#Mixing bass and kick full
#Mixing bass and kick free

This will free up space for your main bass elements and give you a cleaner mix.Д¬LICK HERE TO LEARN MORE ABOUT LEVELS MONO If you find that there is still a lot of low end energy in your mix, you should find the guilty channel or channels and place a high pass filter to remove the unwanted low frequencies. The meters will go into the red when the low frequencies are too over powering. Open LEVELS on your output channel and select вЂBass SpaceвЂ™.

Mute all of the important bass sounds you have identified.ДЈ. (kick, synth bass, bass guitar, bass pad, sub drop etc)Дў. Identify which instruments are your main bass sounds. I created a dedicated section in my plugin LEVELS to analyse when there are too many competing low frequencies in a mix.ДЎ.

#Mixing bass and kick full

To reach their full sonic potential in the mix, they shouldn't be competing for space. Your bass and kick have a lot of low end energy. You can use a high pass filter on an EQ to cut these low frequencies out without affecting the audio you want to keep.

For example, when recording a live audio source with a microphone, such as guitars and vocals, unwanted low frequencies can creep into the mix. One way to reduce the mud is by identifying audio tracks that are emitting bass information when they shouldn't be. This can be more obvious around 100-350Hz. The lack of clarity is generated when more than one audio source is trying to occupy a certain frequency range. It's actually very easy to clean up the mud during the mix stage. It's a frustrating problem that many producers come across. The 'mud' in a mix is when there is a lack of clarity in the sounds. Reducing the attack of the kick is best achieved using either a compressor or a transient shaping plugin (such as SPL Transient Designer) you can copy the settings I have dialled in below and tweak to your taste. This will give your long bass notes space to be the prominent feature in your mix. Similarly to adding a fade as discussed earlier you can compress a kick to lower the level of the tail. We can achieve both of these characteristics by compressing the kick in different ways. By reducing the attack of the kick we give space to the bite of a punchy bass. Alternatively, If your bass is playing short stabbing notes you may want to control the attack of the kick. This will free up that space for your long bass notes. If you have long bass notes you may want to reduce the tail length of your kick. How you do this will depend on your source material. You may want to have the bass dominating over the kick. Below you can see how IвЂ™ve used a multi-band compressor to select only the lowest bass note to duck it out of the way of the kick. If you have a bass synth that has a lot of detail in the mid and high frequencies then you may only want to reduce the conflicting frequencies. Kick dominanceДЇor the kick to stand out, the low frequencies in the bass need to вЂduckвЂ™ out of the way of the kick. In most scenarios, one must give space to the other. For that reason, it is important to choose which element is more important to your music, the kick or the bass. Overlapping low frequencies make a track sound muddy andВ use up valuable headroom. This is a small amount of physical spaceВ compared to mid and high frequencies that have a range of thousands of hertz. The low end spectrum only covers about 250Hz. If your original bass sound has weak low end energy, a low end EQ boost will only get you so far. Much like the kick, its better to have a full and deep sounding bass that you can cut and sculpt to your taste. The genre and vibe of your track will be factors to consider when choosing your bass sounds.