How to get Mutt Lange and Max Martin Low End

Here is one of the biggest low end secrets out there. I've seen sessions from Mutt and Max and this is the kind of work and detail these guys put in to make their tracks sound incredible.

[@NikolausBrocke]

You can do it much faster and more indepth in melodyne. Let me explain it. This is very unique and I don't know anybody showed this here in youtube: Step 1: Record your vst in melodyne. With ara support it is done automatically in cubase 11 and melodyne 5. The computing of a 4 minute bass track takes only some seconds. Step 2: Grab each note (you can even select all the C' or G''' notes at once) and adjust the volume on the note itself. Step 3: Adjust the harmonics of the notes. E. G. Only lower the basic tone, just lower overtones. So the sound does't changes but the resonant frequency is tamed. Keep in mind you only change the overtone of the spectrum in contrast to an EQ which changes the frequency of every tone, because it is static. And you can use the upward or downward compression function to lower all loud notes or boost all lower notes in relation to the average loudness of the track. You can do it for only a group of notes or for all notes. No other plugin can do it. But there is more!! You want more or less character of the recorded bass guitar? Tell melodyne to emphesize the tonal differences of the notes or - the contrary - let all notes more sound the same in character. Isn't this ingenious?! @Bobby Huff - give it a try and let me know;-)

[@BobbyHuff]

Incredible response....going to study this....

[@michaelparson-mcnamara782]

That was the major selling point for me to upgrade from Studio 4 to 5.

[@BobbyHuff]

@@michaelparson-mcnamara782 yes! Nikalous’s response is fascinating!!

[@loungermusic]

@@BobbyHuff Subscribed and now awaiting your video on this ;)

[@NikolausBrocke]

@@Durban360 Melodyne is German Engineering at it's best. Yes, it's not cheap but it's worth the price. I don't know other plugins that can do the same thing. I use Melodyne 5 Studio.

[@gabelouis6862]

I love those kind of Mutt Lange videos !

[@BobbyHuff]

Thanks Gabe! Ive got several on here and more to come...

[@StevoLloyds]

Discovered your channel last night, one of the multitude of Mutt Lange snare tricks (100Hz tone and white noise) and I'm now hooked. Thank you for great content, delivered so effectively. Off to make a 40 BV tracks to enhance my snare right now! HEY! HO!

[@BobbyHuff]

Hahahaha! I love it! Thanks for watching Stevo and thanks for the kind words.

[@suchitputhalat4796]

Sir you areso amazing when you decipher such nuances.. thank a ton for your videos. Much Gratitude. Love from India

[@BobbyHuff]

Wow thank you Suchit! I appreciate that so much my friend!

[@richprincipe749]

These videos are pure gold!! Thanks

[@BobbyHuff]

Thank you Rich. I appreciate u watching and commenting brother!

[@soundcreation]

I’ve really been enjoying your mixing vids! It is great to hear different techniques and thanks for taking the time.

[@nobrakes3765]

This'll be a cool mix idea with the fundamental of a regular bass Precision in a rock context imo. I've noticed the bottom end drop out when the bassist moves from a A to a D (etc) and often have compensated by having them do the lower octave D in a drop tuning. I'm gonna try to emphasize the fundamental in the way you've demonstrated. Great technique!

[@briancase6180]

Hey, this is a pretty cool idea, and it just plain makes sense. Thanks!!!

[@BobbyHuff]

Thanks Brian try it!!

[@roberteismann1929]

Great info, thank you so much.

[@Owl-qh2rh]

Pure GOLD! Thank you Doc! Very much appreciated 🙏🕊️👼😉

[@joelonsdale]

Wow, this would take AGES with a live band guitar part... I'll give it a try though...

[@iameverydaylife1]

Dude i fking loved that twerk thing haha. Man you fucking made my day! LMAO

[@tonysalpinoiii5063]

Beautiful

[@asawiggins]

No doubt that if Mutt Lange DID use 808 bass, it would be the best sounding 808 bass in history.

[@BobbyHuff]

Earthquake!!!

[@craig_ingram]

Incredibly helpful. I would never realize this stuff without your channel. I’m curious, have you ever worked with Mutt? I also have a question more related to your other videos. What SSL plug-in do you use?

[@BobbyHuff]

Hey Craig. No unfortunately I’ve never worked with Mutt. I’ve worked with about 20 people that have and they all say he’s super cool! I hear from a friend he likes my KZbin channel ! He’s quite an elusive creature and I’ve admired his work since I was a wee lad. I use Waves SSL plugins and also the Slate version of the SSL Bus Compressor in my stereo bus chain. Thanks for watching!

