The Biggest Misunderstanding About Bass 🤯

[@Alice-Efe]

🌟Hey, if you're struggling with low-end performance, I might have something in my pack that could help! Atlas - Low End Tools: www.mercurialtones.com/atlas-low-end-tools

[@JohnJones-tx6rt]

Can you speak slower and give a short summary so that I know what this is about please.

[@MartinStuertzer]

How big of an effort do you want to take to illustrate a music making problem? Alice: "yes".

[@Alice-Efe]

Haha cheers Martin! ❤

[@sawtooth808]

Hey go big or go home

[@BoopyTheFox]

I've already knew phase cancelling, but as soon as i've seen physical illustration of it i was like SUBSCRIBE SUB JUST SUB NOW I SENSE QUALITY MATERIAL

[@MrSatanismybitch]

Or to quote Brian May (on the music of Queen) "If a job's worth doing, it's worth overdoing!" 😄

[@79keydet]

well, there are a lot good illustrations of the problem. But it is a first video with great clear explanations how to solve it.

[@owenhuston3329]

For whatever reason, seeing you demonstrate these ideas with props and markers/paper has helped me finally understand phase cancelation! Using things to explain concepts outside of the DAW before diving into it makes me think about it differently. You do such a great job explaining things!! Thank you!

[@Alice-Efe]

I enjoy making those real world demonstrations as well. This one took me some time to conceptualise and build it, but hopefully it will make it easier to understand when you see it 😊

[@axyon619]

Same. It's much appreciated:)

[@CYB3RC0RP]

What an embarrassing comment. Are you a child? Lol

[@ToniLeys]

FANTASTIC explanation! I haven't thought of the "remove fundamental" option for this, mind blown! 👏👏👏

[@DDRMR]

Oh man I've done the Hard Way technique a bunch of times in the past instinctually always wondering if I was a fool for doing so. So glad to see somebody else recommend it and make such an articulate tutorial. You've earned my sub and I'll be looking at more of your content during my downtime!

[@liteningstrike12]

Great vid and very well explained! Being self taught and doing music prod as a hobby, so many youtube videos tell you "rules" like "the bass should be mono" or "lowpass everything" but don't tell you why. I knew phase cancellation was a thing, but not how to avoid it other than to avoid certain methods of widening the stereo image (which limits creativity). I'm a very visual learner and don't have the experienced ear that seasoned producers do, so when you showed the difference in the signal before / after compression and when you replaced the fundamental that was especially helpful for me. Cheers and keep up the great content!

[@mcheremnov10]

Hands down one of the best production channels on youtube. It's crazy how your quality just keeps improving and you always have more tips to share. Thank you so much!

[@allixismad]

Another good thing to think about is always checking the mono compatability of your whole track doing an A - B test because most club sound systems are mono. If stuff is out of phase or the whole track has lots of stereo then it could sound amazing on headphones or speakers, but the moment you play it out on a big sound system it'll start phasing and you lose whole chunks of sound Also if you're using the high pass and low pass technique to replace the sub bass with a sine wave then it's generally best to do it in parallel by using groups in the chain, same way she did with the EQ3, and using tasteful amounts of distortion on the sub to provide extra harmonics that fill the space between the two sounds. Main reason I recommend going parallel rather than going for seperate tracks is to prevent your project getting too messy, but it also means you can easily add effects to the high end and low end at the same time. Great video as always Alice!!

[@JohnDoe-ni9zm]

ty

[@lennartstein3024]

saying that most club sound systems are mono is big misinformation.

[@allixismad]

@@lennartstein3024 it's what we've been taught in my uni course. I've also got a few friends who own sound systems, they're all mono. maybe it's different in other countries, but most club systems in the UK are mono. the key word there is most. it makes sense too, you don't want one side of the room to have a different listening experience than the other side of the room

[@3rdStoreyChemist]

@@allixismad Still not quite correct to say ‘most’. Where mono is mostly used is in venues with strange shapes or large enough to require multiple speakers across the venue to keep a consistent level throughout. A large venue with a large stage and therefore a wide stereo field doesn’t specifically require outright summing to mono, some width can be retained. Overall I’ve found anywhere with a very obvious “this is the stage and this is the sound system” type layout to be stereo and could pan parts if I wished, regardless of frequency, whereas somewhere that doesn’t really have a dedicated place for performers or DJ’s is generally mono. Even been to shows using surround setups.

