The Truth About The SUB BASS
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- Опубликовано: 24 июл 2024
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linktr.ee/zenworld
In this video, I breakdown why you would need to use a SUB and the myths revolving around subs. Why do people say to use them all the time? Why not just when a valid reason arises? Why not just use basic basslines to avoid a sub? Can a SUB Cause more Complexity that you just don't need it?
What are the strengths of the sub? Why run it? Is it the hOLY GRAIL...... ALL IN TONIGHTS EPISODE OF DRAGONBALL ZZZ DUN DA DUN DUN DA DU DUDAAAA
PLUGINS USED IN THIS VIDEO THAT I get 10 cents from
MOOG MARIANA BASS SYNTH
www.pluginboutique.com/produc...
Timestamps
00:00 Intro
00:24 What Is The Sub? Variations
04:14 When To USE A SUB Example 1
10:33 USING Multiple Basslines in DNB
15:30 Shaping SUB Advanced Idea
18:00 Widebasslines and Reese Applications
20:00 OUTRO
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your never happy with ur own sound you just find that point where u give in, but each time u get better at giving in at the right time. TRUTH lol
Well put
@Semperf11 All of our curiosities are answered in a text called "The mixing engineers handbook" the internet is a great place to begin to understand alot of subjects in great detail but if u want to know industry standard presentation techniques the book is available to all 😊
This video gave me hope. Finally, I understand the leveling of Sub and Bass. I can't thank you enough for explaining it so clearly, Zen. I also figured out why Zen prefers Kickstart over LFO Tool-he's using it in audio mode! I already have the old version 1; now it seems like I'll upgrade it. I learned how to pick the right kick from you. Now it's time for me to get this bass right, no excuses. Thank you for being absolutely the best teacher in my music journey🤍
Thank you for the kind words always and accepting me for who I am HUG!!!SSS
Enjoyed it a lot, great content btw. the bass line is sick af!
Just found your channel…Serum design series….awesome work and one funny dude! Keep up the great work sir!
oh man ive been searching for a video like this for years now. thank you!
WOOOT
Another excellent tutorial :) Thank you bro!
very informative video thank you zen you the man fr
Thanks! This tutorial is really good!
Bro!I'm novice on your channel! And this amazing!!!With love from Crimea!
Thank you Zen, valuable lesson 🖤
dope video thanks for sharing the knowledge.
One up on the Stereo Reese + Sub Bass: On the wide stereo part of the layer, go into the wavetable editor in Serum and remove the fundamental from the saw.
Needed this so much ❤❤❤❤❤
This is exactly what i needed right now to fix an annoying track issue, cheers ninjaaa!
"The tone of the cut" is a phase issue what you are hearing. ProTip: Never use Ableton stock EQ for low end cut. Use EQ that is proper linear phase like Pro-Q 3. Then you will not hear any tone change when cutting low end.
Quality content 🔥 thanks
GG brooo good content
To this to be free out here in youtube is a crime dude.
For you.
This is Gold my man, and your way of saying things straight and clear just adds to it
You're the best man! haha good content
Thank you for non gimmicky, REAL ASS tutorials!!! This is a legit lesson
Nicely done.
Thanks zen!!
bro this vid is a godsend
lovin the room acoustics :)
Golden! 🙌
Thanks for always have clear, concise, usable information! Obviously not as much control as a fully separate sub but how does the use of the serum SUB oscillator compare? What are the major drawbacks?
I don't use it personally when I don't have to. Mainly because I'm not sure if it's retrigging or the phase is allowed to roam. I try to use it on OSC B or A. For my sound design work on Heavy patches, I do use it, however, because I have no choice.
@@ZenWorld thanks for the quick reply. Hmm, I'll look into serum documentation to see if it says anything about that
These tips are really great! As a drum & bass producer with over 1.000.000 streams last year, I am taking notes here! Very valuable, thank you for this!