[@five18studios82]

Love your vids and career! Cubase too! Keep it up brother!

[@BobbyHuff]

Thanks a lot! Ive been very lucky. Love all my Pro Tools, Studio one, and Logic brothers and sisters out there as all DAWs are very similar. I started on Nuendo and have never looked back. The Steinberg stuff just fits what I do and I'm fast at it. If I were ONLY an independent engineer or mixer I would have also learned Pro Tools as it is such widely used.

[@vicesquadpunk]

Add Eric Valentine and Bob's Ezrin/Rock to that list and you have my fave producers 😊

[@BobbyHuff]

Me too. Ive worked with Ezrin several times.

[@LutherBaker]

Thank you Bobby. Inexperienced engineering question - I think I understand what you're after conceptually but I'm having trouble understanding the technique. Specifically, what I think I see you doing is boosting the freq around where each note is already pronounced. IE: the IV has a bump at 52, and so you bump 52 up (even farther)! Given my naivety, my intuition tells me you're actually exacerbating the freq differences. I do see that you lower the volume but I don't see how you're actually "matching" the low end across the 4 notes. Naively, I would have expected that on the IV, you would have boosted the freq that the "1" emphasized, and then lower the volume - thereby, attempting to make the freq shapes of both notes more similar. I'm clearly wrong on this since it's been 3 years since this post and nobody else mentioned this so I'm curious if you see this if you could clarify for me.

[@jettjaguar8150]

Thanks Doc

[@theblowupdollsmusic]

I remember reading somewhere that Max Martin said he never uses MIDI. He works exclusively with audio data. That might make clip gaining these things easier.

[@owendurkin6292]

Hey Doc, what if my drums are all mixed to a stereo track and I want to make sure that the bass guitar isn’t sloppy sounding? Can’t side chain unless I can select certain frequencies. Can I side chain just 250 and below somehow?

[@ps8038]

Recently I had this idea myself and I was doing exactly the same, I thought to myself that I am an idiot but you did not convince me of that :D great content. I'd love to see you mix guitar/synth/piano or the whole song in general, the stream would be perfect! greets Bobby!

[@BobbyHuff]

Thanks man! You are NEVER AN IDIOT TO TRY SOMETHING NEW!! I try new things all the time but never speak of the ones that fail! Hahahaha. Makes me sound smart!!! Hahaha. Go for everything!

[@BatEatsMoth]

Why not just put all the peaks at zero? What would be the outcome if you did that with every instrument in a mix? Can you show us an example, explain the pros and cons of that approach?

[@slowpokeproductions]

Hey Bob...so I just mixed/mastered a track for a client on which he used an 808 bass with a running 16th note bassline all the way thru the song. There's no way I could've split each note, so what's the trick to stabilizing the low end in a situation like that? I wound up having to squash the heck out of it, and abuse a dynamic EQ to try and tame it. What's worse is he used a monophonic patch, so there were no transients between notes! I got away with it, but I'm asking for future case?!!

[@BobbyHuff]

Without hearing it it’s tough to tell but one of them has to win the bottom end and I’m guessing it should be the 808. It’s very difficult for an 808 and electric bass to co exist in the same track. I would have applied the technique that I used in the video to the 808 stuff and filtered the electric bass out of the way of the 808. This way the 808 covered the low end of the track but the 16th part still has the drive of the track covered. Without hearing it it’s tough to know but this is what I’ve had to do in the past. I hope that made sense and helps man.

[@slowpokeproductions]

@@BobbyHuff Thanks, Doc...there was no elec bass, just the 808, but because there was no polyphony, each note ran into each other without transients, changing freq range from note to note. Nightmare! BTW, I'm subbed. :)

[@BobbyHuff]

@@slowpokeproductions so the 808 was playing 16ths?

[@slowpokeproductions]

@@BobbyHuff Yes sir. I set the compressor with a fast attack, and a higher threshold so the low notes (which had little volume) could come through, and the higher notes got squashed above the threshold, and a moderate release. It was only when I sicked the dynamic EQ (Waves F6) on the offensive frequencies, that I got it at a consistent level and smooth frequency resolution with the F6 ducking the harsh frequencies when played. I would've loved to do what you did (super smart!) but with over 300 notes in the bassline, it would've been almost impossible with nowhere to split the notes. Nightmare to control, LOL.

