MAKE INSANE SUBS!

Sign up with DistroKid using my link: distrokid.com/vip/mrbillstunes (I get money, you save money... win/win)
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In this video, I show you a trick COPYCATT showed me pertaining to how to make your subs sound HUGEEEEE. To check out more of COPYCATT's music, go here: / itscopycatt

[@MrBillsTunes]

The high-level idea here (in case I didn't explain quite clearly enough) is: 1. Our ears are very perceptive to volume over time when it comes to perceived loudness, and therefore 2. If you make sounds in your productions louder for more time on the single-cycle scale (such as in your subs), they will sound perceptibly louder to the human ear at basically no headroom cost!

[@enneff]

This is a great video and explanation. Just to add, in case this helps to clarify for people who think similarly to me: Waveforms that spend more time away from 0 have more energy, or power (the sum of the area under the curve, what’s often measured as the “root mean square” or RMS). If you think about a speaker cone, with no power applied to it, it rests at zero. But if you apply power to it (with your finger, or with an electrical current to the speaker driver) it moves away from its zero point. So more powerful waves are pushing or pulling the speaker cone for more time than less powerful waves. And the same thing is true at our ears. Loud sounds spend more time pushing or pulling our eardrums.

[@MrUkelela]

If the sub would sound perceivably louder while it’s at 100 on the scope, then it seems like it would have been loudest before any phase was added, is adding the phase just helpful if you want to increase the volume of the upper harmonic? To help reshape it after increasing the volume on the upper harmonic? Thanks!!

[@kinbote4257]

@@enneff This is technically true, but "power" in this sense doesn't necessarily translate to audible volume. By your reckoning a 100Hz sine wave has much less power than a waveform of the same amplitude that goes from zero to max and stays there for a minute before dropping back to zero. But you'll only be able to hear the sine wave. The method for making subs is sound but I'm not convinced of the reasoning behind it, I still feel like the increase in perceived loudness is just because you have to add harmonics to change the wave shape, introducing higher frequencies that are naturally perceived as louder than lower frequencies, when played at the same amplitude.

[@Missing_Lynx]

Hi Bill, I'm a huge fan, Denver dojo member, and fellow KZbinr. I made a similar video last year on sub wave shapes but my hypothesis is very different, though correllated. I'm really curious what you think. kzbin.info/www/bejne/qnLGoH-LnsmEi9k You talk about loudness as the amount of time spent at full scale away from the zero-crossing. IMy hypothesis is that loudness is not that, but something directly correlated to that: it is how steep the wave is (and thus how much force the speaker cone moves with) as it goes from -1 in to +1 out. Distort a sine wave and it'll be all the way out/in more of the time, but it also becomes steeper and pushes the air in the speaker cone out at you faster. If loudness were just being away from 0, then a DC offset at full scale would be loud. Instead what we have is higher frequency sounds are louder at the same amplitude (they push/pull faster and more often) and the equal loudness curve is downward sloping. I also think it is important for subs to have more time to gather air into the vacuum created as the speaker cone is sucked in for longer before it thrusts out the collected air. More air actually gets accumulated and then pushed out with more force. Interestingly, a rounded sine's shape does just this intuitively, but it also has all the odd harmonics in phase so they all push and pull together with the fundamental. Anyway, please let me know what you think. Also, try the cableguys waveshaper for subs, you'll love it.

[@MrBillsTunes]

@@Missing_Lynx Yeah, and isn't the steepest waveform a square wave?

[@COPYCATT]

The authentic sub recipe, as taught to me by my grandfather.

[@zxp3ct3r41]

Lmaoooo u funny as hell Kids of the future will talk about that

[@RmaNYouTube]

Thank you for this amazing recipe. It's Bassicious.

[@RmaNYouTube]

Thank you for this amazing recipe. It's Bassicious.

[@kaustik185]

Catt Clan's authentic Moonshine Sub

[@tresillianofficial]

* chef's kiss *

[@yousuckatproducing]

Who's DistroKid?

[@heyo1467]

Who is this kid, and why does he distro?