I'm honored to aid in that my brother. BRING JOY to your listeners!
we are so in tune
Your videos are the best
Glad you vibe with them
SUPER helpful bro. F the neg. you're on it. keep do'in it!!!
Great video. I re watched that last part a couple times.
I want to add some other bits of wisdom I've heard about sub design for edge cases in bass music
For a reese bass, if you have a synth with a filter that keytracks, give a low pass filter and abuse the resonance, run in through some distortion or saturation and then use your ears to adjust the cutoff until its sounds fat. As long as the filter keytracks, the harmonic shape the resonance gives will follow the fundamental when you play other pitches. After you distort it, you can either tame the harmonics from the distortion down to make it a proper sub, or you can boost the harmonics with more saturation and distortion to make a full frequency reese bass sound with a strong sub.
The problem with stereo width and sub is that most things that widen the stereo image can cause phasing issues when summed to mono, which can make the sub inconstant or thin at times. The common approach is to layer a mono sub with a wide high passed bass, but sometimes you may want to keep the sub character from a full frequency reese bass and you need to introduce stereo width without compromising the sub. One approach is to use stereo effects that don't introduce phase cancellation when summed to mono, but you need to know the character of your stereo effect to be sure. A much less common approach I once heard in a Noisia stream is to have a full frequency full mono bass, and layer with it something similar that is very wide and high passed. Rather than focus on the separation of a mono sub and a wide top, focus on a full frequency mono sound with sub, and a texture with it that is wide. For a saturated reece, this can just be a copy of it with fully wet stereo effects and a high pass, or it can be changed up just enough to still blend in as one coherent sound, but still kinda do its own thing to keep interest.
One problem that can arise when you layer a sound on top of itself or something similar, is that the crossover frequency you set with your EQs to separate sub from the rest can give a a different overall frequency response when you play different pitches. That makes a scenario where you get your root note sounding fat with everything put together, but when you change notes it sound thin or unbalanced. You should avoid crossover frequency as much as possible when dealing with a bass line that changes pitches. If you decide to layer bottom end sub reese with a top end wide version of itself, you should try to isolate your sub from the rest with keytracked high/low pass filters on each, that way the overall frequency response remains the same when they are combined at different pitches. You may still want to give a crossover or multiband to something at some point in the mixing and mastering process, but you should avoid doing it as much as possible early on, because the side effects each time you do it will add up.
Phase cancellation and phase rotation are very difficult to deal with. Dan Worrall has a video that I can't remember the name of where he talks about sub bass and shows that even though a sound seems like it has a strong fundamental, it can be made thin or full based on how much time a waveform spends away from its center per wave cycle. The maximum possible is a pure square wave where the wave only sits at either +1 or -1 and never in between. If you know about additive synthesis, you know that a square wave is just a series of sine waves on the harmonics, so you might think that increasing the harmonic content makes for a thicker, fuller sound, however each harmonic also has another property called phase rotation. If every harmonic is in perfect phase, you get a square wave, however if any important harmonics are far out of phase, then you can potentially get a thinner sound because the overall waveform spends less time away form 0. Serum has a really great feature where you can build a waveform by intruding harmonics additively, but more importantly, you can change the phase rotation of each harmonic. If you have Serum, play around with that feature a little to gain a better understanding of the concept and how it affects the overall sound. I don't have any good advice on how to fix this issue if it arises, but sometimes it might pay off to mess with starting phase position for each oscillator until you get something that sounds thicker.
Thanks homie
i mean, thanks 4 the soundsystem test at the beggining, Yamaha HS8 got them all
Wooof YESSSSS
in case of the reese you could also make the sub mono and then compress below like 80hz to counteract phase issues induced by the multiple voices
Yes my babe. I tell peeps to use a sub to avoid the pulsating throbbing beating of the saws phasing out
@@ZenWorld well said
nice tips
Thank you
This is great
you explain things good
When I'm myself it comes out so clearly thank the universe!
