Part two still retains that nice transient, but now the room has been stretched out, giving the impression of a bigger kit. This is exactly what I did in the audio example below-the first part is dry and the second part has a longer sustain. If your drums have punch, but lack the fullness you hear in your mix reference, increase the sustain of sounds in the 100–200 Hz range with Transient Shaper. For bassy sounds, the sustain offers a certain richness in low-end character that makes the sound more memorable. The sustain, or fullness of the sound, is what comes immediately after the transient. Once satisfied with the attack, you should work on the sustain. You can easily adjust a sound's attack in Neutron 3's Transient Shaper. It's that first moment when a kick or snare smacks down, announcing its arrival. Punch refers to the initial attack of a sound. If your music doesn’t fit into these categories and you want a more accurate reading, create a custom curve from a single reference track or a group of tracks that represent your chosen genre. The plug-in comes with three built-in targets: orchestral, modern, and bass heavy. If the low-end and mids are drifting below the target range (the blue overlays), this is a clue you’ve filtered out too much bass content. It will analyze, then visually present the frequency content of your mix so you can locate frequency imbalances. If you don’t feel too confident with your ears or simply want a second opinion, I suggest placing Tonal Balance Control at the end of your master chain. So, how do you know when you’ve gone too far? The first step is to listen-does the song make you want to get up and move? Or is it sounding thin and pinched? Does each instrument seem isolated and lonely? You can easily destroy a song’s liveliness with reckless high-passing. But you don’t need to EQ every instrument that strays below 200 Hz. Go easy on that high-pass filterĪ high pass filter will certainly help you clean up the nasty resonances and hum that clog up the lower end of the spectrum. These are generalizations, but you should get the idea: define where the bass comes and you’ll avoid frequency conflicts that minimize the song’s low-end impact. Bass weight might come from a wobbling sub, a blown-out breakbeat, or some slammin’ kicks. Kick drums in rock mixes sit a little further back, allowing the bass and guitar to rule the low end. In many modern hip-hop mixes, the source of bass is a single 808-style kick. It’s much easier to achieve a weighty mix when you determine where the low-end will come from at an early stage in the mixing process, being sure to limit the number of bassy tracks you add in afterward. As a result, we tend to keep these frequencies in sounds where they aren’t really that useful, until this build-up of bass eventually minimizes low-end presence through frequency masking. We love feeling low frequencies in music, which is complicated by the fact that many sounds produce them. Today, I’ll cover some tips for boosting bass and adding weight to a mix. This powerful sound and physical feeling are often created by a careful treatment of low and mid-range frequencies. Some songs seem to have a physical presence that sets them apart from the rest.
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