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Playlist of The Low End Mix Trick

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    The Low End Mix Trick -


    ►► 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


    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

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


    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:
    PuigTec EQs:
    F6 Floating-Band Dynamic EQ:
    SSL E-Channel:
    API 550:

    Music: Feel It Babe by Realzz. Produced by The Track Burnaz.

    Get the latest updates from Lu Diaz:
    YouTube: Instagram: Twitter:

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


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

    Used in this video:
    Waves REQ:

    View the full courses here:
    Mixing In The Box with Warren Huart:

    Mixing and Producing Punk with Cameron Webb

    Mixing Metal with Ulrich Wild:

    Learn more here:

    Sign up here to get exclusive videos and content

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

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    How to do the Pultec Low End Trick - Mixing Tutorial


    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.

    Get the free plugin I mention in this video here:

    Grab my Free eBook 'Bare Essentials For A Home Music Studio' here:
    Check out my Training Membership here:
    Subscribe so you never miss a training video -
    #homemusicstudio #mixingmastering #audiomixingtraining

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    Tips for Mixing Low End


    No matter what genre you're mixing, you've probably encountered an unruly low end that can mess up the whole mix. Fear not! In this video iZotope product specialist Geoff Manchester walks you through some easy techniques to help you manage low end in a mix.

    Download a free session of a song by Elijah Woods x Jamie Fine to practice your mixing skills:

    Download 10-day trials for Ozone 8 and Neutron 2:

    Follow iZotope on social media:

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    Mixing Low End - Get Cleaner, Tighter, Louder Bass


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

    ►Mixing Presets & Templates:
    *NEW* Divine Mixing Drum Chains (Waves):
    *NEW* Divine Mixing Vocal Chains V2 (Waves):
    *NEW* Divine Mixing Vocal Chains (Logic Pro X & Cubase):
    Divine Mixing Waves Template (Logic Pro, Cubase & Pro Tools):
    *UPDATED* Divine Mixing Template One (Logic Pro X 10.4, Cubase & Pro Tools):

    ►Video Training Courses:
    *NEW* Divine Beat Mixing (Mixing & Mastering Course):
    Divine Mixing Session 1 (Mixing & Mastering Course):
    Divine Mixing Session 2 (Mixing & Mastering Video Course):
    Hip Hop Vocal Production ( 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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    How Much Low End is Too Much? | FAQ Friday - Warren Huart: Produce Like A Pro


    ➡️➡️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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    ❤️❤️Free 3 Part Mixing Course:

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    Giveaway Winners:

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

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    Mixing Low End...The Right Way


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    my personal mixing, mastering, & sound design service for producers -

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    Tighten Up That Low End!


    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.

    You can find all my FL Studio tutorials in this playlist:

    Get the transient processor from Image-Line Here:

    Did you like this video? I spend a lot of time and money on these videos. You can help me make more videos like this by supporting me on Patreon:

    All my patreons will get exclusive access to resources only available on Patreon, like free presets, samples, templates and more. I also have a chat room there where you can get help with anything music related.

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    Contact me:

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    Mixing Low End Like A Pro 🎚 Better Bass 🔈


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

    Song: James Garlimah - Ocean Eyes:
    BGM by Bombs and Bottles:

    ►DAW Presets & Templates:
    *NEW* Divine Mastering Chains (Waves):
    Divine Mixing Vocal Chains V2 (Waves):
    Divine Mixing Vocal Chains (Logic Pro X & Cubase):
    Divine Mixing Drum Chains (Waves):
    Divine Mixing Waves Template (Logic Pro X, Cubase & Pro Tools):
    *UPDATED* Divine Mixing Template One (Logic Pro X, Cubase & Pro Tools):

    ►Video Training Courses:
    Divine Beat Mixing (Mixing & Mastering Course):
    Divine Mixing Session 1 (Mixing & Mastering Course):
    Divine Mixing Session 2 (Mixing & Mastering Video Course):
    Hip Hop Vocal Production ( 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



    Fun little trick for a bigger, punchier low end.

    Home Studio Corner:

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    Mixing In The Box Strategies With Grammy Winner Jacquire King -


    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.