[@MakeYourTransition]

@@3rdStoreyChemist whilst true, you can’t depend on all sound systems being the same as of course they aren’t. Therefore mono compatibility is still hugely important, and not just for club sound either - FM radio still happens to be a thing, and stereo / mono FM signals are also unstable and can’t be depended on. Therefore, you compromise with having mono in the right areas in the low end, but also with enough width and stereo information in other areas in order to ensure performance on as many playback systems and situations as possible. Mono bass is also important for vinyl cutting, as whilst you obviously can have stereo vinyl cut, too much stereo information can cause grooves to be cut too wide, and can lead to poor stylus tracking, more skips etc. Regardless of what’s on the other end, a good mono compatible mix is still required, and will be for the foreseeable future’

[@eferg16]

I've heard people explain the problem, but you're the first person who offered a simple explanation of what to do about it AND WHY. You are so legit. I appreciate you immensely. Thank you.

[@RichmenInc]

Ey yo, Alice has no right to go this hard! This was educational, useful, pragmatic, entertaining presented in the most slickest way. I've never seen you or you content before. You just popped up. But I'm glad it did, cause this was nice and you've taught me something new. I'm a fan

[@Enitoni2]

The trick with removing the fundamental is something I have been doing for a long time, and it's really cool that someone else had the same idea! It's very nice to use wavetable plugins like Vital and Serum for bass, because they let you do this and you can create really good sounding bass patches that translate well to mono. I think the biggest point is that for the absolute tightest bass you want your sub frequencies to always be mono, and usually the most clean of a sine wave as possible. Obviously, this is sometimes left in as a creative decision so there are no hard rules of course.

[@JorgenTiigisoon]

7:45 where do you get that info that ozone doesn't affect the phase. Are their filters linear phase by default?

[@prof.bizzarro]

I find this video deeply philosophical: several tips, such as the Pareto curve, overproducing and perfectionism, suitably modified, can be applied to other types of artistic production or even in everyday life. I, for example, destroyed my existence with excessive perfectionism that often ended up blocking me. I just discovered this channel: I signed up immediately!

[@R1PPA-C]

This is such a better way to explain how to address issues with production... These techniques can be passed across so many issues, unlike most "how to self help" videos which give generic advice as if they're a one size fits all solution, this gets right to the core, and it's also just addressed an issue I've been having recently with my mid / side eq on my bass, thanks once again Alice ❤️

[@lopodyr]

This video was SO GOOD. Though I knew about phase cancelation, I never understood any of the solutions before today. I love your super clear, to-the-point, visual explanation. One of the best tutorials I have seen for sure.

[@D-One]

An easy way to explain cancellation is to say the opposites cancel each other the same way that -1 + 1 = 0. That trick to totally remove the fundamental in xerum is awesome, thanks! Oh, also... in some genres like DNB often the volume variation from phase cancellation is actually very desirable, so it's not always a problem. Cheers!

[@heavenly2k]

I'm not great with numbers and super technical terms. Im a very visual learner and you did a great job of illustrating the concept for me in a way that is genuinely understandable.

[@evomusicstudios]

How I fix this problem in one instance in serum : edit both oscillators, select process, remove fundamental, engage the sub oscillator, done. (Sorry I don’t mean to hiJack ur video) I have never seen someone explain things so well! Outstanding! Bravo! 👏

[@p4r7h-v]

Love this content

[@Alice-Efe]

Thanks a ton for the tip ♥️

[@Alckemy]

Something important to note is why you would pick one way or the other and it usually applies to what you want to do with your low end in the first place. The most typical use case is when you’re using a reese bass and want to preserve the movement from phase cancellation. Even though the sun frequencies come in and out, there is a beating pulse that can sometimes be desirable. In this case go for the soft fix issues. The easier route on the other hand is the hard method because it guarantees a solid low end. One thing I’d keep in mind is trying match your mod and high layer with the appropriate low end wave form (you don’t have to, just makes the entire sound more cohesive sometimes) Great video and demonstrations^

[@james82408]

Thanks!