[@hyperspaceelf]

Derek's long lost brother - but we don't talk about him.

[@COPYCATT]

I think he said Disco Kid

[@ThePaoOfTooh]

I don't know. But you suck at producing.

[@callmesleeper]

it's the son of Distribution Man.

[@niconico4138]

you know, i'm something of an insane sub myself

[@liqwiidOfficial]

Clever

[@moodmusik]

I'm howling 😂

[@liqwiidOfficial]

@@moodmusik 🤣

[@billday762]

Hi Bill looks like you lost some weight since i seen you last. looking healthier than ever. Cheers

[@MrBillsTunes]

Thanks Dad. I'm actually impressed you have a KZbin account 😅

[@billday762]

@@MrBillsTunes I didn't know I had a you tube account? (Fucking sneaky Bastards) Cheers😊

[@atomic7680]

Wholesome :)

[@rebirth4119]

Its cool to see a supportive dad here. Mr Bill you should bring Bill Day on one of your videos one time.

[@ChuggyMusic]

based dad

[@banton9368]

An actually interesting video as opposed to the usual “WHATTTTS UP BOIS TODAY WE ARE GOING TO BE MAKING THE FATTEST SUB EVER IN SERUM”

[@BenCaesar]

Guys if, like me, you struggled to see the same wave shape in the Oscillioscope, Two things: 1) Make sure the Moscillioscope is set to Normalize 2) n Operator: Check that your Envelope - on OSC B has the same decay as Bill's (600ms) at time of writing this. This is my second time watching this and I figured it out, yay. I know it was probably obvious to alot of you but it wasn't made clear in this video. Cheers for the in depth video!

[@AndyRrayMusic]

Gawd blees you. I had instant frustration with this workflow - until i saw your note here. Click on hte 'Normalise' button eveyone!, then the display looks the same as in Mr. Bill's tutorial.. Thanks again Ben Caesar

[@BenCaesar]

@@AndyRrayMusic Bro this had me for at least an hour. Glad it helped 🙌🏾and forward we go

[@PositiveCation]

thank you for this.. was following along and got stuck here. i thought i checked it pretty well but missed #2!! thank you!!

[@BenCaesar]

@@PositiveCation happy I'm not the only that was hitting a wall with this tbh 🤣🙌🏾🙌🏾

[@danieklerr]

Shout out for Melda plugins. Honestly, this free suite is so valuable to me.

[@MikeGomeztheDMG]

This is by far one of the most helpful sound design videos I’ve ever seen.

[@hughharsher]

you should become a hardcore abletoneer on his website. best value for your money when it comes to outstanding tutorials!

[@sinfonik13]

Not only the best sub bass tutorial I have found, but possibly the best tutorial for beginners trying to wrap their heads around how the amplitude, pitch and phase of a waveform work over time and why it is important to understand when creating original sounds of any kind. Love this!

[@unfa00]

The shape of the waveform doesn't really have anything to do with perceived loudness. Make an experiment: Play a 50 Hz square wave. That's as "loud" as a sound can be. Actually the term is crest factor - it's how much the RMS of the signal is close to the peak level. For a square wave the two are identical. Now apply an allowed filter (or a phasers with no LFO and all wet - as that's the same thing). They will sound identical, and be just as loud. Now inspect the waveform of the allpassed version. Wacky, eh? The thing is: the harmonic content is exactly the same between the two, the only thing different is that harmonics are shifted in phase (delayed) by different amounts in the allpassed version. Our ears register sound in the frequency domain (with tiny hairs tuned to each frequency), not in the amplitude domain.

[@n0tness]

This is exactly what I needed to spice up a track I'm making and it was driving me crazy. Thanks bruv

[@hithereits]

Whoa. Hadn't thought to be this exacting with sub design, but now it slapped me in the face with a whole new realm of possibility and I'm super excited. Great tutorial!! I'm very excited to mess with this one.

[@JohnDoe-pm9ip]

There is so much mind blowing content from talented producers. I feel so lucky to have access to this knowledge. This is yet another hard working channel doing good work for artists everywhere. Thank you.