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    Mixing Bass Guitar | Fat Bottomed Tips by Joe Barresi


    Mixing bass guitar tracks (DI and amps) to one fat bottomed sound. Hard rock producer and mixing engineer Joe Barresi shares his means to that (low) end. Learn more from Joe:

    Waves plugins used in this video:

    Renaissance Bass



    Music: “Mercury Gift” by Zico Chain

    Check out Joe's ProSound Workshop:

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


    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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    3 Low End Mixing MISTAKES That Are Killing Your Mixes


    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:

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    Multiband Compression: Mastering Low End Punch


    Subscribe for constant music tutorials →


    Multiband Compression: OTT Tips & Tricks

    In the Studio w/ Hyperbits


    About the Hyperbits Team →


    If you're new here, my name is Hyperbits. I'm a musician who works with students around the globe, running an electronic music school that doesn't suck.

    For more info, visit our website:

    You can also check out the Hyperbits Masterclass at or check out our other videos at

    Thanks for watching!

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


    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.


    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.

    Learn how to get kick and bass sitting right in your mix:

    Try LANDR for free:
    Subscribe to LANDR on YouTube:
    Follow the LANDR blog and get the best tips, tools and tutorials for producers:


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    Pro Tools Tips & Tricks


    This video shows you how to get the low-end BOOM from your kick. All you need is an EQ!!!
    Be ups to the boys at DopeBoyzMusiz for the beat! Yall Check them Out!







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    The Parallel Mix Trick -


    Download my FREE mixing series:

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    Low End Masterclass - How to mix your low end


    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.

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    How to Quickly Balance The Low End of Your Mix -


    ► ► 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...

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    Mixing Kick And Bass In Hip Hop


    My new Complete Mixing Course is here! Hours of content, Studio session multitrack files, royalty free drum samples and more. Check the link below:
    My Complete Mixing Course:
    Mixing kick and bass in hip hop is a tricky task. Very often, the kick and bass will clash with each other, resulting in a clashing of frequencies. It is important to notch out certain frequencies in both the kick and bass to give each sound its own separate space. This is arguably one of the most important aspects of mixing, especially in hip hop, where the low end is so important, and drives records. If you guys have any questions regarding mixing kick and bass in hip hop, or any other genre, feel free to shoot me and email, or leave a comment below and I will be sure to help you out!

    Also, please note that these numbers I am using when mixing kick and bass in my own record, will be different with your kick and bass in your record. These numbers are just used for example!

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    5 Quick EQ Mixing Tricks - Warren Huart: Produce Like A Pro


    ►► 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

    Sign up here to get exclusive videos and content

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

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


    Download the tracks here:

    Here's the app I mentioned at the start of the episode. Better Snap Tool:

    Home Studio Corner:

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    Ableton Tutorial 6 Tips Mixing Bass for Cleaner Subs


    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.

    Get Whole Loops Samples used to make this beat
    snapchat: reidstefan

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    5 Minutes To A Better Mix: Kick Drum Low End -


    Part 9 of 31 - In this video I show you how to add more fatness and low end to your kick drum in the mix using a simple signal generator plugin. Watch and learn!

    Download my free eBook The #1 Rule Of Home Recording for more tips

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    Retain The Low End Punch Of Your Mix |


    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:

    Don't forget to sign up for the Mix Better Now Newsletter to get your Swag Bag of Free Multi-Track Sessions, Free Mix Templates, Free Drum Samples, Free Reverb Impulse Responses, Free Plugins and more, here:

    Please feel free to drop me an email with any questions at! :-)

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    Advanced EQ for Mixing Bass | FL Studio Tutorial


    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
    advanced eq mixing bass, advance eq mixing fl studio, mix eq fl studio, mix eq fl studio tutorial, eq fl studio tutorial, eq fl studio , eq fl studio tips, stock eq fl studio, how to eq bass fl studio, how to eq bass tutorial, how to eq bass tips, how to eq fl studio, fl studio tutorial, fl studio tutorials

    Advanced EQ for Mixing Bass | FL Studio Tutorial
    by Inflightmuzik

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    Pultec Trick | LANDR Mix Tips


    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.

