Author Topic: SUB Theory  (Read 2794 times)


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SUB Theory
« on: December 29, 2016, 10:44:36 pm »
Hello guys,

I would like to know what are your thoughts on where the SubBass should be sitting in the frequencies spectrum .I have found myself in a problem. I'm working on a track, and the Sub Bass is playing the note "D". My subBass within this note stands more or less in the 30 Hz, which might be too low. When I transpose it to the octave above it goes as high as 73 Hz (mor or less) which I'm afraid that might be too high.

What are your thoughts on SubBass placement??


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Re: SUB Theory
« Reply #1 on: December 30, 2016, 10:32:36 pm »
humans can't really hear a lot below 20 hz. so don't go THAT low. a lot of dance music is in E/F/F#. this happens because stuff like dubstep drops mostly stay on one note for the bass, and those notes are the lowest you can have playing a subbass while still sounding good. E0 is 20 hertz, literally at the bottom of our hearing range. you can theoretically go down as low as like C#, but youll want to add harmonics (from distortion or richer waveforms) to make the bassline stand out more. in more melodic songs, it comes down to personal taste a lot more.

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Re: SUB Theory
« Reply #2 on: December 31, 2016, 02:52:16 am »
the sub bass must be on the lower frequency of the mix, it clashes with the kick, so cut around 120hz


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Re: SUB Theory
« Reply #3 on: December 31, 2016, 08:12:42 am »
50-70 usually translates the best. There aren't really any hard numbers in production though. I brickwall high pass anything under 30 and rarely go below 40. Might feel good in my studio, but that shit's gonna disappear on most systems. Study the specrum of tracks you like though; learn to read analyzers like they're your first language.

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Re: SUB Theory
« Reply #4 on: December 31, 2016, 08:28:33 am »
i have faith that my sub will project given the particular frequency content that's already associated with the sub bass.

my biggest concern is accurately representing the sub bass frequency in relation to the audible content that is provided by the bass.

That being said, you can relatively have a sub bass at most keys, due to the fact that you're covering your overlap in the audible realm.

in order to get a more audible sub bass, it requires layers of distortion and or (one to a few) layers of audio that varies in waveform.

of course you should process the layers accordingly so that they fit as one cohesive element.

I also don't stray far from the F, G, C keys when writing music.

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Re: SUB Theory
« Reply #5 on: February 03, 2017, 12:59:21 pm »
Soloing low frequensies can help mixing sub. And it's  important that kick and sub can sit well together.

Would be nice to hear Matt's thoughts about this subject.