[@HAKOBO]

Holy cow, I just started filling in some harmonics in my Serum wavetable editor to get the wave fuller for longer and my subs already sound audible on the E. You're awesome.

[@shpoopadoop]

Yeah you can just draw in the harmonic following the fundamental on a wavetable in Serum or Vital too and that will create the same effect that Bill is going after here with the waveform ideal. That + a little distortion is great for these tech

[@SeamlessR]

A student showed me this today and informed me well and good :D thanks!

[@dh.l7499]

Always so happy to see when you post, I've learned so much from you, much appreciated!!

[@thereal_ineedHelp]

_“So in essence, DistroKid paid me to say this.”_ Realest promo I’ve ever heard lol.

[@beyondwaveforms3059]

Never thought of subs like this, I used to chuck in a sine wave and call it a day

[@MrMattmoffett]

I like these high level descriptions from you Bill, you're good at breaking down the philosophy into simple terms. Please make more stuff like this, I'd love to see a series from you on how you approach making a song, or even an entire album/themed EP just from a high level perspective. I think that's a market very few people have cornered too fwiw. (House of Kush is the only channel I'm aware of which does that kinda thing consistently, and Gregory has a very different background.)

[@dangelobenjamin]

Love the intricate sound design. Awesome lesson!

[@Korvmannen]

Really neat! Also, wavetable synths like Serum or Vital (there's many of them) lets you draw a waveform as well. Additionally you can add harmonics there too (the green bars in Serum's waveform edit window).

[@olm9476]

Or just put the single cycle he isolates at around 11:00 right into Vital. Which is exactly what wavetable synthesis is. But you'll notice that the original has movement, it could be very small pitch modulation producing phase modulation but not so far that there is phase cancellation.

[@DJBigJoeDaddy]

Thanks Bill, great tutorial!

[@pugnate666]

This is the kind of stuff I've been anticipating for years. Producing music digitally gives you so much creative freedom and I feel it's rarely being used ... (And as long as the "modern pop" bullshit keeps making money, it's up to better artists to utilize that freedom.) Thanks for the video and your work!

[@CatFish107]

Yeah man, thanks for the detailed explanation of what I've been gradually learning through experimentation. I've been using a befaco kickall module with the decay wound right up. The shape knob lets you roll between sine and square, and it has control over time and depth of the initial pitch bend. I saw divkid putting kicks through overdrives, so I put mine through a cheap joyo pocket metal pedal, and nastied it up. Some of the tones I've stumbled through sound very similar to what you're making here.

[@sebprovision]

This is a good continuation of your online seminar... Loudness = amplitude over time. Nicely displayed.

[@steveglish539]

Always great tips, always great videos, Thanks Bill.

[@ReegeMusic]

Heard about it in your masterclass 2 years ago! Definitely took it out, this is genius, great you did a short video about it as I gave the technic to many friends ;) Good job buddy

[@kendo53636]

Downloading the Melda vst was actually super easy, I'm having loads of fun playing with the tension, skew, and shape sliders in FL's sytrus to achieve similar results. This video actually deserves to be all capitalization , thanks MR.BILL

[@Tobes1100]

Great technique, love your breakdown and explanation.

[@seventhhe4ven]

What I'm really liking about your tutorials is the fact you are assuming some prior knowledge. So many tutorials, including some big names, fall into this trap where they feel the need to appease all audience levels and backtrack over the fundamentals of audio processing and composition. I can see why, but it drives me insane having to scrub though a 40 minute video for 5 minutes of gold. Great work.

[@KJSawkaOfficial]

Excellent video Bill! Smashed it

[@rebirth4119]

This is an amazing tutorial. It honestly gave me a more furnished way of getting loud subs without abusing a saturator/limiter/hardclipper.

[@samdayuk]

this was genuinely so insightful

[@Emsi_Lordtemp]

Honestly, this is going to help my music production a lot. I've started working with ableton just recently (switching from FL trial version lol) and although it's different, I'm really liking the setup of it. In the trial version of fl I wasn't able to put as much thought into it as I'm able to now, so learning how to make my subs better is really nice to know! Thanks!

