Fixes for LOW END Problems in Your Mixes! 

@glorpfruncus2180 OH! That means the most for me over here! Really makes me feel great that you tried it and had success like that. Thank you so much for sharing that. Comments like yours make doing this extremely worthwhile and rewarding for me. Thank you for being such a valuable part of the channel, and on this journey with me!

@thelifeofalii333 Yea I'll try to put something like that together on a future video. I don't know if it's worth going back into this session again. But I'll make sure to do something like that on a future video since it has been requested a few times. Happy to oblige.

@@customcutstudios thanks a lot man, your videos are very much appreciated man, thank you for your time and your reply!

@iwannagotothemooon8666 Thank you so much for sharing that! I really appreciate the support and that you were here at this stage! Thank you for being a part of the journey!

That's not really how modern uk dnb sub bass is done anymore. That's like a 2010-2015 technique.

@@WillyJunior I’m not sure I totally agree with you, but on the other hand you could be Subfocus for all I know :) My personal preference is to use a side-chain in relation to my kick drums and sub bass and I also use LFO Tool alongside my snares to create a little extra space for the drum transients. I’m happy to say that my releases tend to secure support from around 20 to 30 headline DJs each time I drop an Inflyte promo so I must be doing something right, hopefully. I mentioned Trackspacer because Break uses it on all his tunes, as opposed to side-chain compression, so that the sub bass appears to be constant throughout the track. This seems to be what most DnB producers do these days as you probably know. I recently did a track with Dope Ammo in their studio and all they used was an 808 bass boom sample with no processing at all and it totally sounded awesome. That tune, which features Zen Lewis on vocals, is already being spun by DJs including Benny Page, DJ Rap and Sublow Hz. With that in mind I think it’s fair to say there’s more than one way to achieve a decent sub bass these days. On the other hand I’d love to hear your thoughts and advice. Cheers!

@TheDeathBeatsOfficial Thank you for sharing that! Your knowledge and experience is a welcome part of the channel. The way you are working sounds like a great way to achieve what you are going for. I've personally never found much use for trackspacer, but I've heard it mentioned a few times, so I may have to revisit it. Same with LFO tool, it doesn't ever really find it's way into my workflow. If you get the results you are looking for using it, then it's the right tool for the job. That's how I look at things. I'll tell you how I don't look at things... I never look at anything as "dated." IMO, the best tools for mixing and production are the oldest tools there are. If I bought one compressor it would be probably be the Fairchild lmao (one of the oldest compressors there is). So, I don't really see the logic in new being better. New is sometimes better in terms of ease of use, but theres almost always some sacrifices being made for the ease of use. I'd prefer to have more choices, and have it be slightly more difficult to use with more controls. Just my personal opinion. You are absolutely right in that Low-End is often the most tricky thing to get right in all genres! IMO, this is because 1) low frequencies take up the most room in the mix, so they are often the hardest to manage. Hard to maintain life, and also control, without sounding overly squashed on low frequencies. Also, they are the hardest for us to hear unless you drop serious (and I mean serious!) dough on speakers with extreme clarity in the low end. Headphones ain't it, if you ask me. Thank you for watching and being a part of all this!

@WillyJunior the world of music works in cycles. Anything deemed as a new technique, is actually just an old technique repackaged. The shiny new wrapper doesn't make it a new tool. The best tools for audio are often the oldest tools there are (hence, Neve and SSL). Everything new has roots in something old, and can be done in varying ways. An open mind and insight into the past, will help take you farther in your understanding of music production, mixing, and the tools to do what you need done.

@@customcutstudios I've got Trackspacer but in all honesty I've never used it as I prefer the results from LFO Tool, at least for the kinds of music I'm making. I totally agree with you in regards to the issue of gear or software being dated. For example, allot of people, including myself, still use Camel Phat for Bass Music and UK DnB simply because it sounds incredible, despite being a very old-school plugin. I've not come across anything that sounds as good. I mentoned in my previous comment that I recently produced a track with Dope Ammo. Their music is hot right now in the DnB scene and apart from Serum they only use a handfull of extremely dated and mostly free plugins that I had never even heard of. Despite this, their sound is incredible and they are currently rushed of their feet with remix work as a result. Cheers!