[@BobbyHuff]

@@slowpokeproductions okay great job! I appreciate how committed you are to detail! What I would have prob done is find a clean 808 of every note played in his part. Say the entire part was comprised of 10 different notes...I would have found a clean sample of each note that had no artifacts of other notes in it and I would have recreated the same part with those clean samples. So I would’ve ended up with 10 tracks of bass with a different note on each track and then done the process that was in my video. Or......... Quit and given them their money back!!! Hahaha. Never heard of 16th note 808 bass. That’s got to show up on a Richter Scale!! Seriously though did all that make sense?

[@loungermusic]

Thanks Bob. New to this and could definitely do with some clarification. It looks like you're boosting the primary frequency for each note. Is that right? if so, wouldn't that just *accentuate* the difference (in frequency information) between each note? e.g. if NOTE1's primary was 45hz and NOTE2's was 65hz - and you boost NOTE2 around 65hz, surely NOTE2 doesn't get any more info in the 45hz range? It just gets more info in the 65hz range (and a bit either side depending on the Q)? I can hear that it works so clearly I'm overlooking some important (and probably obvious) info. Currently it's got me scratching my head though. EDIT: Half my comment was missing.

[@BobbyHuff]

Hey. Good point! I brought out the primary frequency in all of the notes so that the surrounding frequencies surrounding that note, that would mask other notes wouldn’t be as loud, and then balanced the “perceived,” loudness of each note. It’s important not to just look on the meter for low end balance but to use your ear because even though some notes look too loud on the meter their perceived level may not sound loud enough... I hope all that made sense!! Great question and hit me back if I didn’t give you the answer you were looking for!

[@loungermusic]

@@BobbyHuff Thanks so much for answering. Yeah, I think I get it! So you boost the primary, and then lower its 'peak' (ie actual peak, not perceived volume) back down to roughly where it had been previously until the perceived volume sits in line with the other notes - scooping out the surrounding frequencies because now the fundamental is louder relative to the frequencies around it (almost like a form of compression I guess, because you're squeezing and expanding different parts of the note)? If that isn't quite right let me know, otherwise, fantastic. I need to experiment with this!

[@bbruce995]

does anyone have anyway of contacting mr robert john mutt lange?

[@christosmusick]

Great video, needed this tutorial.

[@BobbyHuff]

Great! Happy it helped!

[@toddscotdrumcovers2341]

Wow. I’m just getting into the EQ stuff....So what does “Q” mean. What is that controlling? When it comes to the “perceived” volume are you measuring that by ear? Would this work well on the kind of music I’m writing? What about on drum Toms? Would this work as they are different frequencies. Sorry If some of these are stupid questions!

[@BobbyHuff]

Q means how wide or narrow your eq curve is and how many neighboring frequencies you’re boosting or cutting around the actual “pin point,” frequency you are boosting or cutting. Yes this works on all music and could work on Toms as well but usually I’m trying to duck the ring of the toms shortly after the initial transient so they don’t interfere with bass notes.

[@asawiggins]

@@BobbyHuff How you treat toms to stay out of the way of the other sustaining bass would be an excellent video segment! Just sayin’...

[@okangon7100]

CLA said that he doesnt do anything about the sub. Once you nail the midrange lowend takes care of itself.

[@sethseiden5736]

What happened to So this love? The bass line in the beginning of the song . The song is from Van Halens Fair Warning.

[@derheeheehee6941]

The Hendrix song "Gypsy Eyes" has the monstrosity of a Kramer engineered walking bass line. You should bring that one into the OR and show us how to fix that one LOL!!! Then compare it to Brian Adams "Cuts like a knife" where Clearmountain has it nice and smooth.

[@thefuppits]

Never cared for Kramer's ears. He may be known for recording Hendrix. We think of him as the one who denied us better Hendrix record sonics because, Kramer Ears = Cringe, far too often. Cross Town Traffic, being a fine example of WTF were you thinking Kramer, that song is a nasty pointed mess of thin abrasive sonics that is somewhat offset by Hendrix's brilliance.

[@swettyspaghtti]

I will stick to a multiband compressor kinda same idea

[@CricketStyleJ]

Isn't this what a multiband compressor is for? Am I missing something?

[@BobbyHuff]

Yes but this is much more accurate…much more difficult to separate out EXACT bass notes on a MBC.

[@Quintopia1]

thank you doc

[@BobbyHuff]

Ur welcome Quint!