At 14.26 when sidechaining, how come you don't set the sub sidechain and the mid bass sidechain to hit simultaneously? I mean, it's nice to cut more in the sub but why not follow the same curve on both? Won't it sound a bit off? Thanks for the great content!
Thanks!
HUGZZZZ
Thanks Zen. You're the shit.
Love those roasts :D
Instantly became a certified evo classic
would you phase match the separate sub to the eq’d basslines or are we happy with just the kick
Appreciate this absolutely unhinged sub session 🙏 I managed to consume no drugs throughout the whole duration of the video
Please please please do a sound design tutorial on bonesaw by simula
very good! one way to take this lesson further would be to add a section on 808s! i think everybody should be able to make/use an 808, because especially in bass music there is a call and answer between an 808 and a sin sub, or maybe even a sin sub in the drop, and an 808 trap part as the main melody! 808s can also be used for g house and tech house basslines!!
How did you drag & drop one LFO to another once you had both instances open? I'm on Mac & its not working. did you hold a specific button?
What about remove fundamental in serum and add sub osc?
Man never ive found a real Ninja befor! thanks
How do you get 2 instances of Serum open on two different chain? 16:48
Preferences in Abletob my brothers idea for a new video to optimize
12:37 can someone explain how he made the human centipede?
How do you get a San pacho/matroda bass?
The way your voice distorts so perfectly with the sub is like that billie eilish song about xanax
edit: voice, not bass. in the early part of the vid
If I understand the end of the video, when you used a wide bass with more than one unison you cut de low end and do a boost but keep a sub bass to full the low end with the same sound ?
I boosted for the heck of boosting and I added a sub to mono the sub frequencies as I hate yucky width anything below 100hz for me really but it's up to you. I teach this you can choose to listen or not as long as it sounds good who cares.
Part of the allure of a reece bass is the way that it pulses. I think he wants to keep that pulsing in the sub without running into stereo problems, but still have the whole top end doing the same pulsing but with stereo. You can copy a sound, have one version playing the low in mono, and another copy playing the top in stereo. Try making a bass sound, make two copies, one for the mono sub, and one for the wide top. you can treat them differently then recombine them.
@@ZenWorld
Usually I take the ozone imager and put the center from 0 to 100hz. BUT, If I understand correctly, it's better to divide the same sounds in two to have more pulsation. Is it correct ?
"But the thing is you get better at always giving in and giving in at the right time." That's the truth!
Finaly the truth!
I almost didn't make it out alive
papi vamonos
I highly doubt that plugin sounds the same as the sub37, because the sub37 has that sweet multidrive circuit, and I still haven't found a way to replicate it. The scream filter in Massive can generate distortion in the same family tree, but it's definitely not multidrive. Btw, if anybody here knows how to replicate that circuit, feel free to shout it out.
Brah let me rephrase myself. Don’t buy the SUB be happy with the Mariana… I was trying to hide the TRUTH THE MAGIC PILL from the beginners mhmmmm 😆 nah. But what I mean is that it’s good enough
@@ZenWorld I agree with you that when it comes to oscillators, envelopes and filters, software synthesizers have come a long way. Funny enough, I booted up Massive the other day for the first time in years, specifically for this reason. I can't read schematics so I have no idea what Moog's multidrive circuit is actually doing.
I would paypal you like $50 if you would be so kind as to boot up the sub37, throw it on an oscilliscope, and just add multidrive to basic waveforms so we can see what it's doing. I don't own one unfortunately. I know it's not much, but I've searched around the net and don't find much.
The circuit is supposedly overdrive pre and post filter, but seeing what it does to waveforms is the only way I know how to replicate it. You have more experience with this than I do I'm sure.
2:28 "low pass 24" are you from Toronto? I think I hear a bit of a Toronto man accent in there.