@GRAVYBEATS Oh! Thank you for saying that. Makes me feel great to that this connected with you like that! I'm happy to share with you, and there is so much more to come. Thank you for being a part of the channel, and a part of the journey!

@endofnight I'm so happy that this reached you and resonated in that way! That makes me feel great to hear you say that. There is so much more to come. I'm very happy to have you as a part of the channel and the journey!

@LemonesqueStudio Thank you so much! I can't explain how happy it makes me to hear you say that. I'm very glad my videos connect with you in that way. I really appreciate you being a part of the channel! So much more to come.

@oyoyoyubilinegra Thank you! I really appreciate that. Makes me feel great that this resonated with you like that. This concept was very critical to my mixes leveling up! I know it will do the same for you. Thank you for watching and for being a part of all of this!

@user-cp8dl2oh8n I'm very happy this resonated with you. I'm looking forward to you trying it and hearing the results. Don't expect too fast but it sounds like you internalized the concept. Same with volume boosting a frequency that is already extremely prevalent. No need to do that on bass. I boost outside the fundamental to be able bring out the character I want, (if it needs a boost at all). You got this! Thanks for being a part of the channel.

@l.u.i.s.g.u.s Thank you for sharing that! That's amazing. I'm so happy I could confirm what you realized on your own. Great call! Thank you for being part of the channel and the journey over here!

@dstopianmusic Oh!! Thank you! I’m happy the videos resonated with you like that! This is a never-ending journey, and I’m very glad you are with me on it. Thank you for being a part of the channel

@mjk5254 I really appreciate that! Very glad to hear this resonated with you. There's so much more to come. I show this in a session coming soon. Thanks for being a part of the channel.

@srsolo1977 I really appreciate you saying that and I appreciate you being here! You are a welcome part of the channel, and Im happy to have you on the journey with me! So much more to come!

@FoePoundProduction I really appreciate you saying that! Your comments inspire me to continue on this path, so the feeling is mutual. Thank you again for being on this journey with me! So much more to come.

@christopherjohnson3734 Thank you! I really appreciate that. I'm looking forward to your results for you. With this understanding. Frequency volume boosting (which is exactly what EQ is), should never push the loudest frequency of a source further out unless you really want it to protrude unnaturally. Especially on bass. Bring out the character of bass instruments by bring out whats around the most dominant fundamental frequency, more so than by bringing out the bass'iest areas of the bass (so to speak). This will prevent them from getting in the way. You got this! Thanks for being a part of the channel!

@technigroove Thank you so much! Will do 100%. I love doing this. This train ain't stopping. Thanks for being a part of it all!

@441snipes Thank you so much! I really appreciate you sharing that, and I appreciate you being a part of this all. Thanks again for watching!

@@customcutstudios You're welcome. Keep up the good work💯

@RobertRyda that’s another very interesting and rather mathematical approach. I dig it. Thank you for sharing that and for being a part of all of this!

@kaiulrich6185 Oh Absolutely! There's other things that work similarly, but I just love that Pultec. I have a combo combo elements I use with it. About to drop a video relatively soon showing all the plugin settings I used on kick and bass in a recent session. THank you for being a part of the channel! So much more to come.

@joncjb I appreciate you saying that. I’m happy to share with you. Oh I do both. I just think the concept is what’s most important so I often explain concept first, so that when you see it afterwards, everything truly sinks in. Understanding the reasoning behind what I’m doing first is what’s going to help you the most rather than just following exactly what was done in a session. There’s use to both. But since every sound source is different, and everyone has different tools that can all achieve the same thing, I find that you must fully wrap your head around the concept before seeing it in order to internalize it. Also, its helpful if you try it out on your own after you hear the concept. Then when I do the follow up video showing the session, you may be able to pickup something you missed in the concept video. I have a video showing this coming up soon. Thank you for being a part of the channel!