[@danieldalton8224]

Great stuff .... thanks

[@BobbyHuff]

Thanks Dan!

[@kadenstevens8213]

How do you extrapolate this technique to more complicated or fast paced bass parts? Or is this just incentive to simplify bass arrangements?

[@BobbyHuff]

Pretty much the same way dividing it out by notes. If it is super complicated and very “notey,” or busy I may look at phrases instead of each note and apply it to say a four bar phrase just taking a good average eq of that phrase that sounds the best....does that make sense Kaden?

[@kadenstevens8213]

Yes sir. Thanks for the response! I appreciate it. These videos are invaluable.

[@robertthompson9161]

audio gold

[@BobbyHuff]

Thank You Robert!

[@paulrinis]

Awesome dude!

[@BobbyHuff]

Thanks Paul. This is one of my fav tricks ever! Thanks for watching!

[@beaumaloe]

Would Mutt splice up an electric bass performance for this process? Was this done prior to the digital age? Just curious how long this technique has been around.

[@BobbyHuff]

Prob been around since the 90s

[@andreagaravini5014]

Split channel across ssl console and mute atomation

[@johndozesoph4136]

no he wouldn't. he'd make the artist or session player play the bass again, again, and again till they got a take that met Mutt's ridiculous standards. he is apparently quite the slave master. if you want actual insight to how he gets his engineers and mixers to get things the way he wants them(since he doesn't do either) then read the comments from Mike Shipley on Gearslutz. somebody who actually worked closely with him, not somebody on the internet who is speculating stuff out of thin air

[@izzajoker]

why not just set the midi velocity for each note?

[@BobbyHuff]

Yes you can but that only mostly affects volume and the way the sample note is struck. I like to have the same dynamics coming at me and then adjust levels from there. The reason I'm adjusting levels is more from the perceived volume of the notes than the actual volume. Some frequencies and overtones can make the level of a note sound louder than another note even if they are actually lower in level. Does that make sense Alan??

[@izzajoker]

@@BobbyHuff it does, thanks.

[@briansransom]

I don't think this would be a good idea with a Chris Squire or Geddy Lee bass line, but if you're going for vibrations at the stoplight, then yeah.

[@BobbyHuff]

I hear ya. There are many of our favorite records where the bass is uneven. Could be the bass itself, the key, the engineer, the mix...This technique would have been virtually impossible on 70s and most 80s records.

[@WillieMCruz]

I would take the one that I like and just loop it , isn’t faster and easier ?

[@BigBoysStudios]

Great idea but I feel like you sacrificed the upper frequencies when you turned the various notes down. Overall, you successfully evened out the low end, but the higher pitch notes sound more muffled. I'd want to resolve that.

[@BobbyHuff]

Fair enough. Nothing a little Decapitater wouldn’t fix!

[@jmd76family]

Im surprised u dont use the only pic you ever see of Mutt on every documentary.

[@oceansiderecordingstudio]

Mutt Lange recorded a ton of hits to tape before computers were used in music so I wonder how he did this with tape. Did he splice each note phrase? That would be a ton of splicing

[@BobbyHuff]

Yes you’re correct about tape. He would most likely have just had to do take after take! I know even on Shainas stuff he would do tons and tons of takes with each musician and then comp those to one final take. Before computers he was able to manipulate with Fairlight and Synclavier starting around Pyromania and Heartbeat City. Thanks for watching and commenting Anthony!

[@cembasakofficial]

That was helpful!

[@BobbyHuff]

Great!!

[@princemaxwhoobayangbon1516]

Great!

[@BobbyHuff]

Thank You Prince!!

[@toddscotdrumcovers2341]

I love it “sucks”!

[@BobbyHuff]

HAHAHA

[@borndrumming1972]

I think when you are done with this process it would be best to bounce or render those tracks back down to a single track. You could run that track through a bus of course and do some compression or extra eq moves..hell even add some Maxx Bass or R bass... there as well. You could use the CLA Bass if your dealing with a "real" bass part. Love all the vids man. I am using some of your ML vocal mixing techniques on the CLO mix competition over at PLAP with ol Warren H. and the gang. Wish me luck...lol

[@ryananthony4840]

Lmao I like the twerking clip 😂😂

[@BobbyHuff]

Haha!!! Always time for a laugh right???

[@ryananthony4840]

@@BobbyHuff lmao, thanx for the tips, your vids are good!

[@BobbyHuff]

@@ryananthony4840 thanks Ryan. Take them and rock your tracks out man!

