hz. Now I’ll simply increase both the boost and attenuate knobs to get that special overlapping curve.

    I’ll back off just before noon on the dial when I start to hear the effect getting overpowering.

    Listening in the mix now, the fundamental frequency of the kick drum is much stronger, and I can feel the lows hit with a lot more oomph.

    So that’s the Pultec trick in a nutshell. It’s a simple, super effective way to bring out the lows in your kicks.

    Try it on other instruments as well. In some cases it can be great on bass or other low end sources.

    ---
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  • 3 Low End Mixing MISTAKES That Are Killing Your Mixes

    12:29

    These 3 low end mixing techniques are taught over and over again in colleges and online...

    But if you're mixing rock and heavy music, these could actually be mistakes that are killing your mixes - not helping them!

    Here are 3 common low-end mixing mistakes that should avoid when mixing rock, metal and hardcore.

    ☛ Grab your FREE mixing cheatsheet and get on my list for the best audio training on the web:

  • Mixing The Low End - Mix Breakdown For you & I by VAYOUNG

    15:09

    Learn how to pick the right EQ every time in this free 4 step course.


    Dealing With Low End Clutter using EQ and Stereo Spread. The bassline is the main focus of this song as far as low end goes. I wanted to make sure the other instruments with low end didn't mask the bass line.

    Artist: VAYOUNG
    Song: For You & I
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  • 5 Lies About Mixing Low End

    5:27

    Have you ever heard any of these low end mixing lies? Watch this video to learn how you can avoid these mix-destroying mistakes!
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    Tags: home recording,mixing,low end,joey sturgis tones,joey sturgis

  • Mixing In The Box Strategies With Grammy Winner Jacquire King - TheRecordingRevolution.com

    52:19

    A few months ago, when Grammy winner Jacquire King (Kings Of Leon, James Bay, Mutemath) told me he was transitioning to mixing all in the box, I knew I had to get him to share his approach with you.

    Last week he graciously sat down with me to talk in detail about his mixing approach and philosophy, specifically how he starts a mix when working in the box.

    In this action packed interview Jacquire walks you through his mix buss approach, a secret trick he uses to gain stage and get the low end of his mix perfect, as well as his approach to recording music so that the mix comes together faster. Watch, pay attention, and take notes. Your music will thank you for it later.

  • Tighten Up That Low End!

    6:05

    In this quick tip tutorial you will learn a clever trick that you can use on your kick in order to tighten up your low end.

    The low end of a track is of often the most difficult part of a track to mix and get just right. This is the part of the mix with the most energy, so it's important that every element is sitting just right in relation to each other.

    This video will show you a few tricks that you can use to tighten up the low end in situations where it would otherwise tend to sound sloppy or loose. This typically happens when you have overlapping frequencies in the low end spectrum.

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  • How to EQ Kick and Bass for Better Low End | LANDR Mix Tips #9

    4:46

    Kick and bass can be the most difficult things to get right in a mix.

    In this video, I’ll show you some of the best ways to EQ kick and bass to get the low end you’re looking for.

    Before we start, the specific EQ frequencies we’re using in this video are just starting points. As always you have to use your ears to determine the best ranges to apply EQ.

    Beginner and intermediate producers almost always underestimate the effects of their listening environment.

    You could perfect your mix in a bad sounding room—only to realize that it’s completely wrong when you hear it in a different environment.

    Your low end is particularly affected by your mixing room. But there are a few things you can do to make sure you’re judging your bass frequencies as accurately as possible:

    Mix reference as often as you can: Referencing different tracks in different environments will help you get an idea of where the biggest flaws are in your room.

    Use good open headphones to check lows: If you know your room is flawed, a good pair of headphones can go a long way to help you make mix decisions.

    If you have a good idea of what frequencies are problematic, you’ll know to be careful when EQing them.

    When you first start mixing with EQ, it seems like you could just boost the low end to get that powerful bass you’re looking for.

    Too much low end energy in the mix can actually make your tracks sound weaker.

    All speaker systems have a limit of how low they can go. If there’s a lot of sonic information at a lower frequency than a speaker can play, it will struggle—and fail—to reproduce it.

    If your kick or bass instruments have too much sub bass, you’ll need to use a hi-pass filter to reduce it.

    By bringing up an EQ on this bass track I can see right away that there’s a lot happening at very lowest frequencies.