[@ufokkenwotm8]

Fr tho, the trial version of FL is kinda good, it had all the plugins and tools. However you couldn’t close and reopen a project, but because of that, I’d keep the project open for like 2 days and it kinda forces you to finish em quick and just export it in the end.

[@Emsi_Lordtemp]

@@ufokkenwotm8 Yeah, same! For anyone starting music production, even if you have the money to buy it from the start, I almost think it's better to use the trial version first because of this. You have to learn concepts quickly and can't just take your time. You get done with a lot of projects and really excel in your music production quickly. Even though FL is a bit different than Ableton, I am glad I started out with the FL trial because of this.

[@M47IXXI74M]

Dr. bill u are looking really good! U been eating well I hope

[@l3tho836]

Thank you so much Mr bill and copy cat I really needed that.

[@slimpickle47]

seriously awesome video thanks so much! please make more like this! love learning about this kinda stuff

[@likenicesinging]

omfg, THIS IS how that growling phat ass sub is done, thank you so much! If applied note by note basis this sounds beyond satisfying

[@mohitrao7516]

Great tutorial as always. You're really out here providing a service :) thank you!

[@KeniSakuda]

hats off - wonderfully explained. Thanks Mr Bill!

[@Brandonheat1]

love learning from you bro, insane

[@DataBroth]

Nice tutorial, been enjoying this technique since you showed it on one of your live lectures

[@Bachiksma]

Wow, sick stuff man! Thanks a lot, subs are always a problematic subject, especially when it comes to final limiting. But that's another story

[@chelfyn]

Regarding the explanation at 5:30 - Surely the zero points are where the speaker is moving the fastest, and producing the largest amount of compression in the air, and the peaks in the waveform display are where the speaker has slowed to a stop. When you add the overtone, you make the curve steeper through the mid-point, adding more energy to the waveform.

[@phlimy]

yeah exactly, it's like saying DC offset is louder

[@othmanmoat]

Why not just a square waveform then?

[@yodab.at1746]

@@othmanmoat you may try it, but I'll never play your tunes on my rig. A true square wave will cook a speaker coil way before it's rated power handling capacity. It's similar to an amplifier clipping. Adding harmonic content adds tone further up the frequency spectrum and makes it easier to hear. A pure sine is quiet, but very subby

[@nexusobserve]

Zero points are where there is no compression or rarefaction of air molecules.... it's zero. Zero isn't loud

[@Francisco12G]

​@@nexusobserve yes i also read it that way, but i believe what @Chelfyn was trying to say is the slope of the curve near the zero crossing between the positive and negative peak affect the compression of the air, meaning the more steep it is, the faster the speaker cone has to move between those peaks, creating more compression.

[@jameswyatt6076]

Your ears have a sort of built-in compressor. Not literally but the way your brain perceives audio data makes it work in that way. If anyone has ever had an ear-piece in one ear, listening to music or a podcast (like I did once), and the other is left open to a loud environment (say an industrial workshop), to understand what's happening in the ear-piece I naturally had to crank it up, because I was perceiving it to be quieter than my surroundings. Kept at that volume over a few hours, removing the earpiece revealed I was listening much louder than I thought I was and as a result, it's ringing, whereas the other ear wasn't. Loved this vid. Thank you.

[@-arb-]

Nice demonstration, thanks! I think my neighbours are really gonna love this.

[@nickskywalker2568]

Insane! Moscilloscope being free is insane as well!

[@shane5003]