[@RawUndergroundMusic]

You can’t do too many Mutt videos

[@BobbyHuff]

Thanks Raw!!!!

[@Pinkybum]

For bass it would seem what you need is a Loudness meter level output feeding a volume rider. Maybe with the detection low passed so high frequency information isn't measured in the bass. Reaper probably has enough flexibility to program this.

[@BobbyHuff]

Good idea but a very big part of this is also listening to the PERCEIVED loudness between the notes as well. Even if bass notes look the same on a VU meter some are perceived louder so use your ear to match those as well!

[@Pinkybum]

@@BobbyHuff that's why I thought a loudness meter (not a VU meter!) would work because they are supposed to compensate for human hearing.

[@kaislivesoundchannel4706]

Wow that was impressive...but yet very time consuming. I‘ll have to charge my clients extra to do this.

[@BobbyHuff]

$$$$$v hahahahaha

[@GreenDayIsOver9000]

It took him less than 10 minutes, while he was explaining it. If someone tried charging me extra for this, I'd laugh

[@kaislivesoundchannel4706]

@@GreenDayIsOver9000 10 minutes for 4 notes. Seperating the notes of an entire song with lots of harmonies is gonna take forever.

[@GreenDayIsOver9000]

@@kaislivesoundchannel4706 for someone with less experience, sure. But you could also automate the eq and volume and make it faster. But most basslines in songs are based around 4 root notes

[@eugenemartone7023]

@@GreenDayIsOver9000 well, doesn’t matter, you have to do all the notes for it to work. Even if there aren’t that many notes, separating each one (if you have to) will be timeconsuming. If it’s a 4 note loop of an 808 it’s really easy, if it’s a live instrument it will take a lot of time. Actually, any quantized synth thing in a pop structure will be fairly easy because you can copy paste, but anything else will probably be extra money. Automating a boost (including q) and volume for each note of a 4 min song sounds like it will take some time to me.

[@DMDvideo10]

Personally I think this is overkill... The push for perfection sterilizes music. Todays records lack the dynamic range and authentic sound. How did all those great groups in the 70s create such spectacular recordings? Pure Talent...

[@BobbyHuff]

I hear ya Donald..

[@loungermusic]

​@@BobbyHuff To balance this, I certainly hope people like you and Rick Beato keep giving modern songs, producers and musicians some attention, and credit. @Donald: There's a ton of pure talent in modern music. Just sounds like it's not to your taste , but liking one style doesn't invalidate another (I grew up on the the classic 70s bands). And sure, there are plenty of talentless surface acts, but that's the case for every era ... the 70s was a particularly bad offender and if you can't recall how much crap was around, then your dealer clearly provided higher quality weed than mine :)

[@BobbyHuff]

@@loungermusic thanks man! Yeah music and the way we make it has TOTALLY changed since I was a kid. Even some of the music that I don’t particularly care for now has some amazing production!! Production has really become one of the main elements of the sound of now where guitars and singer songwriters are not in the forefront. I can see why he thinks this technique is overkill but it’s lots of techniques like this that make up the sound of now that you really need to stay current if you want to work as a producer.

[@loungermusic]

​@@BobbyHuff "Even some of the music that I don’t particularly care for ..." - ah yes, totally. And I find myself liking certain types of songs that I never thought I'd like. I guess in the abstract it might sound a bit silly, or like some pompous audiophile-esque comment, but I notice my family (who aren't in the least bit interested in production), *instinctively* respond to these songs in same way. Perhaps a great arrangement (with dynamics coming more from an arrangement of contrasting sections/elements), paired with great production gives people a serotonin rush or something. In fact almost certainly! I can see where Donald was coming, too, it's just that I find that I no longer care if the singer was the writer, because for certain types of song I almost see the singer as a vehicle for delivering the producers' songs. The lead vocalist effectively plays the role of a session musician; in the 60s you may get Jimmy Page, or the Wrecking Crew in as your session musicians and nobody has issues with that, but now producers effectively get 'session vocalists' in to deliver their songs, whether that's Katy Perry, Bieber or whoever. OK, it's not exactly the same, but that's the gist of it :)

[@BobbyHuff]

@@loungermusic yeah I think our tastes evolve because there IS NO music made like the music we grew up with some we find what we like about what’s out now...or we don’t! Haha. It’s definitely more about hooks and production and spoons full of sugar now but there is definitely an art to that as well. Not easy to do at all if you’re trying to do it well. Good conversation man.