Mexican HAHAH
I went to your website and couldn't find any samples or sample pack. I would love to buy some. So please hit me back. Peace
BIP BIP
Having a bass sound, EQ'ing out the fundamental, then adding a new fundamental in a different layer is all kinds of wrong. First off, by EQ'ing just the fundamental out you are going to cause phase rotation on the post EQ'd sound, and likely add in post ringing that will affect subsequent notes, and alignment with the bass. Just because you don't have a sub does not mean you don't still have low end phase and post-ringing things to worry about. Don't do this! Especially if you're using a wavetable synth like serum.
Instead tune the phase and fundamental and harmonic levels in the wavetable editor built in to serum. Need the sub (fundamental) to be louder or quieter? then edit it in the wavetable editor. It's just a slider... there's literally no reason not to do this, it's quicker, easier, and results in less artifacts! :)
Or, generate a sample from your non-wavetable synth, drag it in to serum to make a new wavetable, then edit the wavetable.
Getting the sound right in all in the synthesis stage is the TRUTH about sub and bass.
I did watch the video, and learnt new couple things, so I don't want to sound confrontational or ungrateful. For example, I recently made a track using a square bass, and it's introduced by morphing from a sine to a rounded square. Obviously, inaudible on most devices as a sine. Instead of just starting more morphed towards the square I added distortion. I like your method better of using a square and filtering with a low pass. 👏
You good brother preach preach we on the same side on this
"getting the sound right the synthesis stage" is sage advice. I made a very lengthy comment here where i mentioned favoring keytracked filtering being much more favorable than introducing crossovers with static frequency eqs or multiband effects, because filters that adjust their cutoff with the midi pitch tend to retain their formant character when played across different note pitches. Crossover frequencies tend to introduce inconsistencies on basses which don't remain constantly on the same pitch.
@@FilthyAnimal893 by directly altering the fundamental / harmonic levels and phase rotation within the wavetable editor you can bypass the whole need for keytrack filtering. Maybe it's a genre thing - but within psytrance bass, short plucky dispersed saw waves it's just easier to edit the wavetable and forego a post-synthesis effects chain.
That said, I still do all the bad things from time to time, because it's easier to sculpt and get the sound to do what you want if you're doing it with EQs, distortion, dispersion, compression etc, than manually figure out how make those changes in the wavetable. But in that instance, bounce out a hit of your bass without filtering envelopes, import it in to your favourite wavetable synth, and delete the effects chain. you're welcome ;)
@@jethrobrewin For psytrance, you typically dont move away from the root note often, which means you dont need to worry much about any crossovers, but the keytrack filter point is more meant for basslines that change pitch, such as liquid dnb where the bass tends to follow the chord progression, and you are also splitting a separate sub layer from a top bass layer. The reasoning is that if you eq, 2nd and 3rd harmonics may pop in and out depending on if they fall above or bellow the cutoff frequency. Keytracked filters move their cutoff freq with the note being played, meaning they lead to a more consistent frequency response when you play different pitches. phase rotation is a wild and deep topic that not even most industry experts are fully in control of in their mixes.
Great video but divide the mhmms by 1000
WE GET OVER 9000
Beep Beep 🗣️
Sub goes in the boot of my car & deffo necessary.
hi
Mmmmhm
EvoSounds packs helped me get more girls. And also made my music sound better I guess.
If your bass is a bass, then you dont need a sub. lol.
Makes sense to me.
If you got a built back you got a build chest.. makes sense!
like
I finally understand sub, after three to five years lmao thats crazy. He's completely correct and its not even funny lmao.
well I make dubstep and Drum n Bass
Copy LFO TO YOUR SUB AND SHINE BROTHA
mmhhmm
I prefer when my subs have experienced alcohol and cocaine forsure
“It’s like a democrat and a republican in the same room” 💀 man your humor is top notch LOL
Thought Evo was cool. Unsubscribed after this video. Very disappointing
Sad to see you go, my videos are here if you always need them brother. Believe
Hmm haha thought the information was fine lol
@@ZenWorld Props for your reply. Anyone deserves a second chance. It's not the content but the professionalism. Haters gonna hate. When you constantly call them out in the videos, you sink to their level makes you look like high school too.
mhummm