Hey Bill. As per perceived loudness and waveforms I think you are missing something here. Its not just an area under the curve deal, its the change in pressure over time. Been a fan for a while and recently started playing the law of diminishing returns watching people's tutorial videos as I'm making stuff for this school Pyramind (you did something with them before a show at the Midway SF maybe a year or so ago...) Came across this I actually just made a similar video about sub bass don't think they have released it yet... So, long and short of it. Adding harmonics adds those frequencies. If you do it additive like that, you make it louder because you added that frequency (as opposed to FM where you pull energy from the root). Assuming Phase synchronous you could add that in another track. Is a sine wave at 330 hz at -6dB added to a 110hz at -3dB louder ? Yes. Does it lower our bass or root / fundamental volume ? No. Spectrograph it. In the way you are thinking about it now, a straight DC signal at..1, lets call positive swing 1 and negative -1, would be the loudest sound. Well that pressure wave would go out and that's that. A perceived click on and in the transducer world the diaphragm is distended with no more throw distance and can't pump out more unless its passive and you wreck it with your amp. Not that we can of course as the Digital to Analogue Converter in the audio interface will high pass it before it gets there. Lets think about that waveform when you show the 3rd harmonic. You are seeing the area under the curve dip down at the peak and trough of the 110hz at 90 and 270 phase degrees. At 180 the 330 is at zero crossing also so its flat. But if you have the 3rd harmonic at half that amplitude in your oscilloscope you get whats looks like a rounded square. Should be louder in your current way of thinking ? Its not. Check this with spectrum. The 110hz is just as loud, and you are adding the 3rd harmonic and as you increase the gain there, look at your track gain. OK now Imagine just the upswing is now our new Biased waveform position. Imagine its a solid block of DC at +1 we said. Ok lets subtract from that. Lets sine at 330 hz with a DC offset there.. so swinging from 5. to 1 and down to 0. Its louder than DC, of course. If you like you can imagine the lowest frequency in your track as a dynamic DC offset. We can subtract or add to that for loudness. You can also think about a square wave then. At 50% duty cycle it satisfies what you would imagine is on for 100% of its upswing and downswing. It can't get louder that that ! But of course it can,,,, and we can shift the duty cycle too. We could have a 1% negative duty cycle square. 99% UPTIME UPSWING ! But its not the area under the curve that makes it loud, its the change in pressure.

[@Trix1m]

Thank you for taking the time to explain this

[@fearzstealth]

Nicely explained

[@bitodd]

Thank you for correcting this. It’s boldly incorrect statements (e.g., that reading the area under the positive curve means anything) that scream someone has no idea what they’re talking about. Credibility vanishes, so why should anyone listen? Obviously one can do something musically and have no idea what the science is, so my science-based alarm isn’t entirely applicable, but it still means I have to wade through the muck to see if there’s something valuable underneath.

[@Thehoxtonspecial]

Just came here to say mad props on the weight loss! also thanks for the epic tutorials!

[@theblowupdollsmusic]

This is next level! Thank you for sharing.

[@MONEYMINDSET-ENTERTAINMENT]

Hey Mr. Bill, I love your skills. Keep up the dope tutorials!

[@Phantasma999]

Comb filters can be used to achieve subs that are, actually, the sum of many wavelenghts, but using the very same fundamental. Quite interesting approach on subs.

[@gear7057]

Can you explain a little more? Do you mean setting the comb filter peaks to the harmonics of the fundamental? What kind of waveform are you running through the comb filter?

[@inspir.edmusic]

8:34 So in theory, wouldn't using a square wave be the loudest waveform over the longest period of time?

[@fluent_styles6720]

I think the loudest would be a saw wave since the noise we hear comes from the movement of the speaker rather than the position itself, therefore our perceived loudness actually depends on the rate of change / derivative of the waveform over a certain length of time. Taking the derivative of a saw wave gives a square wave, which always has the max. amplitude, making that the loudest waveform

[@queuednb3401]

@@fluent_styles6720 I think the point he's making would actually be about amplitude multiplied by time, rather than amplitude divided by time (even though the language he uses is "loudness over time"). The long white noise clip seems louder because multiplying its RMS amplitude by a long duration gives a bigger number than amplitude*tiny duration. If it was about amplitude/duration, then the perceived volume of a shorter and shorter click should approach infinity. There's sometimes a similar semantics issue with a quantity like impulse (force*time) for example, which is usually verbalized as "force over time" as shorthand for "a force that is being applied over a period of time". I do think there is additional component of loudness related to the derivative of amplitude though like you're saying. Over a cycle for a given fundamental, the amount of time that the speaker spends moving quickly probably also contributes to a louder sound (ex. pure sine -> saw -> something with added noise, where the derivative for two adjacent samples can be very high very often). Another way to look at this is in the frequency domain, where it's more intuitive that adding more and more harmonics usually makes the sound louder (more peaks showing up on an EQ). Though, keeping the maximum amplitude constant means probably lowering some harmonics while you add others, so then it also starts to matter which frequencies we're most sensitive to (getting into Fletcher Munson/equal loudness curve stuff).

