MAKE INSANE SUBS!

Sign up with DistroKid using my link: distrokid.com/v... (I get money, you save money... win/win)
To support me in the most effective way possible you should become a Hardcore Abletoneer at mrbillstunes.com
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 *

[@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”

[@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

[@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.

[@thereal_ineedHelp]

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

[@DevkrishnaPareek]

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

[@k_nito7954]

Ah hell nah

[@quadpad_music]

@@k_nito7954 spunch bop

[@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.

[@andrewmalacrea1262]

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

[@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.

[@beyondwaveforms3059]

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

[@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.

[@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.

[@vanstaden]

broooooo, what you do when you got flu mate.........

[@somerandomguyfromthestreet464]

6:09 Huh didn't know you could play Tetris in Ableton...why did i get fl!?

[@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 💗

[@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!

[@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 ...

[@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!

[@jonahbird5240]

What COPYCATT song does he play a clip of at 1:57??? It's driving me crazy because I LOVE it and I can't for the life of me find it.

[@cdeek1968]

Sounds like Indent by tinyghost and COPYCATT

[@rupertknoop]

Wouldnt a filtered square wave yield the same effect?

[@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?

[@Synthis_Bioji]

0:06 Is that the *legendary brown note?*

[@SeamlessR]

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

[@quaero1948]

You seem to be nice guy but your theory and explanations are outright silly. I am sorry... Our hearing do not perceive sould at the speed sufficient to follow single cycle. Not it has anything to do with the way percetion of hearing is induced in our brain.

[@tobyarmstrong5450]

One question, It seems to me like loudness is created not by the speaker cone being out or in, but by the movement between those states which pushes air. So if that's the case it would seem that to achieve the louder for longer goal you'd need greater change in amplitude over time, not higher average amplitude. Am I missing something? Appreciate you Bill!

[@denomaly646]

This is true. I was just about to make a comment saying this

[@yodab.at1746]

The ultimate distance the cone travels in and out is producing spl, which is different from perceived loudness. Adding harmonic content produces a more complicated cone movement which sounds louder. A pure sine produces lots of pressure but isn't 'loud'.

[@Fante247]

You are abosolutely right. The part about the cone being silent at the 0 crossing points is not true

[@gregwoulg1016]

when you're measuring "loudness" you take the absolute value of the signal in some way at some point no matter what. so basically what will sound the loudest and measure the loudest is going to be whatever stays at the edges (close to 1 and -1, because they will both = 1 after the abs value). and lo and behold, a square wave is lo

[@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 ❤

[@seanthomson9301]

Could someone please send me the link to Copy cats tune at 1.57 mins pleeeeeeze

[@fearzstealth]

indent by tinyghost and copycatt

[@se3saw]

We can probably make knock knock jokes with his septum piercing

[@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.

[@Badj4s]

Pff that septum makes it a serious challenge to do a bump

[@bl4ck1911]

that s what skrillex used in ty's "runaway" unreleased track, damn

[@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

[@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?

[@Ben-rz9cf]

How am i just now finding out that mr bill has a youtube channel

[@majesticpbjcat7707]

Was hoping for instructions on making a long sandwich with cold cuts, lettuce, and mayo. I stayed anyways.

[@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).

[@BoxterMusic]

2:52 That scared the absolute shit out of me

[@Yotrymp]

Knew this was gonna get someone hahaha

[@brenthronik6066]

If you're trying to maximize the RMS of the waveform, why not just use a square?

[@LimJim]

Physics 2 type beat

[@marscrasher]

one of your masterclasses was on this wasnt it

[@cmndzmusic1647]

Yes , he did one on the same topic

[@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.

[@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

[@n0tness]

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

[@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

[@timmyblom2516]

Don't you get more control by using wavetable editor in Serum or Phase Plant for instance?

[@luciferianjesuslover9453]

how to get insane subs step 1: make louder

[@Appleloucious]

One Love! Always forward, never ever backward!! ☀☀☀ 💚💛❤ 🙏🏿🙏🙏🏼

[@KordTaylor]

❤️ Thanks you! I want to try this in Miniraze now. Using 2 diff waves to increase harmonics is something it does really well.

[@D_E_N_modular]

the formula at 7:00 is incorrect ;-) 1+1:2+1:3+1:...+1:n isnt infinite (but i googled the answer and its...complicated!)

[@posebukse]

Distrokid is horrible horrible horrible. They fuck you over and there’s no way to downgrade anything. They’re really good at taking your money going forward, but won’t help AT ALL if you need to go backwards for some reason. I moved to RouteNote, and they managed to do EVERYTHING Distrokid wouldn’t, and for free.