[@sb848]

A compressor with loudness weighting would be cool

[@BobbyHuff]

Yes! Agreed!

[@johndozesoph4136]

it already exists and it is called using a filter in the internal sidechain that adheres to C weighting. you don't need any new fancy detector circuit, RMS with C weighting in the sidechain will do fine. still wouldn't be good enough for the job though

[@WineSippingCowboy]

Richard Marx wrote Angelia. Marx had help from late David Cole in production. Marx was listening to Hysteria album. This is how Lange influenced Marx's sound in Angelia. Marx has no claim in being the next Lange! Apparently, Lange was too with Billy Ocean, Eddie Money, Huey Lewis + Bryan Adams when Marx was recording the Repeat Offender album.

[@BobbyHuff]

Interesting ! didnt know that about Richard and didn't know that Mutt had worked with Eddie Money!

[@WineSippingCowboy]

In 1991, he, Diane Warren, Andy Hill, Dennis Morgan, Stan Lynch + Randy (American Idol judge) Jackson worked with Eddie Money! All-star cast! 😎 Sadly 1 the album bombed 2 after visiting Huey Lewis at a concert, promoter Bill Graham was gone, 30 years this October. 😭 The biggest hit from the album was I'll Get By. This was dedicated to Graham. The video states it. RIP Bill Graham, Eddie Money

[@BobbyHuff]

@@WineSippingCowboy wow!! Yes RIP EDDIE AND BILL! I was in a band with Randy. Great guy and player!

[@WineSippingCowboy]

Safe to say that Neal +Jon will like this reunion with Randy! 😎😎

[@moano3271]

Or..you can just lopass, add parallel compression+eq and para saturation and you will get better results.

[@BobbyHuff]

Tried that technique as well and like it!! Not better results and and not quite as refined for me but if they are better for you that’s great!! Great comment.

[@hwd7]

Def Leppard's Hysteria has no bottom end and is a very tinny CD.

[@BobbyHuff]

It has no bottom compared to modern day Urban/pop but its quite an amazing example of Mutt and Mike Shipley's attention to detail. Bottom end and bottom end mix trends have changed a lot since Hysteria came out 34 years ago! It had EXACTLY the bottom end they wanted. Thanks for watching man.

[@hwd7]

@@BobbyHuff 👍Thank you for taking the time to explain that for me, I'm a big Mutt Lange fan too, and Max Martin is a genius. Keep up the great videos.❤from Australia. 🇦🇺

[@BobbyHuff]

@@hwd7 hey thanks for watching!!! Love Australia went there for about 10 days back when I was musical director and drummer for Leann Rimes. Great country and wonderful people. The countryside reminded me of where I live now outside of Nashville. Thanks for watching!!

[@kds58]

Isn’t this essentially what SurferEQ does?

[@BobbyHuff]

Not sure what that plug-in is??

[@kds58]

It’s a pitch tracking EQ. I have yet to try it, but it seems pretty useful. I saw Oak Felder talk about it in a video. www.soundradix.com/products/surfer-eq/

[@BobbyHuff]

@@kds58 thank u for sharing man!

[@Davesounds01]

Looks to be the same thing.

[@soundbites1152]

Randy Staub gets huge bottom end in his mixes and I think he's a better mixer than the 2 guys featured here. I think Randy gets better-sounding mixes than CLA as well. I think TLA is the better brother. None of these guys are slouches, obviously, just my .02 about Randy.

[@musicdude1540]

No one CARES.

[@derheeheehee6941]

On the majority of Rolling Stones records, this was not a concern.

[@tomforsythe7024]

You should just go with Bobb Huff.

[@BobbyHuff]

You don't like the "Y"????

[@tomforsythe7024]

@@BobbyHuff You could be like Ronn and Dann.

[@BobbyHuff]

@@tomforsythe7024 hahahaha!!! I get it!! Hahaha. Love those guys! RIP Ronn...one of the greatest men ever!

[@madaboutsnooker147]

go back to BSB early tracks, literally no lowend. Crap decisions by labels and radios probably... It was shit. Then later on some stuff definately changed.

[@richarddwjensen]

It is hard to take audio advice seriously from someone when all you can hear is excessive room slap back in their vocal mic.

[@BobbyHuff]

Well I tried different mics and setups to match the audio of someone speaking in an operating room. The audio had to match the visual. Notice when I switch to the Cubase screen the audio dries up. I’ve learned from doing film and tv work that the video doesnt work when the audio environment doesn’t match. Thanks for watching!