    Check out The 15 Best EQ Plugins to Shape Your Mix:

    Try LANDR for free:
    Subscribe to LANDR on YouTube:
    Follow the LANDR blog and get the best tips, tools and tutorials for producers:


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    How To Mix Sub Bass and 808s - Get A Huge Low End!


    Watch me mix a huge sub bass or 808 with a kick using distortion, side chain compression and stereo widening.
    Download The FREE Mixing bible:

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    Low End Mixing Idea


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

    Home Studio Corner:

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    Fix Muddy Metal Guitars with the Andy Sneap C4 Setting


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

    This is a classic metal mixing trick for guitars!
    Learn how to control the low-end of heavy guitars during palm mutes and chugging... WITHOUT making the rest of your tone thin.
    This is accomplished using a multiband compressor that only effects the low mids... leaving the rest of your guitar tone intact.

    The Waves C4/C6 is a no brainer plugin! Check it out here:

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    Mixing Low End with David Glenn


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

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

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    Tips for Mixing Low End and Making Executive Mix Decisions


    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.



    Hey, folks. Matthew Weiss —,

    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.


    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.


    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.


    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.


    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.


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    Tips for Managing Low End in a Modern Rock Mix


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


    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.


    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., 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.


    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?


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    Getting the Low End of Your Mix Right


    Getting the low end of your mix right

    One of the hardest things to do when mixing is to get the low end right. We want a powerful, warm, punchy, tight low end, not a muddy flabby low end.

    The low end is the foundation of the song so it is important to spend some time getting it right. Here is a little trick that can help you determine if your low end is good. Hope you enjoy!

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    Mixing Low End: Static vs Moving Mixes


    Instant access to every in-depth mixing course from Matthew Weiss:
    Mixing with EQ:
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    How to use EQ to negotiate the relationship between an 808 and low sub rumble as well as general philosophy on static vs moving mixes aka letting the mix adjust to the arrangement.


    Hey, folks. Matthew Weiss here. Please don't mind the bed in the back, I have some guests who are staying, so welcome to their bedroom!

    Anyway, I have some sad news. Unfortunately, I think that it's time that I retire the www part of my intro. I know this is something we've all come to know and love, but it is 2015, and nobody says that anymore, so I really need to get with the times.

    Anyway, if you are new to The Pro Audio Files, welcome! Glad that you're here. If you've been with us for awhile, you might have been following us for as many as five years at this point. So, this is going to be a next level tutorial. It's going to be pretty easy, it's going to be some pretty basic stuff, but it's something where there are sort of two categories of engineers.

    Those who do this, and those who don't, and I'd like you to be those who do. So, okay. Let's listen to this record.


    So, in this record, there are a couple of bass things going on. There's this very low, sub-rumble thing happening, then there is a kick and an 808, and what we're going to be focusing on is the relationship between the low sub-rumble, and the 808.

    Now, here I have an EQ on the low sub-rumble. I want you to watch and see what happens.


    So, if you don't have a sub, you might not be getting as much out of this tutorial as you could be, but the ideas are still going to apply.

    Basically, the low bass rumble tone...


    ...Has a whole lot of sub stuff going on, and the 808, it's all in the sub. So when the 808 is not present, I'm keeping that sub-tone subby. It's going to hold down that extra low end.

    When the 808 kicks in, I'm high passing and getting rid of that sub tone on the lower bass. The idea here is that the mix is adjusting to the arrangement, and that's a really important concept.

    See, there's two phases of a mix. There's your static mix, which is basically your balances. You know, you get your basses living together, your kicks living together, your vocals interacting with your snare right, all that kind of stuff.

    Then you've got your moving mix, which is where things start to change. Okay, all of these elements come in during the chorus, so I need to treat the bass differently, or I want the vocals to sit differently in the chorus, or there's a spot in the verse where this really big 808 comes in, and now I don't need all the sub from my sub-bass.

    That's what's happening here, and so what I'm doing is I'm automating the high-pass filter that I have on the sub-bass to jump up to about 100Hz when that 808 kicks in.