[@Alice-Efe]

thanks a ton for the tip❤️

[@the7376]

this is so accessible and I think the genius in that is going unnoticed. You're a very VERY talented educator, this video is so comprehensive but not dense. THANK YOUUUUU

[@Juline1221]

Wow I never had anybody break it down like that. Thank you u made it clear on what I'm trying to do with this low end. I was really wondering how I was supposed to go about splitting up my bass. Thank you!!

[@TechnoNates]

This is top notch production. Appreciate the efforts. You could have easily just showed a digital standard depiction of waves but instead you demonstrated this amazing little physics experiment. Truly wonderful!

[@Justin_Shadow999]

Your knowledge is so impressive. It turns out that I have been using both of these methods in differing amounts for quite a while. Thanks for sharing!!

[@frog-uj3sx]

I really like your recent style of videos. Good analogies, educational, and positive energy 👍

[@Alice-Efe]

Thank you! I really enjoy making them as well ❤

[@shoepedals]

Another thing to watch out for (especially if using analog synths) is if the start of the notes are in phase. Meaning the oscillators may be drifting in and out of tune, but looking at the waveforms and just sliding the clips slightly to line up the rising or falling edges at the start of the part can help correct a lot of the phase issues. Then you can also apply these techniques after if needed. This also works between multiple instruments. Like you can examine if the first peaks of the kick and bass are aligned with one another, for example, so that one is not pulling away from the other on the transient.

[@lost.empathy]

I think this is an a ultimate guide about the thing we all use but rare talk about. I wish I found something like that 5 years ago.

[@onusgumboot5565]

I was having trouble understanding the words with the accent, so I decided to read the caption. Apparently the closed caption program has a problem with the accent too. It came out pretty weird.

[@rizzbod]

Woah! Thnx , I never knew that is phasing is such big of an issue! Your explanations are so intriguing to watch all the time when it is just two waves , its easy to understand , but for multiple voices and to many sounds, it gets messier and then there's no turning back hehe!

[@UltromanTheTacoman]

Best bass mixing video I've seen, and I've seen a lot, including master classes. She presents several approaches in a concise manner, with pros and cons, important caveats, and methods to both analyze AND alleviate the problems. I knew most of this, but the way she went through it all so fluently and without tangents, made it click much better for me. I feel like I understand my toolkit better. Thank you!!

[@rieg]

Love the content! [but whats up with the crackling and pop noises in your audio?]

[@DmitryPuffin]

"Remove fundamental" feature of Serum is awesome and quite unique. I haven't seen that in other synths. Since I don't own Serum, I use hi-pass filter and keytracking in Pigments or find and remove manually the fundamental harmonic in Vital's wavetable editor. Putting static EQ in FX chain has a downside - when you play different note, your frequency 'split' point should move as well, so doing that with keytracked hi-pass filter and sub is a better workaround.

[@Le_Mer]

The last song I worked on had this exact issue and now I know how to fix it. Thank you for the fantastic content!

[@8ochochocho8]

idk how but i somehow came up with the hard solution myself some months ago by creating a rack in ableton that separates everything above 100Hz and below. that way i can control the sub and the high one and keep the punch of sub frequencies

[@WillHatton]

One of your best videos to date! Really great work Alice!!! 🔥

[@Alice-Efe]

Aww thank you Will! ♥️

[@llasch28]

I have been producing for about 5 years- a lot of KZbin tutorials consumed. Your videos have been some of the the most profound ones I have found in terms of giving me another perspective….you are a gifted teacher and I thank you!! Keep them coming

[@Xanatis]

You explain this incredibly well! I've been having some questions about bass and mono versus stereo and I got everything answered here. Thank you!