@Wildstylemusic I really appreciate that! I’m happy we are on the same page. So much more to come. Thank you for being a part of the channel!

@@customcutstudios yes sir thank you bro

@blazinAV haha I can imagine lol. I've seen some pretty crazy sessions before. The big realization I had about this, was that when you have low end instruments, it only makes them worse to add more low end. They already got that. In most cases thats what they have the most of. So definitely don't need to add more of it. Just bring out the other parts outside of the fundamental frequency, to enhance the character, etc. No need to push whats already plentiful. Thanks for watching and being a part of the channel!

@alexanderperisteris8163 Thank you so much for being a part of the channel and the journey with me! This was certainly a complex video so don't feel bad. The DAW you use is not relevant. These concepts apply to everything the exact same way. A group bus is just a bus that you send multiple individual tracks to (for example 3 vocals could go to a vocal bus. The vocal bus is a group bus with all the vocals on it. 1) mix bus means the LAST bus where everything goes in order to combine ALL your separate busses or individual tracks (depending on how you work) for each instrument, and your effect busses (delay, reverb etc), and any parallel busses. Parallel busses just mean an additional bus that runs parallel to your existing bus, with different (often shared) processing on it. You may have 1 bass bus that is clean for example, and 1 bass bus that is very compressed for example that you blend together, and you send both of these to the Mix Bus (the LAST Bus in the chain that gets everything). Same could apply to drums, or vocals etc. Or a parallel bus could be a buss that you send multiple different instruments to, and blend in with the other busses. Everything meets up in the MIx Bus (the LAST BUS) at the very end of your chain. There can only be 1 mix bus and it is your final bus that you print the track from. Your drum multitracks go to a drum bus.. (sometimes 2 or 3 drum busses all running in parallel), and then that drum bus gets sent to the mix bus. Same with Bass (to a bass bus and then the bass bus goes to the mix bus). This is not a question that can be answered simply. It is the essence of mixing. Happy to give you private lessons if you really want to learn quickly. 2) there can only be 1 "Mix Bus" and its the very last bus in the chain. 3) don't get hung up on the db on a pultec. You can visualize it as db if it helps you, just know that it's not exactly equal to DB. You are using your ears to dial it in, not the amount of decibals (which would be using your eyes). 4) I wouldn't rule it out. Thanks again for being here. You are a valued part of the channel.

@@customcutstudios wow, man. thanks so much for taking the time to explain this!!

@brasstime Thank you! I appreciate that very much. Im very happy this connected with you, and to have you here as a part of the channel!

@LouieJakeGabrielIII I'm very happy this video connected with you. I feel your pain on that as well. You are absolutely right in that some of audio is actually anti intuitive. Once you learn things like this, you never have to re-learn them. Frequency boosting (eq) is the same as volume boosting. Theres never a reason to boost the volume on a frequency that is already poking out. You want to boost around it, above it, (maybe below it, if its an instrument other than bass). Bring out the character that isn't being heard clearly. You got this! Thanks for being a part of the channel!

@CrazzyJokerr That's interesting. I would say if theres no punch in the kicks, you have your attack time to quick (if you have a compressor on it), or if you have a limiter on the drum bus or mix bus. Make sure the attack time is slow enough to let the aggression of the kick punch through. Try that. Also, use MV2. It's a banger of a plugin dealing with sub information in a pleasing way. And a transient designer would help you tailor what is happening before it hits the compression. Try that stuff and lmk. Music is music. I can find something to love in all genres. Happy to help. Thanks for being a part of the channel.

That's exactly why I lower the gain when I add it, and barely add more than 1 on the intensity. Somtimes just engaging it at 0 on the intensity is more than enough. It gives you that extra low end extension, without needing to boost the volume of the track an equivalent amount which gives less harmonics. It doesn't mess up the phase more than using any other effect on the bass like a modulation type chorus effect, which is also a great thing to add to bass to make is more audbile. It's a go-to plugin for many people for a reason. Because its amazing. I sometimes get the same out of the Ampeg SVT plugin, or a few other things. You just manage the volume and you get more than you can get otherwise, and it's actually less destructive than a straight severe volume/freq boost.