    Now. This is a very obvious example of this. As that 808 comes in, in order for it to make sense in the record, I need to get rid of all of that really muddy sub-tone that's going to interfere with it, but this is going to apply to all sorts of stages of your EQ. How everything lives together will always change when new elements are removed or introduced.

    So. Keep your mixes dynamic. Think movement. Think, “okay, if the arrangement changes, do I need to change something else?” The answer is usually yes, and if the arrangement doesn't change, do you need to change something in order to keep the mix sounding interesting?The answer again might be yes. So that is a moving mix, and I hope that you start incorporating this into your mixing.

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    Mixing Low End To Translate On Small Speakers


    In this video I'm going to show you how to easily get the low end of your mixes to be heard on smaller speakers using the Waves R Bass plugin.

    To get 10% off this plugin (or any other Waves plugin/bundles), click here:

    To learn more - download your FREE copy of The Ultimate Mixing Blueprint by visiting

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    When Mixing Matters More Than Recording + Amazing Pultec EQ Tutorial from the Pro Song Mixer


    When Mixing Matters More Than Recording. Amazing Pultec EQ Tutorial from the Pro Song Mixer. Prfessional Sound Mixing Examples From the Top Mixer/Audio Engineer Andrew Zeleno. Song Mixing Tutorial. Song Mixer. How to Mix Songs. UAD Plugins Tutorial. Audio Production Course. Mixing Course. Skype Course. Top Level Mixes. How to Get Top Quality Songs. Buying Audio Equipment. How to Use Audio Plugins. Recording Equipment. Fender Jazz Bass. DI Recording. Both Pickups. Cubase 9. FabFilter Pro-Q 2. Audio Processing. Muddy Sound. Universal Audio Plugins. UAD Plugins. UAD Neve 88RS Channel Strip. Tight Sounding Bass Guitar. How to Get Rid of Muddiness. Low Mid Frequencies. Upper Mid Range. How to Inscrease Articulation. How to Get Articulated Sounding Bass. Mid Frequencies. Vocals. 1.5K. Medium Q. 3K. 5K. 6K. Snare. 0 dbVU. Line Input. Output Transformer Coloration. Mixing Tricks. Mixing Techniques. More Compressed. Fatter Sounding. Analog Bus Emulation Plugins. 1176 Compressor. How to Setup a Compressor 1176. Release Setting. How to Increase Sustain of the Bass Guitar. Waves CLA 1176 Plugin. Residual Compression. Where to Learn Audio Engineering. Where to Learn Mixing. The Best Mixing School. The Best Online Mixing School. Online Mixing Course of Andrew Zeleno. Shootout. Comparison. Dynamics. How to Get Bass Guitar Tone. Top 20 Audio Engineers. Pultec EQ. How to Boost Low Frequencies. How to Mix a Bass Guitar. How to Mix Drums. Sub Woofers. How to Get Huge Drum Sound. 10K Shelf Filter. Resonant Shelf Explanation. EQ Curves. Neve 88RS Tutorial. Cutting Through the Mix. How to Make a Bass Cutting Through the Mix. Sounding in the Mix. Trained Ears. High Boost. Q-Factor of EQ. EQing Techniques. DI BaBB. Making Big Low End Sounding Songs. Deep Sound of a Bass. Bass Guitar Amplifier. Vintage EQs. 100Hz. 80Hz. 60Hz. Humming Bass. How to Fix Humming Low Frequencies. How to Deal with Boomy Sounding Instruments. Upper Bass. Room Resonances. Pultec Fat Sound. How to Setup Pultec EQ. Pultec EQ Tutorial. Pultec EQ Settings. Changing Pickups. New Strings. Bright Sounding Strings. Plectrum. What the right Microphone to Record a Bass Guitar Amplifier. How to Choose a Mic. What to Best Preamp for the Microphone. What Converter to Buy. Pultec Attenuation. Pultec EQ Explanation. Mixed Drums. How to Get Professional Sounding Songs. What's the difference between different plugins. What is the difference between Waves Plugins, Slate Plugins, UAD.

    Unique Game Changing Mixing Course here:

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    Pro mixer checks his student's project
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    Getting Massive Lows | quick trick



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    Producer | Engineer | Songwriter that has worked with artists and bands such as Adept, Smash Into Pieces, Normandie, Dotter, Beyond All Recognition, Humanity's Last Breath, Carnal Forge just to name a few.
    Sharing production, mixing and mastering tips.