    I’ll start with a 48 db/octave low cut at 30 Hz. The timbre of the bass hasn’t changed at all, but I can already hear a bit of a tightening effect when I add the kick back in.

    I’ll gradually move the frequency of the hi-pass filter up until I start to hear a negative change in the sound of the bass.

    It’s actually best to do this with your eyes closed since the visual feedback from an EQ can affect how you judge low end.

    I’ll backtrack a bit right as I start hear the body of the bass get weaker . That should be a pretty good spot for the high-pass filter.

    Sculpting

    EQing a track is like putting together a puzzle. You have to shift things around to make space.

    For your kick and bass to punch you need make space for them in the mix.

    The inverse is also true. If your mix doesn’t have the right space for your bass, you’ll never get the beefy sound you’re looking for.

    Example: This kick drum sounds great solo’d, but I can tell that it’s fighting the other elements when I listen in the mix. The low-mids is especially congested.

    To deal with this, I’ll carve out some of this area in the kick to let the rest of the mix sit. I’ll start by sweeping a fairly tight Q, -10 db cut in the 200-500 Hz range.

    As I sweep my EQ band I can hear the other mix elements becoming more clear right around 300 Hz, so I’ll park the filter here.

    Lows are the foundation of great kick and bass tracks, but that’s not all there is to the story.

    “Big” and “punchy” kicks and basses often have a lot going on in other frequency ranges.

    Experiment with EQ in ranges other than the low end to find which frequencies bring your kick and bass into focus.

    As I’ve been EQing I’ve noticed that the kick lacks the presence it needs compete with the rest of my mix. I’ll take another EQ band, but this time a more bell shaped 6dB boost.

    Sweeping from 1kHz-5kHz, I can hear the point of the kick pop out at about 2kHz. In the mix, this gives my kick a ton of authority and provides nice separation from the bass.

    In some cases, adding a bit top end detail can bring out the articulation in the bass. I’ll check it out by sweeping an even gentler broad Q boost around the high end—listening from about 5k-10k.

    With this bass sound, there’s not a lot going on in the top end, so I won’t bother boosting any frequencies here.

    That’s why you always have to rely on your ears first to find out where to add EQ.

    General guidelines can be helpful, but they may not always be perfect. Make sure to decide for yourself in the context of your own tracks.

    ---
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  • Tips for Mixing Low End and Making Executive Mix Decisions

    8:44

    Instant access to every in-depth mixing course from Matthew Weiss:

    // A video on managing low end and making executive decisions as a mix engineer.

    Song:



    Transcript:

    Hey, folks. Matthew Weiss — weiss-sound.com, theproaudiofiles.com.

    This tutorial is going to be about managing low end, but it's also going to be about making executive decisions as a mix engineer.

    So let's check out this chorus.

    [mix plays]

    So, really cool, but if you're listening the way I'm listening, you will notice a couple of things that maybe could be better. The first is that the low end is a little bit cloudy and muddy.

    Not terribly cloudy and muddy, but a little bit, particularly in the sub range. It's hard to sort of differentiate between all of the elements going on there, and it kind of all sounds like one kind of globby low end.

    The other thing that's going on is that it doesn't feel like there's a lot of movement in the low end in particular. Like, there is movement there, but it really feels like there could be more. It's more-or-less streamlined.

    So let's breakdown how we can remedy that. So, first I'm going to play with the effects that I added, and then I'm going to explain my thought process.

    [mix plays]

    So, we'll notice that when I play it that way, there's a lot more bounce and groove to the record, but I don't feel like I've lost anything. It just feels like the energy has been rearranged. It still feels very full and very powerful.

    So here's my thought process. I have four elements that are occupying a lot of space in the sub 80Hz range. I have these layered kicks, which I'm thinking of as one element, I have these 808s, and then I have a Moog Bass, and I have a hook low lead.

    So I'm asking myself what I want the low end to do. If I want it to sound like this sort of like, heavy electronica, pseudo-rock kind of thing, like a Nine Inch Nails sort of thing, I probably want the low end of that Moog bass, that sort of streamlined, unending low end to be dominant.But, that's not what this record is. This record is meant for dancing purposes, and so I want a bounce to show up, and that bounce is going to come from my more dynamic elements — my kick and my 808.

    So those are the elements that I want to give the sub to, because that's what's going to give that physical energy that gets people to move on the dance floor.

    Well, in order to do that, what I really need to do is therefore take out sub range in my other elements. The Moog bass and the hook low lead.