[@mttlsa686]

I think you're right. You can't make a wave with a cycle fatter and fuller than a square wave ...

[@OperculumAudio]

Very informative, thanks Mr. Bill.

[@LaphobaOfficial]

really awesome video man thx so much for the useful info!

[@thekarmafarmer608]

I only watched this to get an idea how to produce better subs, but I got so much more. You made a dry subject (I think), into a really interesting presentation. Thanks for posting

[@Wizzstorm]

Really interesting, your teaching skills are very good ! Thank you 🙏🏻

[@soyjosuefernandez]

Super interesting to apply harmonic series knowledge to subs

[@AaronTrimbleMusic]

“Restoration of the fundamental” I learned something new, and I have a masters in audio. Thank you!!

[@quikdon]

Thanks Mr. Bill

[@paulmonkey100]

The perceived loudness and time topic is very interesting. I started noticing that my kicks aren't good enough just because they don't carry the sub info for long enough. Once I started adding boominess with sub tails, my mixing became so much easier and streamlined.

[@mttlsa686]

I think that the lenght of a kick tail depends mostly by the interaction with the bass, if there are overlapping notes and or shared frequencies that could get masked or boosted too much.

[@gagnorblu]

Only a matter of time till Bill gets his mate Tipper on a video teaching us how to make a Doof Wagon with a muscle car and a couple of Funktion Ones.

[@mysillyum9836]

One can hope 💗

[@johnreitter1133]

learning from brasil, thank you for sharing your knxwledge

[@TheWoodlandWhale]

This is a unique way of looking at it, thank you

[@Rhekluse]

Great video, Bill. Well explained. Thanks.

[@BoxterMusic]

2:52 That scared the absolute shit out of me

[@Yotrymp]

Knew this was gonna get someone hahaha

[@CamWitten]

such a solid tutorial, love nerding out on the theory

[@Gracias-uj5dg]

mr god

[@sionnachs_workshop]

Always a good day when a bill vid comes out :)

[@crowemusic1736]

You're the best man! totally felt the same way about subs! gotta change that

[@andrewmalacrea1262]

*Talking about erosion* "This is a bit of an overused fx at this point" I feel personally attacked

[@danielcrescendo2544]

Mr Bill is a really good teacher and communicator.

[@seanieg7673]

This video is absolutely brilliant! Instant subscribe.

[@morpheon_xyz]

Damn, pretty awesome! Thanks, I'll definitely be giving this a shot now and see what I can come up with 😋👀

[@judochop184]

Even better you can use the Oscillator tab to draw in the harmonics too. Sytrus and Serum go one better being able to adjust the phase of each harmonic too, but each instrument has its advantages !

[@ufokkenwotm8]

Sytrus is bae

[@jackdaniels3237]

You always leave a Mr. Bill Tutorial smuggly knowing this info is super handy

[@diwakar598]

never got tired of that intro ngl..... i love it

[@Salychh]

It"s great tuttorial Mr.Bill! Thanks alot!

[@KonkaBass]

a note to others: If you want to use this technique with other synths (that don't pitch with harmonic intervals) you can instead use the root, the octave, and the octave +7st, in any synth that supports 3 osc. I've been doing this is Serum for awhile to get "clean distortion harmonics", but adding the knowledge about loudness over time and phase adjustment is super interesting and I'm definitely gunna rejigger my sub patch.

[@leo.nordmann]

Semitones are gonna be a bit off from the actual harmic though. Might wanna tune it to an exact frequency to get them synced better.

[@brandonw2471]

@@leo.nordmann serum also lets you tune in cents, so you could get the frequency to be just the right ratio if you want.

