Tips for Mixing Low End with Kicks, Synths and Sub Bass

Watch the Tips for Mixing Low End with Kicks, Synths and Sub Bass from YouTube here

Tips for Mixing Low End with Kicks, Synths and Sub Bass

Hey, what’s up guys?

My name is David Glenn for theproaudiofiles.com
and davidglennrecording.com.

In today’s video, I want to show you how to
manage your low end.

Now, I’m not going to talk about getting an
incredible kick sound with tons of sub or

bass or whatever.

I am going to however talk about getting a
sub heavy kick, a sub heavy bass, some pads

with some sub, I got a sonic boom with some
sub, and a choir pad sound that sounds really

cool with some sub all to get to work together
well in the same song – the same mix.

We’re going to do that by arranging our low
end.

But first, I’m going to give a plug.

I’ve got a membership site – it’s called
themixacademy.com, and right now, this month,

if you’re watching in September of 2015, I’m
giving away a bonus of three sets of multi-tracks

from a recent record that I mix, and I’m mixing
the song Arise start to finish.

The videos are up online, ready for you right
now, and you get the three song multi-track

bonus as well as the full start to finish
videos as a coaching call online, and then

you get VIP admission to our live coaching
call and web show that’s happening next week,

and it’s a great deal, a great bonus I couldn’t
pass up sharing that with you guys here.

I actually started leaving up the previous
month files, so you can actually download

the August files – the multi-tracks for
that, the start to finish videos, the coaching

call, all of the files that come with that
in addition to the current month’s bonus of

three songs.

All of them can be mixed for your resume,
and then even more than that, I give a free

bonus course if you sign up.

It’s just $27 a month and you can cancel anytime.

So effectively, you could go on, sign up today,
join, get last months, this months, all of

the bonuses, e-mail me, get a bonus course,
and then cancel and have all of that for just

$27.

It’s maddening, but I wish you would take
advantage of it, because it’s insane.

I wish I would’ve had something like that
when I was first learning.

So anyways, that aside, let’s dive into the
tutorial today.

So like I said, I have a kick – I like a
lot of sub in my kick.

I like a lot of sub in my bass.

I’ve got this sonic boom here that has a lot
of sub, and then I have these two sounds down

here that we’re going to talk about, and there’s
a pad.

I’m going to show you first the pad choir
sound.

Let’s check that out in solo.

[pad plays]

Cool.

Then we have a pad here.

[pad plays]

You can feel the warm sub in the sides.

I’ve done some mid/side EQ.

Then if I come up here and show off the sonic
boom – and actually I was messing around

before I went live with this.

I’m going to back that off a little bit.

Here’s some of the sub from this guy.

[boom]

Okay.

So there’s some subs in there, and then we’ve
got the kick.

[kick drum]

Tight subs, but they’re there.

And the bass guitar, I do multi-band treatment
here.

I’ll show off.

Let’s come down here and show this section.

[bass guitar]

And because I gave a shout about The Mix Academy,
let me show you a more interesting part of

the song.

[song]

Cool.

As much as Pro Tools will let me before a
glitch.

Some guys, I get e-mail all the time.

“Hey, is your system – I see you run a
lot of plug-ins etc.”

The only time I have problems is when I run
a full mix that’s been done and then do a

tutorial off of that.

So glitches don’t come when I’m mixing, just
when I’m doing the video at the same time.

Okay.

So managing the low end.

I’ve got kick and bass being side-chained.

The kick is pushing down the subs and the
bass.

I’ve talked about that a ton on the blog.

Videos are out there on how to side-chain
your kick and bass, and I like the subs to

dominate in the kick to push them down in
the bass.

You can see that really, really quickly.

I send the kick into the bass.

Pro-MB from FabFilter, can’t beat it.

Push the subs down a little bit there, Waves
Factory Track Spacer works for that as well.

What I did with the Waves Factory Track Spacer
is I used that and committed the processing

for the sonic boom.

When the sonic boom comes in, the initial
transient – the impact of the subs pushes

down the kick, it pushes down the bass a little
bit, and it dominates for that instant that

it hits, and then it sustains and it sounds
nice and full.

So those are things that I’ve talked about
before, but what I want to feature in this

video is the work that I did here to the pad,
and the pad choir.

First up, you’ll notice that there’s an automation
lane here, and that’s for Band 2 of my Pro-Q

2.

This may look like a spaghetti mess, it may
look crazy, but there is a method to this

madness.

Let’s take a quick look.

Once again, here’s that sound.

[synth pad]

Okay.

What’s going on here is I have mid/side EQ
instantiated, and I’m doing a shelf – a

low-shelf lift from 90Hz and below only on
the sides to just give a little bit of push

to the sub frequencies and just the sides
of this sound.

Then what I have is two low-cut/high-pass
filters.

One on the sides, and one down the middle.