[@meyer2534]

So if I design a bass sound and I don’t like the sub-frequencies and cut them out. Should I when I add a separate sub also try to achieve a longer loudness over time or will the harmonics generally clash with other lowermid frequencies? Might be a dumb question I might generally have to find a sweetspot right?

[@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.

[@vikingsofvintageaudio7470]

Wait, isn't it erroneous that "it is completely silent" at the zero crossing points? I mean, that's when the speaker element has its highest velocity (in the sine wave example)? Think of it, the speaker element is pushed to an extreme and actually changes its direction when it's at one of the peaks. I may be wrong but I think you have to look at where the element is coming from. Basically, if you don't play a sound, the speaker element will be in the middle (a zero crossing point) and will indeed be quiet. So it boils down to what loudness really is on a real time basis. Sound is waves of changing pressure. So, is it therefore the slope of the curve in the oscilloscope? If so, the loudest part will be where the slope (the derivative) is steepest. Which, with a sine wave will be at the zero crossing points. In a more distorted sound, the maximum will be somewhere else. Or is it the slope of the slope? I don't know but I think it's wrong to say that the there is silence at the zero crossing points.

[@CharlesFerraro]

Since Mr. Bill is a technical guy I’m assuming he would like criticism. So the sustain if a sound matters of course, and is also evidenced by hearing damage. Sustained sounds have a higher likelihood of damaging your ears. Looking at a sound through an oscilloscope, the position of a speaker cone outside of a zero-point crossing doesn’t dictate volume. A cone can have a direct current offset and will be silent. It’s the velocity of the cone that matters. And sun that regard, it’s the Y axis and NOT the X axis that matters as much in terms of air displacement. It’s the cone traveling that creates higher decibels. It’s not the cone getting to an end of a cycle and sitting. The cone needs to continuously travel (not necessarily cycle) in order to create very loud noises. The real trick to loud subs is symmetrical distortion which he sadly doesn’t go into.

[@skateboardkid420]

I love it, but the reference Bass from the hip hop sample pack was making things rattle in my room, the pure sine wave really moves more air, but it could have just been a lower frequency? Anyways I appreciate all the tutorials

[@OOD2021]

Thanks for the tutorial! Where can I buy such a nose microphone. I checked thomann but couldn't find it. Must be superhandy!

[@EntropyExhaustion]

Nice vid, dude. But I think your explanation is not 100% right. What makes your speakers produce sound is the *movement* of the membrane. And this is determined by the distance it goes in and out *and* how fast it goes in and out. So a membrane that is *longer* at maximum does not add physical energy (it's not the area under the sine) but the speed of change. With the third harmonic added, the speed of change from max to min is faster ... i.e. the curve is steeper. That makes the membrane move faster and thus adding energy to the change ...

[@alter_igel]

A word of warning about DistroKid: they evidently have no moral principles or protections in place when it comes to false copyright claims and ownership disputes. Please see carykh's video about this: kzbin.info/www/bejne/h3rIhGSmgZmBbKc

[@Michael-xr5yx]

Very cool. Doesn't a more squarish-sine just mean the speaker is spending more time at both ends of its extension during each cycles though? I don't understand why that would sound louder exactly. Clearly it does but I don't understand it. Doesn't seem like any more air is being moved.

[@weirdsailorman4070]

This is all great but the fact remains that 99% of the people use MP3 garbage grade equipment and are tone deaf so they wont even notice any difference because they don't know any better. Same as how someone is obsessed with 4K and above even tho most of us are still on 720p sized monitors at best, no matter what the label on your products or driver says... And the most pathetic ones are the ones on phones or tablet, why the actual F*** you need 4K on that or any quality sounds when the speakers and drivers are lowend shit ...

[@danielkluger9745]

I'm basically copying exactly what he's doing and still just getting what looks like 3 sine waves in oscilloscope. Is there a setting I'm missing?

[@benjaminp3955]

COPYCATT tune @ 1:57 ?

[@fearzstealth]

indent by tinyghost and copycatt

[@cwestwood1485]

Am I the only one who doesn't fully get why most producers/engineers always talk about mixing your low end/low mids to be more audible on phone and laptop speakers? I don't seem to get it because people usually listen to music either on headphones or through systems that are more than capable of producing sub frequencies.

[@jo-mi4966]

Everyone gives the example of listening to a song through a phone but let's be honest, no one's seriously listening to edm/bass music or probably any kind of music though a phone normally. It would be better to just give an example of headphones or speakers that dont have good low end.

[@blm2295]

omg i did not ever think to check if you had a youtube channel. I have a question i can't seem to find the answer to on my own. How and where do I learn what everything does in the synths and other plugins. Like what each knob does in detail besides of course just experimenting with all of them but I'm just feeling overwhelmed with all the options when I'm trying to make music on fl studio.