[@heshumi]

cool, thank you. Was always separating the sub from bass with EQ, and mono-ing only sub, but gonna try the "remove fundamental" approach, as this way seems to be a lil cleaner

[@yesthisisdonut]

you could also just turn down the unisono width in serum if you actually want a wobblier low end (sometimes desirable with reeses actually) but also keep it mono. you can also use the high pass filter with key tracking in serum (although removing fundamental is the best way) if you want to go the old school way but also have the filter move with the pitch, imo that's a bit better than using a static filter :)

[@ViktorNova]

This is a subject I feel like I have a pretty good grasp on and still managed to learn something new (remove fundamental from the wavetable 🤯 GENIUS) Also didn't realize Ozone imager kept the phase intact! I love your videos, please don't ever stop!

[@shadowgauge3249]

2:39 Although it took me a long long time to realize this, because I am listening in binaural L and R, which is still "Technically" mono, or "Unbalanced Stereo" there is absolutely no change when you put bass mono on. AT ALL!!! And if you had compensated for the volume loss when summing to mono by duplicating the channel, there would not have been a difference coming out of my phone or tv, but I did hear it get super thin on my headphones. This means you are listening to it on a pro audio system if you heard a change both times, because the real misconception is between Stereo and Unbalanced Stereo... And what a Stereo field is and how to create it using parity signals is where the money is at..

[@infiniterift]

3:00 Usually, I'm using a limiter and I'm dropping the ceiling until the signal is flat (of course adding gain after). Works for bass/sub-bass or something that doesn't need to have a broad dynamic range.

[@NyxTheShieldOFFICIAL]

Really nice and concise video, I have been using the fundamental trick for DNB ever since I saw it in one of your shorts hehe

[@dedrxbbit7549]

I think there’s a disconnect from what most producers call bass and what actually IS bass. Bass is any low frequencies, also referred to ass sub, typically below 200hz. A reese bass has most of its “meat and potatoes” from mid range. That area can have all sorts of width no problem, but when people are talking about using a mono bass, they mainly are referring to not using unison or chorus on sub frequencies as that can muddy the mix.

[@flanorlerii]

Harika bir çalışma olmuş, teşekkürler. Mesele ses gibi "görünmez" fenomenler olunca görselleştirme çok önemli oluyor. Emeğinize sağlık.

[@mziah3359]

Ur the best🔥🔥🔥🙏🏿

[@CarlBurnss]

As a venue sound engineer I usually use mono bass, especially one side mono to counter inline interference (not a stereo to mono), because we can steer the bass on the dance floor by creating line wavefronts. If we don't, we create 3d interference meaning; places on the dance floor where is no bass and places where is a crazy amount of bass. And we have to fight the acoustics of the room reflexions and so, this all destroys the bass, making it sound untight, and as an electronicfile I love crisp and tight powerful bass have to say 100Hz and up, love to stay stereo

[@groovining]

I appreciate the effort here. I also do animations on my (much smaller) channel and I know the enormous amount of time it takes to make everything look this clean and concise! Great explanation also, a very clear way to walk through a confusing topic. ✌

[@random_meteor]

Your efforts are also greatly appreciated on your equally awesome channel bruv

[@groovining]

@@random_meteor Cheers mate! Hopefully lots more great things to come this year! :)

[@deffyme_music]

Very nice explanation of the topic! I'm impressed with the visual effort you put into this. Great work!

[@jorisdemunck9406]

You can also split the sound in low and high freqs. If you want no phasing in the lows take a utility and select left or right instead of mono, in this way you get completely get rid off the phase cancelation and you keep the character of the sound intact.

[@tianzii]

Yoooo! Thank you so much! I really get the phase cancellation now and it's solutions.

[@EyesWideBlackTek1]

Good content, explained the problem and demonstrated how to solve it, perfect. Going to use this video with my padawans, because people sometimes struggle to understand my tech-nerd train of thought when it comes to basic principles of audio engineering, thanks a lot 😅

[@Anders01]

That reese bass example was interesting. Not only did the signal become weaker in mono, the bass disappeared!