    So I'm going to bypass my effects here, and now I'm going to breakdown what I'm doing.

    [synth]

    So it's important to note that this Moog bass has a lot of really gnarly, cool overtones in the upper-midrange. So I can probably remove a good amount of sub without even damaging the strength of this sound.

    So my first move here is going to be an EQ.

    [synth, adjusting EQ]

    Right? I very clearly shifted the energy more toward the upper-midrange, and I'll show you exactly what's going on here. I even have a little graphic line to help illustrate it.

    So at 80Hz, I'm dipping out about 3.5 decibels with a very wide slope. You'll see the slope of this EQ stretches all the way up to this bump right here. This bump is 1.2kHz. That's like a 4, 5 decibel boost that it's getting right there.

    So I'm diminishing energy in the low end, all the way up to the mid-range where now, the mid-range is getting that big power.

    Before and after, one more time.

    [synth, before and after EQ]

    Okay. Next EQ.

    [synth]

    If you're listening with a sub, you will hear a very dramatic difference. If you are not listening with a sub, you might not notice the most profound difference.

    One more time.

    [synth]

    So here at about 70Hz, steep high-pass filter. Just cutting everything out of the sub, and a little bump at 200Hz.

    So again, shifting energy. The 200Hz energy is going to give the impression of bass without actually putting low end in there. It's going to be the kind of bass, that primary bass range that pokes through all of these other bass elements, because it's resting a little bit above those primary fundamentals.

    [synth]

    So again, it doesn't feel like I'm losing bass, it just feels like I'm moving it up in register.

    A little compression here with some make-up gain.

    [synth with compression]

    Right? We feel that texturally, it becomes solid. The last thing that I'm doing is throwing on a compressor that is keyed to the kick, so that this bass ducks out when the kick hits.

    Here on this hook lead, I'm doing some EQ that is just tonally making it feel a little bit more focused. This is not a specific technique that you are going to be able to apply everywhere, this is just me going through the sound and doing what I like. It's a pretty subtle sound, I'm going to turn it up for now.

    [truncated]

  • How And Why To Mono Your Low End - Tech Tips Volume 32

    5:30

    Watch More Here!:

    This week we're back with another set of Tech Tips, this time in Logic Pro with new tutor Rory Webb from Hyper Production.

    Working under aliases such as Bailey and Knightley which, focuses more on electronic music, Rory has also been involved in sessions with the likes of David Guetta, Adele and Clean Bandit, all but to name a few and gained a significant amount of experience in many fields, from DJ’ing & Producing to Engineering & Teaching! So it’s fair to say, he knows a thing or two about music.

    Over these ten videos, Rory looks at some of the fundamental ways you can improve the sound of each element of your tracks so they really cut through the mix. From EQing vocals and creating your own unique layered kicks to understanding the importance of send/return fx and using compression, these tips and tricks will help you get the most out of your tunes and really make them shine ready to be played to a wider audience.

    Although this course is in Logic Pro, as with all our courses, these techniques can be applied to any DAW.

    Check it out and get the lowdown on how to polish your tracks and make them stand out above the rest!

  • Multiband Compression: Mastering Low End Punch

    6:30

    Utilizing multiband compression can make getting a fat, full and punchy low end an incredibly straight forward and easy process.

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    Thanks for watching!

  • Taming the Low End on Bass and Kick | Mix Together 17

    22:13

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  • Tips for Managing Low End in a Modern Rock Mix

    8:45

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    A video on managing multiple low end elements in a modern rock mix.



    Transcript:

    In today's video, we're going look at managing low end. I've talked about this before, and I've shown Waves Factory Track Spacer before. It's a plug-in you can get that stands on its own – it does its own thing.

    It's not side-chain compression, it's side-chain multi-band volume ducking. It's absolutely incredible. You'll see that in a second.

    But first, I want to introduce you to my new chorus, it's called mixing modern rock. I'm going to show you a before and after sample right now, and then we'll talk about low end.

    [song]

    Okay, so I hope you dig that. If you want to see how I take those dry tracks and transform them to a finished master, I show the entire process. Mixingmodernrock.com, or the link is the description below. The multi-tracks are included, so you can mix that song and use it for your resume as well. I hope you check that out.