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    In this short video I want to show you a cool technique for getting nice and controlled lows in a mix.

    One of the hardest things to achieve in a mix is to get those controlled and consistent lows.
    It’s definitely easier to nail it in electronic music, since all the material is already pretty consistent.
    So we will look more into live instrument situations where there’s plenty of dynamics.

    There are a bunch of ways to get nice lows, but here I just want to show you a last resort trick that can come handy if you’re struggling.

    Kick drum

    If you ever recorded a real drum kit you know that it’s almost impossible to get every hit equal and consistent throughout the song.
    That’s why so many producers use sample replacement to get it right.
    The kick drum is especially tricky because the lows are moving a lot through the frequency spectrum depending on how hard you hit the drum.
    If the drummer you’ve recorded was way to inconsistent, but you still don’t want to completely replace the kick drum, there’s this hybrid alternative that I use in those situations.

    - Duplicate the kick drum track
    - On the first track, replace it with a sample of choice that has great low end. Since you want consistency in the lows it’s preferable to have only one sample in this case.
    - Now add an eq that has a steep low pass filter and cut everything above 120hz.
    - On the second track you have your live kick drum. Mix it as good as possible from the start. Then add an eq with a steep high pass filter and cut everything under 150hz.
    The numbers are not set in stone. You always have to play around with the settings to get the best results possible.
    - Now combine these two tracks through a buss and process further if necessary.
    This way you keep the dynamics and organic feel of the live kick drum but with a much more controlled and consistent low end.


    The same technique can be used on bass. Since live bass can be such a mess in the lows this technique can come handy.
    Remember that It might be a more tedious process to replace a bass performance then just simply replacing a kick drum with a single sample.
    So what you need to do is to actually write the whole performance in midi. If you have a pre-production-midi track, it will come handy at this point.
    Some DAWs have a feature to convert audio to midi. But in my experience this rarely works properly with lower tuned instruments.

    Anyway, the process looks something like this.
    - On the midi track, use a mono sine wave synth and remove anything over 120hz
    - On the live bass, that you already mixed, remove anything under 150hz.
    - Combine these through a buss and add further processing.

    This technique is fairly simple on kick drum, but I would consider it as a last resort when it comes to bass.
    But if you do have a midi-file of the exact performance, then you should definitely try it out if you struggle with the low end.

    Hope you find this helpful! Give it a like and be sure to subscribe.
    See you next time!

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    LIVE Mixing Low End - Ask Me Anything - Warren Huart: Produce Like A Pro


    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

    Courses We're giving away today:
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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.

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    How to get a heavy low-end kick


    This technique will improve the low end presence of your kick.
    In other words, how to get a phat kick.

    This technique was introduced originally by Bob Power if I’m correct.

    I'm a mixing and mastering engineer and a producer.

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    The CLA SSL Drum Mix Trick |


    The CLA SSL Drum Mix Trick | Mix Better Now

    Hey friends! Hope you're all having a great day. Today I have a video for you where I discuss The CLA SSL Drum Trick in depth! The legendary Chris Lord-Alge is a huge fan of SSL's and he's certainly not timid about using them. Check out what I've learned from Grammy Award winning mix engineer, Chris Lord-Alge, and his approach to mixing drums using SSL's.

    If you enjoyed this video and would like to see Chris Lord-Alge mix in much more depth, please be sure to head over and check out the CLA Audio Legends premium mix course from my friends at Slate Digital HERE:

    Please SUBSCRIBE, LIKE, and ENJOY!

    Don't forget to sign up for the Mix Better Now Newsletter to get your Swag Bag of Free Multi-Track Sessions, Free Mix Templates, Free Drum Samples, Free Reverb Impulse Responses, Free Plugins and more, here:

    Please feel free to drop me an email with any questions at! :-)

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    Bass and Low End Mixing Tutorial


    Download the kicks and massive presets here:

    For info on my mixing/mastering, please check here:

    For info on my one-on-one skype Q&A/lessons, please check here:

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    The Importance of MONO in Your Mix


    This video will teach you why mono is so important when mixing. The key to getting a tight and punchy low end is MONO.