The one on the middle, I’m allowing the kick,
the bass, all of that stuff to live there,

and I’m sucking out everything below 50Hz
or so for this choir pad sound, but then for

the sides, I’m allowing that 20, 30, 50Hz
to live there, and then what I do is you’ll

see when I click – so here’s where this
pad choir is here.

When I click over here, you’re going to see
that shelf disappear, and further in the song,

that side shelf actually automates to go up
a little bit to not allow that much frequency,

and I think I saved this as – let me actually
demonstrate how I would do that.

This right here – this side-band, what I
would do is I would on Pro Tools, hold all

three modifier keys, click enable, Command+Control+click.

Now that automation lane is open.

I’m going to make a selection for the rest
of the song, and I’m just going to pull that

frequency up – probably somewhere around
60 or 70 because I just don’t need – maybe

even 75 – I just don’t need that when I’ve
got the bass guitar in and I’ve got the other

elements rocking.

So now, this sound is dominating the sub frequencies
during the first part that it’s in, because

we don’t have a whole lot going on, but then
whenever everything is in, let’s come over

here and listen.

[synth pad]

It’s pretty much the same part.

[song]

And even there, there’s not much going on
sub frequency wise in the sides, so I can

put that back down around 30Hz.

Now let’s listen to it.

[song]

Pretty killer.

So now we’ve got this full side thing going
on, but then at the chorus, where things get

a little bit hotter and they get a little
bit more energetic, it’s going to back off

and it’s going to remove the subs so that
the low end is featured down the middle in

mono with the kick and the bass.

That’s that sound.

Over here with the pad, I felt like this intro
here…

[music]

The
bass is there, and the bass is filling up

the sub frequencies down the middle, but I
still felt like the pad choir had us all heavy

and weighty on the sides during that intro.

For this pad to come in and not have subs
I felt was a little bit weak.

So I came over here with the Pro-Q 2 – mid/side
mode again – I’ve got a stereo low-cut/high-pass

filter here at like, 23-25 Hz just to keep
any of that extra stuff down there from getting

in, but I’ve instantiated a side low-shelf
– about 80Hz and below – and I’m boosting

what, about 6dB of it to give this pad sound
a little bit of weight on the sides so that

it’s not down the middle and it’s not going
to interfere with the bass, but it’s going

to boost the stuff on the sides.

It sounds really good.

I’ve also got this Hoser – let me take a
look at when I’ve got that coming – yeah,

so.

That one is bypassed here, but it’s in…

Nope, I have that backwards.

It’s in right here.

Yup.

There we go.

So listen to that in solo.

Here’s with the low end.

[synth pad]

Okay, and then coming out of that section,
here’s going from having subs on the sides

to them being gone.

[synth pad]

Cool.

And then more importantly in the track, here’s
in context.

[song]

Cool.

And so the pad choir, the bass guitar.

Pad choir subs aren’t completely gone.

We’ve removed some of them, but they’re not
completely gone.

It would be too much to have the pad, the
choir pad, the bass, all of that stuff going

on at the same time, and so by picking and
choosing which sections of the song you allow

those sub frequencies to be boosted or enhanced,
etcetera, you can really help a song feel

more weighty.

Let those subs out.

It’s a beautiful thing, sub frequencies.

Right?

A lot of modern mixes have a ton of subs and
that’s one way it can be achieved.

Now, if you come across a situation like I
did in this song where things built pretty

darn big towards the end of this, and I actually
was clipping my limiter – not going to get

into an argument with you guys about mixing
through my buss compression.

If you see my stereo buss master class that’s
there, I mix through my limiter.

Some guys do it.

I feel like it gets me to the finish line
quicker, so I do it, but we’ll save that for

another day.

However, I did however notice that whenever
I got to the peak of the song, it was hitting

my limiter too hard, and what I found to be
the culprit was the low end.

So I went in and I automated some low end
cuts to that specific section.

[mix]

Okay.

And it was happening during this build, because
what I failed to mention was that I actually

have toms that I like some subs in my toms.

Sometimes I’ll cut 70Hz and below.

It just depends, but what I like to do is
automate it so that the toms can have a low

end sustain whenever there’s room for it,
and when there’s not, I’ll bring that back

and actually, I don’t know if I’ve done that
yet.

I started to do that, but here’s the 65Hz
and below.

What I might do is come in here and automate
– let’s go enable this.

Command+Control+Click, pull open that lane
and I’ll leave this up here so you guys can

see it.

For this particular fill, I love that the
toms have that energy, but we have a lot of

sub stuff going on right here.

So what I may do is pull that up to anywhere
from like, 85 to 100 to help it out a little

bit more, but something like this.

[mix]

We’ve got that sonic boom, so the sonic boom
can dominate the low end on that particular

hit.

I’m not worried about the tom having a bunch
of low end there, but for the build there,

it was causing the limiter to distort in a
horrible way.

So let me back that up and let’s hit play.

[mix]

Cool.