    Today, we're talking about low end. Now, in this particular song – this is a song from Mixing Modern Rock – I've got a kick. I love a lot of sub in my kick, so there's a couple of ways that I do that. We'll talk about that. I've got the bass, and I love a dirty, distorted, driving bass, but I also love a lot of low end, so I've got Low Ender generating some subs for the bass.

    We've got a sub-bass drop, like an 808 type thing. We've got a tuned bass drop that I've got also going to what I use – it's called the Gino-Hall. It's my sub-splash. What I do is I use an EQ – excuse the surgical spaghetti mess here, but what I do is I take all of the top end essentially out of a reverb, and I'll send elements to it, and then I'll widen it so that the reverb is only sub, and it kind of extends the sound of the bass, the toms – could be used on any number of things. I use it a lot on 808 drops, toms for certain ring out sections, and anywhere where I want to give a little bit more power to kind of fill some space, so...

    Sub-splash is going into the Lexicon 224. Maybe about 4 or 5. Let me actually show you the sub-drop and the sub-splash, since I'm talking about it. And then you can see the widening that I'm doing. A good 40% or so. Here is the sub-splash.

    [sub bass splash]

    And then here's – as Pro Tools glitches and my voice cracks at the same time – now here's without the sub-splash. You know what, let me name that sub-splash. Okay.

    [sub bass]

    Okay, and then back with the splash.

    [sub]

    Alright. Sweet. So, sub-splash. A little rabbit trail. I wanted to show that off, but back to the task at hand, we're talking about managing the low end from these multiple elements. So we've got, one more time, the kick with the sub, the toms that have a decent amount of 70-100, then we have the 808, the sub-splash, and the bass guitar. There's probably something else, but for now, those are the ones we're going to focus on.

    So what I've done is I've used Waves Factory Track Spacer, and I've put that on the bass, I've put it on the toms, and I've put it on my main kick track here, and what I'm doing is I'm sending the 808 and the sub-splash into it through a side-chain called “Sub SC” for Side-Chain. Sub SC.

    And we can see that. Let's pull it open on the bass. The first instance is actually coming from the kick. I'm sending the kick into the bass, and I'm pushing down 76Hz and below. Every time the kick hits, it's going to push the frequency range from 20Hz to 76Hz down on the bass so that the kick wins the low end battle.
    What I want to show you is duplicating Waves Factory Track Spacer and using the sub from the bass drop and the sub-splash, I'm sending into here, and I'm removing similar – the 76Hz and below in the bass guitar, pretty aggressively, and then I've slowed the release down a little bit on the bass so that the sub rings out, and the subs are going to kind of switch rolls a little bit.

    So initially what's going to happen is when the bass drop hits, the bass guitar sub frequencies – 76Hz and below – are going to drop, and then as the sub fades out, the bass is going to come back – the sub in the bass is going to come back.

    I've also got the kick up here, so you can see that same frequency range – 76Hz or so – at about a 70% ratio, and that – you know what, that could be the default setting, because kicks are quick, right?

    [truncated]

  • Song abmischen ||???? NEUES MIXING PLUGIN für perfektes Low End im Mix

    8:37

    Neues Mixing Plugin zum Song abmischen von Mastering the Mix. Die richtige Balance für dein Low End im Mix zu bekommen kann eine Herausforderung sein.

    Mit dem neuen Mixing Plugin Bassroom bekommst du dein Low End schnell unter Kontrolle.

    Dieses geniale Tool der Firma Mastering the Mix (von der auch Levels stammt) hilft dir anhand von voreingestellten oder eigenen Presets dein Low End im Mix besser unter Kontrolle zu bekommen und deinen Mix professioneller klingen zu lassen.




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  • 3 Ways A Pultec EQ Can Save Your Mix

    17:16

    Get 15% off Purple2 by Acustica Audio with the code DOCTORMIX (combines with existing offers!) until July 31st 2019. Create an account, log in, apply coupon:


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  • Tips for Adding Punch, Managing Low End in Kick Drums & More

    34:18

    Free access to premium courses from David Glenn ➥
    Ear training for EQ ➥
    Learn compression ➥



    About Producing & Mixing Vol 1:

    The journey begins with an artist interview where the client and CCM artist, Arthur G. presents multiple song ideas to pick from for the first single. We'll choose the song, track a scratch track and show off the entire record making process in an easy to follow video series.

    Each step of the way we feature downloadable multitracks for you to use to make your own version of the song by adding, deleting, and tweaking our elements to taste. (Yes! you can use it on your resume!)

