Sub Bass Design, EQ and Compression Tutorial Trance Tutorials

How to Create, EQ, and Compress A Layered Sub Bass


There is always more than one way to do anything in the world of music production. And when it comes to sub bass, there are many people having success moving away from the standard pure sine wave.

 

[aside title="Big Sub Bass!"] A sub bass should be heard as well as felt in many kinds of music, and this approach is one that works well on a wide range of devices![/aside]
This is a solid video tutorial that resonates with me because I too, design my sub bass from scratch and tend to combine the traditional sine wave with something that has a little more character. And it appears to be a growing trend in today’s music scene. With so many different types of playback devices these days, you need to be aware of what is actually heard in a lot of situations. Sometimes you need to get a little clever in how you find a solution to sub bass.

TranceCrafter has taken the time to put together a well informed and thought through tutorial, using Sylenth and FL Studio to show how he goes about designing his sub bass instruments. No matter what programs you are working with, you can do the same exact things that he shares in this video.

Beginning with a simple sine wave, he adds square wave and sets them both to run in a mono mode and keeps the voicing value to one. He makes mention of keeping your bass in the middle of your spread, this means no panning and trying to keep the bass signal is as clean as possible so it can cut through the mix.

A couple of small adjustments are made to the main envelope to eliminate clicking and prolong the sustain. Next is the addition of a lowpass filter, and he shares a little trick hes uses to help the sub cut through things. He adds a slight pitch modulation to create a small thump in the initial attack of the bass. After this is done, some EQ work is done to shape the sound and boost the low end.

And finally, he moves onto the compression stage. Separating the low end form the mid-high range, he is able to be much more precise in his approach to the final shaping of the sound and how it gets delivered. Keeping the compression very light on the lowest frequencies, and accentuating some of the higher elements these last efforts realy can make a lot of difference in how the sound is perceived and heard in the music.

Do you have a small trick like this one that you want to share with the rest of the Creating Trance community? Or perhaps you have a question about something specific you would like us to figure out in a tutorial. Either way, we’d love to hear from you. Send us a message and we’ll be happy to follow up with you.

Cheers,
OhmLab


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