[@Fink-id6yg]

Some of us also design everything from scratch, it doesn't take us 5 minutes to talk about it before we show whatever someone what they asked about. Just kidding bill

[@joshn8580]

Seems like this would create a minor chord. It may be super dissonant if you were to play it with an A maj scale as F is only 1/2 step from a major F#. Im not sure though.

[@kiko8u]

So why exactly would this method be better than just soft clipping the sub to be a rounded off square? Sorry in advance if it was explained in the video.

[@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 ❤

[@tilliinfinity]

very nice tutorial. got a a110-1 vco and its sine wave is kind of wrong but sounds louder and fatter because of its weird shape and your video explains why

[@stefandesterck8315]

Since you lost some weight the nose thing is getting really out of proportion @Mr. Bill

[@jasoncaldwell0613]

Like Lil Wayne once said.. “wobble -e wobble uhh wobble -e wobble uhh wobble -e wobble uhh drop it like it’s hot.”

[@ApocalypseAtTheZoo]

No ham, no salami or even any provolone? This video is NOT how to make a sub, very disappointed.

[@dtown5id]

I'm experimenting with throwing that cycle into serum/vital to use it as a wavetable. If you bend it asym, you can make the peaks way longer. Not sure if that makes it better but its a thing lol

[@noreaction1]

How have you taught so many that have gone on to have millions of views and subscribers but still you don’t even have 100k subs??? You’re like everyones diy ableton dad

[@Hihahafookyasi]

Aw man I thought this was about fish sandwiches. Bass is a nice flaky white meat, never had it on a sub roll though..

[@johnreitter1133]

learning from brasil, thank you for sharing your knxwledge

[@dizzydownlow]

hey you mentioned you got support because it didnt pop up with the period in mr. bill when searched, same issue with my name, how did you resolve it?

[@nyhavomusic6992]

Why did I have to have the really emotional cancer support ad before the video?! Not how I wanted to start this…

[@Malegys]

damn, i thought this was going to be a tutorial about really great sandwhiches....

[@LaymensLament]

Got eardamage from imperceptible 1 million db white noise sample. Where to sue?

[@caldera99]

But if just wanted to maximize amplitude over time, why not use a simple square wave?

[@wired-up5677]

ive listened to this on a sub pack and ive noticed that the original sine sub feels like it has more weight to it like the one you made after sounds slightly more hollow.

[@soyjosuefernandez]

Super interesting to apply harmonic series knowledge to subs

[@raplapla9329]

physics have left the chat lol, AUC != perceived loudness

[@MadChemistMusik]

would you put a low pass on this to use under a mid lead or something, or would you hi pass it and then layer it with just a straight forward operator sign wave with a low pass on. I know u can do either but what was the intent for this video?

[@wizsauce6798]

more like mr.bull

[@hygrometer]

my dogs name as a kid was Mr Bill....or Bill Brown, a chocolate lab that was mental

[@shpoopadoop]

For Logic Pro users; I was able to get that waveform like Bill at the end using Alchemy as the soft synth set to a clean sine sub - I picked Ultra Sub Bass preset with Short Drive setting; which alone will appear like Bill's first example in the scope. After that I added the stock Overdrive plugin and then the Amp Designer Blues Blaster amp. Same amp settings as Bill has in his Amp stock plugin (5 across the board for tone). You'll then get a very similar waveform in the scope as Bill has. Now play around with the volume levels of the Amp Designer stock plugin to affect the waveform. You can also play around with the Coarse/Fine tuning (in Master) in Alchemy to adjust the waveform too as you see Bill do in Operator. Follow Bill's instructions otherwise to get the idea and concepts. But this is how it can be done in Logic Pro with just stock Plugins too. Vital is a free synth that also offers great simple sine waves to use and can be substituted for Alchemy.

[@thepreposterich3553]

Nice one. Cheers

[@TheJudeAustin]

Wait, you aren't Kll Smth? I am so confused.

[@InVerSemusic93]

Could you also design it manually using serum's wavetable editor?

[@cymbolic_space1832]

finally a clear and concise sub tutorial. think this could be achieved on a digitone?

[@rat839]

came for a recipe on subs, got something different, but still not disappointed

[@DanielleSiobhan]

Is it sad that as the wife of a sound engineer, he had to explain that the graph was y = amplitude x = time?

[@ultimativePwnage]

Anybody else thinking it's quite funny to copy copycat?

[@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.

[@gbeagle417]

Sheeeeeeet. I was thinking u were gonna tell me how to make my subs hit harder to annoy more people!

[@petervogl9072]

If you are layering a neuro on top of this (having cut the subs)would you still go for the same thing on the lower sub? Adding distortion or upper harmonics seems like it would push it into the higher layered bass/sub zone.

[@alexanderfilatov2867]

02:55 That moment when the cat is appearing is pretty epic, don't u think so?