    The course includes over 6 hours of video breaking down everything from music and lyrics review, beat production, recording bass, guitars, vocals and more all the way through to editing, mixing and mastering the song before releasing it to the world.

    All of this, done in my home studio with affordable gear, instruments, and plugins.

    For a limited time, there are several exciting bonuses available including a free metering plugin from Mastering the Mix.com called, Levels.

    Other bonuses include custom video mix critiques, 1-on-1 Skype consulting sessions and more.

    Take your skills to the next level by jumping on Producing & Mixing Volume 1 today ➟

  • How to Quickly Balance The Low End of Your Mix - UnderstandingAudio.com

    7:26

    ► ► Learn how to use the one hack that guarantees a unique, professional sounding mix every time... Download my FREE guide to take giant steps towards better mixes →

    There are many methods and steps you can take to get a nice, round low end in your mix. However, that nicely balanced sound often escapes us and we're left feeling a little disappointed. It's time to put an end to that!

    More often than not, we don't get the results we want due to overthinking or overcomplicating our approach with plugins and fancy tricks.

    Let's have a look at the most overlooked approach to getting a great low end balance.

    In this video, you'll learn how to use your ears more effectively, quickly balance your low end so that you can save time and build a great mix...

  • LOW END CHECKLIST: Are You Doing These Things?

    13:47

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  • Mixing Kicks & 808s /// Mixing techniques for better low end

    13:47

    In this video I`m showcasing a few mixing techniques that I use when mixing Kicks & 808. I go over volume automation, using plugins like RBass, side-chain and other mixing tricks that you can use to achieve better low end.

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  • Mixing low end without ears

    5:08

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  • Mixing Low End with David Glenn

    10:54

    Free access to premium courses from David Glenn ➥
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    Learn compression ➥

    David Glenn walks you through his process for managing the low end in a Pop ballad.

  • Mixing Low End in a Hip-Hop Mix w/ Slate Digital Plugins

    13:42

    // A video on mixing low end in a Hip-Hop mix using Slate Digital plugins.

  • Andrew Scheps Vocal Mixing Trick | Get Your Vocals To Cut Through The Mix

    7:00

    In this video I go over one of Andrew Scheps parallel vocal mixing processes using 3rd party plugins, then teach you to achieve the same effect with stock plugins. This technique will help your vocals cut through even the densest of mixes.

    Explanation - 1:03
    Raw Mix - 3:09
    Scheps Process with 3rd Party Plugins - 3:49
    Scheps Process with Stock Plugins - 6:07
    *****************************
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  • 5 Quick EQ Mixing Tricks - Warren Huart: Produce Like A Pro

    21:49

    ►► Get the 5 Quick EQ Mixing Tricks cheatsheet here:

    1.Bass Guitar EQ Multiple sources differently to create one great sound.

    i. With the first source, the DI, control lows and highs with EQ filters- Using a stock plugin, set around 170-200Hz, and everything above that is low passed away. After that is another EQ, which is a less than 60Hz (this can drop lower to 40hz) and gently sloping, controlling the low end, giving room for the Kick Drum. 

    ii. With the Bass Amp High Pass at the same point around 170-200hz allowing the high end of the Bass Amp to give the sound personality. 

    iii. You can also duplicate the Bass Amp and follow the same steps above but also use to add additional Saturation or Distortion to help it glue together with the guitars.

    2.Brighten Electric Guitar and Controlling Excessive High End 8:37

    3.Creating a great Kick Sound Using Multiple Mics 11:41

    4.Carve out Low Mids and high pass Low End from Room Mics to create room for your Kick 14:41

    5.High and Low Pass your reverb Sends 17:36

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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • When to EQ Bass over Kick When Mixing Low End | LANDR AskAnEngineer

    3:17

    It can be hard to tell whether your kick track or bass track should occupy the lowest frequencies. To help you avoid muddying your low end Al gives three tips for spotting the right EQ for the right instrument.

    Here’s the 3 things Al watches for when mixing low end for kick and bass EQ:
    How were the kick and bass recordings tracked? (0:51)
    How does the track survive on small speakers? (1:23)
    How fast and how busy are the kick and bass parts? (1:53)

    #AskAnEngineer with LANDR’s Senior Audio Engineer Al Isler is back!

    Get answers to your burning questions about mixing, recording, mastering, and more.

    Need help with your mix? Post your question in the comments below!

