This is by far the most clear explanation of glue compression / pultec eq ing and saturation for low end while seeing the results clearly on your screen.
you're actually my favourite youtuber at the moment - you're so good at what you do and the videos are incredible. SO useful! I would love to see you cover some other genres like minimal drum and bass, I would love to see what sort of stuff you could do!
Hey absolutely love your channel, just wondered if you ever thought about doing a series along the lines of making a full track from scratch? Like several different episodes of different stages of making a full track from start to finish? I think it would be really cool to see :) also wondered if you have or do any pigments tutorials as I noticed you use it in a lot of your videos? Thanks keep up the great work
Super interesting. I found the FX off to have a more punchy kick, but the FX on (with Arturia VCA and pultek emulation, that is, less dynamic range) to have a fuller sound with greater emphasis on the rolling bass. The punch of the kick was lost some (especially the thump), but the rolling bass was more foregrounded. It’s a tough aesthetic choice, I think! I guess it all depends on what’s going on outside the low end, and whether or not you need a bigger overall bass presence or a punchier kick I suppose. Thanks for this video! Your quality is very high and the A/B tests are absolutely wonderful.
Quick question: Would I be able to do this with something like NI Solid EQ. It has pretty much the same function but I’m not sure if there’s a different algorithm involved. My thoughts: This video has been recommended to me 3 times and now and each time I didn’t bother watching because these “secret sauce” videos usually all teach the same basic tricks. I knew the tip of the VC compressor, but the tip with the Pultec EQ is genius. Up until this point I’ve pretty much only used my Pultec EQ for added character in drums and vocals. I never imagined to Attenuate and Boost at the same time. This is genuinely a great trick, with technical knowledge involved. This is the kind of thing I’d expect to learn in a pro course. Thank you Yalcin!
Yalcin, as usual, super helpful !! Thank you. Quick question - Is it more beneficial to have the chain on master bus? Reason I ask is because your chain seem to have the blackbox on it, won't it affect all frequencies if placed on master ?
This is similar to a technique I picked up off another mastering engineer, who used a serial compression technique, using a FET --> VCA compressor, and I typically will saturate it with Decapitator before heading into the dual compressors. the sound result is similar, with a little more warmth and body than what I was hearing there. This is interesting, and something I'll look at, using a single compressor and pulteq instead, as it's similar to a second compressor.
@@paddy9066 kind of, but different depending on what I wan the bass to do. Like if I want it more bouncy, I'll set the attack faster on the 2nd compressor, if I want it warmer, I'll have both on slow attack so that the effect is more rounded. It just depends on the track.
i have a question. Would you consider using a multiband compressor in this case a better option? Since you can really control the low end in seperated way. Especially in our genre, natural sounding is relatively irrelevant.
this video shows how many people actually want to learn about the music. 5.4k views and 49 comments :DDD Thank you for teaching me Yalcin. I really appreciate this
great video, I usually have my drums and bass in different groups. Could I group both together (drum group and bass group) then apply these techniques at the end of the chain ?
I believe the idea of this technique is just low end together...Kick Bass and low percs like toms..the other drums like hats claps ect. In a different group.
Tried this on a group with my kick + sub grouped, seemed to really improve my low end. Is this the correct way to buss it? Couldnt tell if you had it on the master or a group with kick/sub.... looks like a few others asking as well. Thx!
@@No-to4kd you mean it can be both according to our work flow or it HAS to be on both? I ve tried it on a bass group and worked like a charm. I also tried on the master bus without having it on the bass group but result wasn t has good...
@@siegfriedmasson2466 i meant it can work on one or both, in different situations. if you're boosting e.g. 3 db on your bass group, you can try reducing that to 1.5 and adding another 1.5 on the master bus
You're not changing any of the dynamics of the sound sources, just making them quieter. As he mentioned in the beginning of the video, he wants to smooth out some of the dynamics on the low-low end. I assume you would use this technique after mixing the kick and bass.
Good question! I suppose this is ultimately compressing the kick, and trading some off it’s punch for more presence in the rolling bass. If the kick was lowered, you would also lose some of its transient. This method keeps the transient at the same volume level (the click), but combines together the kick and rolling bass low end (all below around 150hz). Perhaps you could compensate after lowering the kick with a transient shaper to boost the transient. But I guess a transient shaper is essentially a compressor in disguise? Anyway, with this method you get a good kick transient with a lot of rolling bass. I would be curious to see this approach with some more aggressive sidechained frequency specific ducking on the rolling bass with the kick.
You fast talking just makes two things. 1. many not even understanding what you say. 2 me personally the information... which is good by the way... can not sink in and i have to go somewhere else! Thanks😊