@newguy6935 That's pretty far up there that you sloping. Up to 1K? That's a lottt of a slope. I never look at it that way. I think you may have made a typo there. You mean 80-100 hz?

@switchhmusic What about it? Concept wise, you never want to boost low frequencies on low freq instruments. There's just no reason to. On an 808 you may want to bring up the low level information (meaning the quieter parts, or the tail of the 808). I do this using compression. But I don't boost the lows as there is no reason to. There's already plenty of low freq information in an 808, so you don't need to boost it. That's the concept. Bring up the lows on your mix bus and it will bring up the 808 naturally. Hope that helps. Thanks for being a part of the channel!

@mosstet The only one I know of is that PAZ analyzer which came with protools. Not sure of any others off the top of my head, but maybe someone else will suggest something here that is comparable. Thank you for being a part of the channel!

@kyprianou2009 no, not at all. I definitely don’t bypass anything at the end. You mix with everything on, and you print the track (or bounce the track) with everything on the same way you’ve been mixing. Taking anything off at the end doesn’t make any sense. I have a substantial bass boost on my mix bus. So I don’t need to boost low end on low end instruments. It sounds much more natural this way. If you boost fundamental bass frequencies on bass instruments and also boost bass on your mix bus, it will be way too much bass in your mix. Unless! You flatten the bass frequencies substantially with compression after you boost them on the bass instrument tracks/busses. There’s no reason to boost fundamental bass frequencies (unless you flatten them afterwards), if you have a substantial bass boost on the mix bus.

@@customcutstudios Thanks , will give this a go

@waliddeui6725 I believe it. Well you have come to the right place. Now that you are a part of the channel, we gonna make it happen! Thank you for being on the journey.

@@customcutstudios thanks

Does it sound good after the cuts?

@@michaeltwiz8477 i cant say it sounds good after the low-end cuts but it sounds less bad than before 💀 for me logic pro is a low-end, ultra high-end, and right at 400-500 mid-range mess :/

@@Real_Epic Compression and lower the faders. Try a good VCA/FET and eq into the Compression and after until in sound right.

@@michaeltwiz8477 ill give that a try thanks :)

@Real_Epic Hey, I'm glad you reached out, and I'm glad @michaeltwiz8477 was able to give you some good assistance with this question before I could reply. Let's for the moment assume it's not a problem within logic pro. Based on what you described to me, it could be several things. 1) you could be clicking normalize when you are exporting things and then you will have an awful mess of terrible. Assuming that's not the problem, this sounds like a gain-staging issue to me. When you load in these samples, if they are already at "max volume" so to speak (meaning already limited, already compressed, already hotter than hot), then you should defintely not be adding volume to them which is what you would be doing by adding gain at any freqs on the EQ. If you want to do that, you would have to lower the clip gain on the samples after you load them in. Maintain control of the inputs, and outputs on all your channels. Make sure you are living well within the "green" on all your tracks so that the sum total of them going into your mix bus is working for you and not against you. I run all my tracks into busses (most of the time) so that I can keep the track faders at 0, and only need to manipulate the volumes of the tracks by manipulating the bus faders. Just group your bus faders, grab them all and lower them until you are not clipping the signal into the mix bus. Got to monitor the levels of each track every step of the way. Hope that helps! Lmk how it goes. If you need further help on this, I'd be happy to dive in, on a private lesson. Thanks again for watching and being a part of the channel.

@SuperLevelone oh you will! Thanks for watching and for being a part of this.

@Farabeats70 I'm happy this made you consider an alternative way to look at bass and low end. It made all the difference for me, once I understood that you don't have to boost the lows on things that have tons of lows. You are just creating problems at that point rather than bringing out additional character in the sound, or making the sound fit within the context of a mix. Thank you for watching and being a part of this.