    Learn about the basics of mixing music:

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  • 4 Ducking Techniques to Increase Kick Drum Clarity

    15:59

    A video on ducking techniques to increase kick clarity in a mix.
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    Ducking is exactly what it sounds like. It's when one thing ducks out of the way of another, and we can control this through something called, “Sidechaining,” or, “Keying.”

    Now in this particular case, I'm going to show you a very, very common use of this idea, and that's going to be ducking certain elements out of the way of the kick drum in order to gain more clarity on the kick.

    So I'm going to play this little chorus section of the song, and then I'm going to get into these ideas a little bit further.

    [mix]

    So I've got my kick drum, and my kick is pretty round. It doesn't have a whole lot of top end, but we can still hear it pretty audibly. It's not like it's really, really dark, really rounded, and kind of in the background. It's got some punch to it, it's got some upper content to it, but overall, it's still on the rounder, softer side. I'm going to solo that up for you real quick.

    [music]

    Right, so when I put the two layers together, it's kind of pillowy, and most of the energy is sort of focused in the low end, as kicks typically are. So if I want to get a little bit more clarity on this kick drum, make it feel like it's taking up a little bit more space in the mix, and maybe cleaning up just the articulation, particularly of the low end, then I might want to do a few tricks to get some of these other things out of the way, particularly the bass, but this idea extends to all sustaining synths that are in the mix.

    So right underneath our kick drums here, I've got our bass...

    [bass]

    It's just one stream of sub with some nice little grungy overtones that are kind of cool sounding, and then I've got all of these synths here coming together on one synth buss, which I didn't label because I was being lazy. Here we go.

    [synths]

    So we've got a lot of constant movement in this, meaning there's frequency content that's just there and droning on, and usually, that's the stuff that ends up masking things that are percussive elements.

    So what I've done here is I've created a send channel. I'm using Pro Tools, this is a little different if you're using something like Fruity Loops. You have to actually assign the send from the channel that you're sending to, which is a little counterintuitive. It's in the manual, but here, in most DAWs, you're going to be assigning your send from the channel itself, and I've put it into pre-fader mode so that we can really monitor exactly what it's doing.

    Now, I'm going to show you a couple different ways you can do a ducking technique. The first is just going to be our straight up, straight ahead dynamic compression ducking. So what I'm going to do here is on my synth buss, I'm going to pull up a compressor, and here, we see a little picture of a key. It says, “No key input.”

    I'm going to click this, I'm going to go to my busses, and I'm going to look for, “Kick SC.”

    That's the same send that I've got coming from the kick drum, and it stands for “kick sidechain.” Now I'm going to go in here where it says, “Sidechain,” and I'm going to hit, “External.”

    So I'm assigning the compressor to react to what's being fed through the sidechain, and that's the key to ducking. Compression normally acts on the signal itself, but by putting the sidechain into play, what we're really doing is getting the compressor to act to a different source, and so our compression is going to happen when the kick drum hits.

    So let's dig into that.

    [music]

    And you can see here on this graph that every time the kick hits, we're getting compression. Now, what I'm going to do is exaggerate this really, really dramatically here. We'll put this right here, and make this very, very obvious.

    [mix]

    Now, that's obviously very, very over dramatic. It's really ducking too hard, because it sounds like a hole puncher is just knocking out the synths every time the kick hits, but you can also hear that if I take this out...

    [truncated]

  • Mixing Kick & Bass | FAQ FRIDAY - Warren Huart: Produce Like A Pro

    24:21

    This was a Big Week, it was all about Mixing Low End… more specifically mixing Kick & Bass.
    ►► Enter to win a Mixing Bundle here:

    We did 2 LIVE Q&A’s, mixing kick and bass in hiphop and showed you some low end mixing tricks from Ulrich Wild, Cameron Webb and myself!

    There were a ton of great questions, some of which I couldn’t get to during the live Q&A’s. Today’s video is a roundup of all of your questions about low end, kick drum and bass guitar.