[@nein4282]

If you go into the Wavetable editor in Serum you can actually draw in the harmonic series and also adjust the phases of every sine wave. You just have to fill in the little boxes called „Bins“ at the top of the wavetable editor and adjust their phases with the bins underneath them. The section is also sometimes called „FFT“ editor“.

[@blindcamel6236]

Serum only has 2 osc though not 3 ? :/

[@KillaaTofu]

@@blindcamel6236 not if you use the sub osc

[@drwesome]

This helps a lot!!! Thank you so much.

[@Q-BOT]

I appreciate you sharing this. Thank you!

[@RandomNoise]

excellent tips!!!

[@ericisaacs9859]

you've inspired me to grow my hair exactly like yours! I have screen shotted your most recent video and have brought it to my barber! its going to take a while to grow, but how did you get to have your hair how it is today? love to hear back from you, thanks mate!

[@chainsrad6354]

youre looking good man, cheers x

[@mai_stefan8822]

Thank you very much for this video, it helped me a lot :D

[@4i20]

Thank you, amazing stuff

[@marioparra00]

This is particularly useful to make subs a little bit more noticeable in small speakers, phones, earbuds, etc.

[@SoundPeaks]

Nice idea, thanks!

[@Trentcast]

This exact same trick can be done in serum using the oscillator editor window! The top bins add harmonics and the bottom bins shift the phase of each harmonic independently! Such a game changer for your low end!

[@BobbySnobbs]

This, mayn!!! Thanx so much …

[@mageprometheus]

Think about angular velocity. When the sine wave is at the top/bottom of its travel, the velocity of the speaker cone is zero (at its maximum displacement) and moving the air molecules the least. When the sine wave shows zero the cone is at its maximum velocity. It becomes more complex when you consider the compression and expansion of the air due to cone movement. Perceived loudness should be considered over a period of time, a window, where we can generate a statistical view (RMS). The upfront attack and saturation work to trigger our auditory cortex and pathways as to the importance of this sound.

[@difflocktwo]

More fancy words please.

[@yodab.at1746]

There is a big difference between (low frequency) spl and loudness. A pure sine wave at high power is easy to talk over, it'll shake you to bits, but not sound/feel deafening (although it causes damage). Adding harmonic content adds to the spl making it perceivablly louder.

[@HAJJ101]

Thank you both with your input and logic to how this works and the details that come with it

[@mooselessness]

okay, i think i follow. it sounds like the transient is a cue for the brain to pay attention, but the sense of volume comes from sampling a longer window of sound. how long is the window?

[@mageprometheus]

@@mooselessness Hi. I've seen LUFS using a moving window of around 300ms (1/3 sec) and short-term loudness with a 3 second window. The brain works a bit faster than that. If you think about delays, a repeated note less than 30-40ms from the original is perceived as the same note while after 50ms we hear individual notes starting. (Well if they have a transient). I expect, but don't know for sure, that full volume perception is from there for the tail of the sound. Perhaps you may like to do some research on psychodynamics?

[@adamhale3486]

Thanks Bill!

[@squidcatbass]

Thanks for explaining that, I feel like a bass scientist now.

[@rendermanpro]

Very nice oscilloscope plugin, thank

[@spencerrobinson5386]

Fascinating technique, definitely not something I would have thought of on my own. Gonna experiment a bit with this

[@DevkrishnaPareek]

Bill : Subs can be like pretty..... And interesting... Me : yes daddy

[@k_nito7954]

Ah hell nah

[@quadpad_music]

@@k_nito7954 spunch bop

[@TheOfficalAndI]

I've experimented a bit with this and found it really difficult to make deeper bass audible without using FM. Even with adding more first, second harmonics it sounded really differently

[@sgent]

Just signed up for Distrokid, looks epic!

[@CosminPerisan]

5:55 Fascinating stuff, man! Basicaly the human brain fills in with the fundamental harmonic(the real sub) when we hear an upper harmonic from added to the sub. This is basically assumption. Thank you for the this video ❤

[@davidjblaszka]

Nice video! Can you do a video on how to mix and eq subs with other basses and fit them into a mix?