    This video will quickly explain how to use mono in your mix, as well as why you need to do it. Making something mono in FL Studio is very easy to do, and this video will show you how to make elements mono in FL Studio.

    Do you want to watch more mixing tutorials for FL Studio? Check out my playlist here, which contains all my mixing and mastering tutorials:

    Download the TP Bassline for free here:

    If you have the FL Studio producer edition or higher then you get a plugin called Maximus which can also be used to do the same thing.

    Did you like this video? You can help us make more videos like this by supporting us on Patreon:

    You can also support this channel by donating to our paypal account:

    Do you need professional feedback on your track? Check out my gig on Fiverr:

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    Contact me:

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    How to get a tight and punchy low end in your mixes with editing


    Join me on my journey to help audio engineers mix metal music in my new series Quick Beef Tips where I'll do videos on common and uncommon mixing techniques for the modern metal audio engineer while I make some delicious beef tips in the process :)

    I AM NOT a qualified teacher for this! I just want to share some insight on what I've learned over the years and hopefully help someone out that's struggling in certain areas.

    If you like what you see and hear, feel free to leave a comment below on what you think I should do a video on next!

    To book studio time visit:

    and request a quote for your band/project today!



    The track Im working on in this video is called Dawn
    by a band Two by Sea.

    Intro song: Dawn by Two By Sea

    Tracked, mixed, and mastered at Study Sound Recordings.

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    Controlling low end frequencies in Logic Pro X


    In this tutorial I will explain how to process your kick and bass to achieve maximum success in your low end.

    I will be using the stock Logic Pro X EQ to boost and cut frequencies allowing your low end instruments more clarity.

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    How to Mix Low End


    Learn how to mix with compression ➥
    Learn how to mix hip-hop ➥
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    Mixing tips:

    Low end mixing tips and techniques using EQ, effects, M/S processing, as well as different kinds of routing you can use to have more control over the low end of your mix.

    Learn more:


    Tools used in this video:

    TUBE-TECH PE 1C PULTEC EQUALIZER - The Tube-Tech PE 1C is a passive, tube-based equalizer suitable for many different sources ranging from bass drums and guitars to vocals, and not least for giving full mixes that extra weight and shimmer. The equalizer features a Low Frequency section made up of two low shelf filters which can be combined to attenuate and boost at the same time. These filters are actually bit apart in frequency even if they are controlled by the same frequency selector, and if you find the Boost gives you too tubby a sound, the attenuate knob will clear that up for you.

    WAVES MAXXBASS - When you need to seriously pump up your lows, choose MaxxBass, the bass enhancement technology used on more hit records and major motion pictures than any other. MaxxBass uses psycho-acoustics to calculate precise harmonics that are related to the fundamental tones of sound. When these harmonics are combined, it creates the effect of lower, deeper frequencies. For bass you can really feel, it's got to be MaxxBass.

    H-EQ HYBRID EQUALIZER - H-EQ is a uniquely powerful hybrid equalizer, featuring vintage and modern EQ inspired by the finest British and American consoles; seven different filter types per band, including a newly-developed, one-of-a-kind asymmetrical bell filter; an intuitive keyboard graphic that lets you choose frequencies by clicking on notes; an exclusive MS Mode so you can apply different EQ to the sum of a stereo signal and its difference; and a flexible real-time frequency spectrum analyzer with multiple display options.

    WAVES NLS NON-LINEAR SUMMER - Waves, together with three of today's top producer / engineers, is proud to present the NLS Non-Linear Summer: Three legendary consoles -- in one powerful plugin. Waves modeled over 100 individual channels in all, capturing the unique color, character, and behavior of each and every input and summing bus amp. NLS delivers the richness, depth, and harmonic complexity that only analog gear could deliver -- until now.

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    Tightening Up That Low End In Your Metal Recordings


    Link to high quality MP3:

    This video is on how to EQ the low end of your metal mixes and finding natural frequencies of the low-end instruments using frequency analyzers

    Blue Cat Frequency Analyzer:



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