    L1 Ultramaximizer


    L2 Ultramaximizer


    Here are the videos, live Q&A’s and blog posts we released this week:
    • Mixing Kick & Bass in Hip Hop (Mixing Low End)


    • Kick and Bass Low End Mixing Tricks With Ulrich Wild, Cameron Webb & Warren Huart


    • How to EQ Bass Guitar: Simple Steps for a Better Low End


    • [LIVE] Mixing Low End – Ask Me Anything


    • [LIVE] Mixing Kick & Bass – Ask Me Anything


    If you want to take your low end mixing skills to the next level, here are all the courses that we’ve referenced this week:

    Mixing In The Box with Warren Huart


    Mixing and Producing Punk with Cameron Webb


    Mixing Metal with Ulrich Wild


    Mixing Hiphop (2 courses for the price of 1)




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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Low End Masterclass - How to mix your low end

    1:35

    Available from

    The low end of any mix, especially in EDM and Hip Hop, can be really difficult to get right.

    It’s also one of the more important elements of any mix. Echo Sound Works brings you a course that covers all things low end.

    From acoustical treatment to mixing tips and tricks. To efficiently tackle this difficult topic, we are going to break up the limited low end space into three distinct zones and discuss how each one is important to the collective low end in any mix.

    ZONE 1 - Power/Rumble 25-50 Hertz - This is the sub bass frequency zone. One of the hardest frequency spectrums to get right.

    ZONE 2 - Punch - 50-115 Hertz - This is the range that adds the “punch” to the low end. This is for basses and kicks.

    ZONE 3 - Smack - 120 - 500 Hertz - This is the high end of the low end equation. Things like basses, snares, guitars, synths etc. can all live in this range.

    PART 1 - Introduction - A look at the course and how it’s formatted.

    PART 2 - Acoustic Treatment - This video discusses the first step at getting a great low end mix, your room and listening environment.

    PART 3 - Understanding Low End - This video introduces the 3 Zones that we will be looking at throughout the tutorial course.

    PART 4 - Zone 1 - This video introduces the concepts and frequencies around Zone 1 of the low end.

    PART 5 - Zone 2 - Zone 2 is the Punch part of the low end. Adding a bit to this frequency range can help add punch.

    PART 6 - Zone 3 - The Smack zone is there to add the high end to the low end. This can be helpful on kicks, basses and other low range mid instruments.

    PART 7 - Low End Arrangement - A big component to getting a good low end mix is having a proper arrangement. If your baseline is too busy then it will ultimately conflict with the kick.

    PART 8 - Layering Low End Sounds - A big component to a getting a big low end part of the mix is layering sounds together. Whether that’s basses or kicks. However, you need to do it correctly and keep in mind the 3 zones when doing so.

    PART 9 - Mixing Tips and Tricks - This video looks at a host of mixing tips and tricks focused around the low end zones.

  • 5 808 Bass Tips For Perfect Low End Free Preset

    15:22

    In this video you’ll learn about 5 808 bass tips that will help perfect the low end of your 808’s. I’ll be using Ableton Live, but these tips will apply across any DAW.

    Download the Simpler 808 Preset here:

    Timestamps:
    00:30 - What is an 808?
    01:29 - Tip 1: Make Sure Your 808 Is In Tune
    04:00 - Sub Bass Explained
    04:50 - Tip 2: Know Which Notes Carry The Most Weight
    06:09 - Tip 3: Choose the Lowest Element of Your Mix
    10:12 - Tip 4: Make Your 808 Stand Out In Small Systems
    14:00 - Tip 5: Hi Pass Everything Else

    First, you’ll learn what the goal of the 808 is in music, and what purpose it serves. 808’s provide a great foundation that you can build the rest of your music around. It’s important to know how to tame it in your mix.

    When using 808 samples as sub bass, you have to make sure they are in tune with your song. Some sub bass samples you download may be out of tune which can make things messy. You’ll learn how to tune your samples so you can start using them right away.

    Certain frequencies of sub bass are perceived differently than others. It’s important to know which sub bass frequencies are the most powerful, and know how to use them in your music. Arrangement and orchestration of sub bass frequencies is important. I’ll show you which notes we perceive to be the most powerful and how to use them.

    Low end frequencies need lots of space to live, or else they’ll get muddy sounding. I’ll demonstrate how to define space for the kick and bass in a few different ways. Once you do this, your sub bass will have a ton of power behind it!

    Music is commonly listened to on systems that aren’t able to produce sub bass frequencies. There’s a way for sub bass frequencies to still be heard on these systems. You’ll learn how distortion and saturation can help color your 808’s so they can be heard on any speaker.

    There are probably other tracks in your session that shouldn’t even exist in the sub bass frequencies. Melody and harmony instruments will commonly fill out your mid and high frequencies. It’s important to check to see if these tracks may be taking up any space in your low end. You might not hear it but if they are replicating any sub bass frequencies, they can easily build up and muddy up your 808 and kick.

