Tiffany Haney
Sub-bass is a crucial element in electronic music, typically characterized by frequencies between 20Hz and 60Hz. While it can be a challenge to mix sub-bass accurately, the right techniques can make it sit perfectly alongside the kick. One of the initial steps in mixing is ensuring the sub-bass, bass, and kick complement each other. Panning plays a significant role in achieving this balance. Panning involves positioning the sound source in a stereo mix, and it can be done by following certain rules or personal preferences. Some recommend panning the sub-bass in the center, while others suggest panning it slightly left or right to create unique effects. Ultimately, the choice of panning depends on the desired outcome and the overall track, impacting the direction, volume, and pitch of the sub-bass.
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What You'll Learn
- Sub-bass frequencies range from 20Hz to 60Hz, with frequencies below 20Hz being inaudible
- EQ settings can be adjusted to create a heavy sub-bass sound
- Layering techniques can be used to create interesting sounds and a huge bass effect
- Panning sub-bass is subjective; some say to always pan bass in the centre, while others say to pan wherever you like
- When panning sub-bass, it can be split into two channels, slightly panned left and right, but still mono?
Sub-bass frequencies range from 20Hz to 60Hz, with frequencies below 20Hz being inaudible
Sub-bass frequencies typically range from 20Hz to 60Hz, with frequencies below 20Hz being inaudible to the human ear. This range is often described as "more felt than heard", providing a sense of power to the music. It is the lowest audible frequency range and is home to the deepest instruments in the mix, such as bass guitars, synths, and kick drums.
When mixing sub-bass, it is important to consider panning, which involves placing different instruments and frequencies in the stereo field to create a balanced and cohesive sound. While opinions vary, many sources suggest placing the low-end frequencies of the sub-bass in the centre of the mix, as they have an omnidirectional pattern that can create a sense of lopsidedness if panned too far to one side. This is especially important in music with multiple rhythm elements to avoid confusion.
However, some popular songs have their bass panned hard left or right, such as "Uptight" by Stevie Wonder, where the bass is panned left. Panning the bass to one side can be used to highlight the bass melodies or separate them from other instruments in the mix. Additionally, panning the bass opposite to other instruments with similar frequency ranges can help them work together in the mix.
To create a clean sub-bass sound, a single sine wave can be used, and EQ settings can be adjusted to boost the low and high shelves. Layering techniques can also be employed to create interesting sounds, and high-pass filters can be used to remove unwanted frequencies below the sub-bass range. It is important to be cautious when boosting the sub-bass range, as too much boost can make the sound overly powerful, while too much cut can weaken and thin out the sound.
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EQ settings can be adjusted to create a heavy sub-bass sound
To create a heavy sub-bass sound, you can adjust the EQ settings by turning the Low Shelf wavetable and Boost wavetable towards 1 o'clock and the High Shelf towards 11 o'clock. You can also use layering techniques to create interesting sounds by cutting the required frequencies and playing them together.
When mixing sub-bass, it's important to get the bass, sub-bass, and kick to work together. This can be achieved by panning instruments with similar frequency ranges opposite one another. For example, put the lows and low mids in the middle, and pan the high mids and high end to one side.
It's worth noting that EQ settings are a matter of personal preference and can vary depending on your audio device. Experimentation is key to finding the right settings for your desired sound. Additionally, the shape of the room and ambient noise can impact the sound, so adjustments may be needed to achieve the desired result.
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Layering techniques can be used to create interesting sounds and a huge bass effect
Layering techniques are essential in creating interesting sounds and a huge bass effect. This involves combining multiple sound timbres to create a bigger, more present sound. Layering samples and instruments add depth, texture, and character to the bass.
When layering, it is important to choose different timbres that complement each other and work well together. This means finding sounds that are distinct but not too different, as identical or overly complex sounds can cause mix issues and make everything louder rather than fuller. The key is to have each layer serve a distinct purpose and play a unique role in the final sound. For example, you can layer in a horn recording or a piano over a lead synth or put strings into your synth chords.