So we’ve cleaned up our toms, we’ve removed
some of the – well, we’ve done preventative

maintenance for the low end so that it doesn’t
distort our processing, and we’ve arranged

the low end so that things are working together.

If you have any questions – if I went too
fast or botched any of these explanations,

feel free to e-mail me.

David@davidglennrecording.com.

I definitely answer e-mails faster in The
Mix Academy.

There’s a forum and I get those first, but
feel free to e-mail me and I will try my best

to explain it better.

So I hope you dig this.

Managing your low end.

David Glenn Recording, The Pro Audio Files,
themixacademy.com.

Links are in the description below, and we’ll
catch you soon in another tutorial!

Tips for Mixing Low End with Kicks, Synths and Sub Bass

Instant access to every in-depth mixing course from David Glenn: http://theproaudiofiles.com/members
Free mix training bundle: http://bit.ly/mixbundle
The Mix Academy: http://bit.ly/mixacademy
More mixing tutorials: http://dgrtuts.com

A video on mixing and managing multiple low end elements in a mix including kick drum, synth pads and sub bass.

The offer for mentioned at the beginning of the video will remain valid until November 1st. Simply email david@davidglennrecording.com after joining to receive the bonus files: http://bit.ly/mixacademy

Transcript Excerpt:

In today’s video, I want to show you how to manage your low end. Now, I’m not going to talk about getting an incredible kick sound with tons of sub or bass or whatever. I am going to however talk about getting a sub heavy kick, a sub heavy bass, some pads with some sub, I got a sonic boom with some sub, and a choir pad sound that sounds really cool with some sub all to get to work together well in the same song – the same mix. We’re going to do that by arranging our low end.

But first, I’m going to give a plug. I’ve got a membership site – it’s called themixacademy.com, and right now, this month, if you’re watching in September of 2015, I’m giving away a bonus of three sets of multi-tracks from a recent record that I mix, and I’m mixing the song Arise start to finish. The videos are up online, ready for you right now, and you get the three song multi-track bonus as well as the full start to finish videos as a coaching call online, and then you get VIP admission to our live coaching call and web show that’s happening next week, and it’s a great deal, a great bonus I couldn’t pass up sharing that with you guys here.

I actually started leaving up the previous month files, so you can actually download the August files – the multi-tracks for that, the start to finish videos, the coaching call, all of the files that come with that in addition to the current month’s bonus of three songs.

All of them can be mixed for your resume, and then even more than that, I give a free bonus course if you sign up. It’s just $27 a month and you can cancel anytime. So effectively, you could go on, sign up today, join, get last months, this months, all of the bonuses, e-mail me, get a bonus course, and then cancel and have all of that for just $27.

It’s maddening, but I wish you would take advantage of it, because it’s insane. I wish I would’ve had something like that when I was first learning.

So anyways, that aside, let’s dive into the tutorial today. So like I said, I have a kick – I like a lot of sub in my kick. I like a lot of sub in my bass. I’ve got this sonic boom here that has a lot of sub, and then I have these two sounds down here that we’re going to talk about, and there’s a pad. I’m going to show you first the pad choir sound. Let’s check that out in solo.

[pad plays]

Cool. Then we have a pad here.

[pad plays]

You can feel the warm sub in the sides. I’ve done some mid/side EQ.

Then if I come up here and show off the sonic boom – and actually I was messing around before I went live with this. I’m going to back that off a little bit.

Here’s some of the sub from this guy.

[boom]

Okay. So there’s some subs in there, and then we’ve got the kick.

[kick drum]

Tight subs, but they’re there. And the bass guitar, I do multi-band treatment here. I’ll show off. Let’s come down here and show this section.

[bass guitar]

And because I gave a shout about The Mix Academy, let me show you a more interesting part of the song.

[song]

Cool. As much as Pro Tools will let me before a glitch. Some guys, I get e-mail all the time. “Hey, is your system – I see you run a lot of plug-ins etc.”

The only time I have problems is when I run a full mix that’s been done and then do a tutorial off of that. So glitches don’t come when I’m mixing, just when I’m doing the video at the same time.

Okay. So managing the low end. I’ve got kick and bass being side-chained. The kick is pushing down the subs and the bass. I’ve talked about that a ton on the blog. Videos are out there on how to side-chain your kick and bass, and I like the subs to dominate in the kick to push them down in the bass. You can see that really, really quickly. I send the kick into the bass.

Pro-MB from FabFilter, can’t beat it. Push the subs down a little bit there, Waves Factory Track Spacer works for that as well. What I did with the Waves Factory Track Spacer is I used that and committed the processing for the sonic boom. When the sonic boom comes in, the initial transient – the impact of the subs pushes down the kick, it pushes down the bass a little bit, and it dominates for that instant that it hits, and then it sustains and it sounds nice and full.

About The Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

Tips for Mixing Low End with Kicks, Synths and Sub Bass

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