    Get the best 808 samples here:

    Learn even more about mixing kick and bass:

    ------------------

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  • How Much Low End is Too Much? | FAQ Friday - Warren Huart: Produce Like A Pro

    17:50

    ➡️➡️In This Episode We Answered These FAQ Friday Questions:
    • So when does low end become too much low end? (0:30)
    • Regarding Compression - It’s typical to compress a bass recording, what other circumstances would you prefer to see compression having been used on the way in as opposed to being done in the box. (5:45)
    • What is your favourite compressor plugin and why? (8:35)
    • On heavy prog material with lots of time changes would you automate compression settings or would you aim for a global setting?(11:22)
    • At what sample rate do you set your interface for tracking? (12:48)
    • How do you deal with low mid range? Trying to get rid of muddiness and not losing the power which this frequency contributes to the mix? (14:22)
    • Does it make a difference if you EQ before or after reverb?(15:42)

    ❤️My Favorite Plugins:
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  • LIVE Mixing Low End - Ask Me Anything - Warren Huart: Produce Like A Pro

    1:3:15

    Thank you for joining the conversation! Please leave a comment and let me know you're here!

    We got a ton of amazing comments on yesterday's video so I thought we'd do a LIVE Q&A specifically about Mixing Low End!

    Kick and Bass Low End Mixing Tricks Cheat sheet

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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Low End Mixing Idea

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    ???? Get better mixes by this weekend. Plug this FREE 5-Step Mix process into your system and get ready for great results ????

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  • Advanced EQ for Mixing Bass | FL Studio Tutorial

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    Tips and tricks for mixing your low end elements in FL Studio. This tutorial covers some concepts that will get the most out of your stock EQ in FL Studio.

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    Advanced EQ for Mixing Bass | FL Studio Tutorial
    by Inflightmuzik

    This music producer tutorial channel was created to focus on modern techniques to produce music inside of FL Studio. Many of these FL Studio tutorials can still be applied to any DAW by using the same concepts I explain with each producer tutorial.

    Currently I teach future producers who aspire to improve their music production by showing both basic and rare techniques using FL Studio 20 (now FL Studio 20.1). I cover topics that range from non-traditional music theory to sound design to mixing and mastering. Each beat tutorial includes tips and tricks for FL Studio and general music production ideas that can help producers generate more musical ideas for your drums, 808/bass, chords and melodies in multiple genres, including trap, pop, edm and others by using the stock plugins they already have in FL Studio or using free or cheap plugins, available to download or buy online.

    Remember to SUBSCRIBE to stay up to date with my weekly beat tutorials in FL Studio.

    Advanced EQ for Mixing Bass | FL Studio Tutorial
    by Inflightmuzik









    #inflightmuzik #flstudiotutorial
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    Advanced EQ for Mixing Bass | FL Studio Tutorial
    by Inflightmuzik

  • 6 Steps to a Punchy Kick Drum

    5:16

    Producer/mixer Sean Divine shows how to give a kick drum more power and definition even when paired with deep 808 bass frequencies, using the PuigTec EQs. Learn more:

    Step 1. Sidechain the bassline against the kick

    Step 2. Boost and attenuate the low-end sweet spot

    Step 3. Boost the high-end sweet spot (at 10K)

    Step 4. Create a peak at 1K

    Step 5. Create a dip at 2K

    Step 6. Boost at 5K

    Music composed and produced by Sean Divine.

  • The Parallel Mix Trick - TheRecordingRevolution.com

    12:17

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  • Ableton Tutorial 6 Tips Mixing Bass for Cleaner Subs

    8:23

    How to mix the sub and kick in your track to clean up the low end of your production. This tutorial uses CamelCrusher, fab filter pro q 2 and Ableton Compressor. Subscribe to my channel for more how to videos about mixing and music production.

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  • Sidechain Compression on Kick and Bass: Clean Up the Low End of Your Mix

    7:55

    Getting the low end of your mix “tight” or “clean” is one of the fundamental problems of mixing. Instruments that have a lot of low frequency energy, like kick and bass, fight for that precious space below 100 Hz. EQ will only get you so far, but sidechain compression will really help the instruments work together, preserving the character of each. In this video I go over three different methods of sidechain compression - regular compression, dynamic or active EQ, and multi band compression.
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