Additionally, creating separation between layers is crucial to preventing phase cancellation, frequency masking, and headroom problems. Separation can be achieved through equalization, pitch, width, volume, and effects processing. Each layer should occupy a separate frequency range across the stereo field, with a mix of low, mid, and high tones.
By reinforcing certain sections of a bassline with additional layers, you can create a bass sound that is huge and impactful on full-range speakers while also translating well to domestic playback systems. For instance, you can add a sub-bass layer triggered by the same MIDI clip as the main line or layer an 808 bass drum under the fast mid-synth notes to add extra attack.
Furthermore, layering can be used to enhance the low end or improve low-mid clarity. If your bass is lacking in low-end energy, a sub-bass layer can be added. For better definition and bite, a mid-range tone can be incorporated.
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Panning sub-bass is subjective; some say to always pan bass in the centre, while others say to pan wherever you like
Panning sub-bass is a subjective process, with no definitive right or wrong approach. While some professionals advocate for always panning the bass in the centre, others experiment with panning it to the left or right to achieve different effects.
The decision on how to pan sub-bass ultimately depends on the desired outcome and the specific mix. For example, in pop/rock music, it is conventional wisdom to pan the bass near the centre to achieve a cohesive and natural-sounding mix. This is because bass frequencies carry more weight in the frequency spectrum, and panning them off-centre can create a lopsided feeling.
However, rules are meant to be broken, especially in mixing. Some producers choose to pan the bass to one side to highlight bass melodies, separate them from other instruments, or create a particular effect. For instance, panning the bass left or right can help to cut down on confusion when multiple rhythm elements are playing simultaneously. Additionally, when mixing for headphones, panning the bass to one side can create a more immersive and directional listening experience.
On the other hand, some producers prefer to keep the bass centred and use subtle sub-bass in the middle to add weight to the low-frequency range. This is especially true for bass-heavy signals, as they are more energetic and can benefit from being in the centre of a stereo mix.
Ultimately, the decision on how to pan sub-bass comes down to personal preference and the specific needs of the mix. Experimentation and creativity are essential in music production, and there is no one-size-fits-all approach.
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When panning sub-bass, it can be split into two channels, slightly panned left and right, but still mono
Panning sub-bass can be a tricky element to mix in accurately and get it to sit right alongside the kick. The first thing to do in any mix is to get the bass, sub-bass, and kick to work together. Sub-bass is generally characterized as existing between 20Hz (the lowest frequency we can hear) and 60Hz. Go above 60Hz and you are starting to get into the normal bass range.
It is important to note that the lower the frequency, the harder it is to discern things like pitch, volume, and direction. As such, panning sub-bass may not have a significant impact on the overall sound. Additionally, some sources suggest that the bass and kick should be panned in the center to ensure they are upfront and carrying the rhythm.
Ultimately, the decision to pan the sub-bass in this manner depends on the specific mix and personal preference. It is essential to experiment and find what works best for the particular song or composition.
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Frequently asked questions
Sub-bass is characterized as existing between 20Hz and 60Hz, the lowest frequency humans can hear.
Sub-bass can be difficult to mix accurately as it shares a similar frequency range with other instruments like the kick drum.
In your EQ settings, you don't need any frequency above 50Hz to 60Hz for sub-bass. Turn the Low Shelf and Boost wavetable towards 1 o'clock and the High Shelf towards 11 o'clock for a heavier sound.
Many recommend panning the bass and kick drum in the center as they carry much of the rhythm and should be upfront. However, some songs have the bass panned to one side, such as "Uptight" by Stevie Wonder, where the bass is panned left.
Layering is important in electronic music to create interesting sounds. You can layer different bass sounds together after cutting the required frequencies, and if played together, it gives a huge-sounding bass effect.