[@infesticon]

Super appreciate the effort you got to visualize things it's fun and helps me understand things. Tips from you are always solid. But your presenting is good to !

[@AFRoSHEENT3ARCMICHAEL69]

Alice thank you. I love how you explain concepts with visuals. Makes you one of the best channels for music production.

[@MangoJellySolutions]

You are a joy to watch, so well explained and so in detail. I wish you all the best with what your doing with one of the best channels I have seen. Thank you for sharing your knowledge.

[@kalebsatterfield2443]

I'm serum I just remove the fundamental and then replace it with another 1 voice oscillator. I then use a limiter to help slightly flatten out the signal. It's a mix of the hard and soft solutions and works very well

[@somatronic]

How do you remove the fundamental in Serum? Would like to try that method

[@DafterHindi]

@@somatronic watch the video you're watching again

[@kalebsatterfield2443]

@@somatronic If you make a synth in serum there is a little pencil icon in the top right corner of each wave table. If you click on that it gives you options to change the wave table itself. In the top of serum you'll see a lot of bars representing each frequency present by the wave table. Turn the first one all the way down and the wave table will visibly change. The fundamental frequency will no longer be produced, yet all the others will be.

[@BF-up5xw]

I think this is one of your best videos. Clear, with diverse ways of communicating the information. Thank you!

[@СергейТомилов-о9щ]

Would also be important to notice that EQ3 crossfades are also rotating phase, it is especially drastic with 48 dB option

[@joaoceitil]

It is interesting that when we are just embedded in software production, we tend to worry too much about fixing things. On the contrary, when we are working with a synthesizer, we tend to take advantage of these natural deviations in the signal, which give dynamics to the music. I understand that some styles expect a certain idomatic behavior in the signal, like ultra bass crushing in a narrow window, but this is just a chain of decisions that no one dares to break. I like it when the producer tries to be experimental. It would be better if everyone was open to that. However, your video is very informative and very helpful in understanding signal behavior and maybe instead of just presenting solutions, I'd like to see advantages as well, just to not give the idea that deviations in signal amplitude due to phase cancellation is inherently a bad thing.❤

[@TheCratesMotel]

Great video Alice. I have been trying to tell my students this for a long time and now I will just direct them to your video.

[@pocket1684]

Yep, Most true stereo basses means each channel has differing wave forms that are independent of one another. On the other hand, dealing w a true mono bass guitar or synth bass that is not true stereo, can sound great up the middle..

[@pepe7drum]

But how would you traslate this into a real mix scenario with lots of dynamics and other instruments?

[@kermunklin7704]

You have a great channel. Thanks for shedding light on audio stuff that is specifically geared towards electronic/dance music.

[@MrEnginears]

Hey Alice, awesome videos. I'm a sound system technician, and owner/operator of a premium quality analog sound system at many UK music festivals, so very well understand comb filtering, cancellations etc. Dave Rat (legendary sound engineer) had a very interesting trick in the live music department. Using two different mics on the kik drum (so non-identical waveforms) but instead of having them as whomph & click, hard-panning each in opposite directions, completely eliminating comb filtering on the kik. I've tried it, and it's awesome!! Don't think I can post a link, but it's called "Problems With Mono Sound From Stereo Speakers" (very interesting) I also do a bit of music production (PC free hardware hobby) and it got me thinking... If you had two kiks which were different, but similar, AND they work well together when summed (for mono compatibility) then you could hard pan them, and completely eliminate all those bass cancellation zones on the dance floor. It could be a magic 'bass everywhere' trick for producers that know. ;) Could maybe be extended to snare too, and maybe bass? I'm working on a trick to stack up all-pass cards on the crossover's EQ (phase modding) to actually 'fix' normal EDM mono bass/kik cancellations, but it's better (and easier) to do it at source. I'll see if I can link in the 1st comment.

[@MrEnginears]

kzbin.info/www/bejne/jHnNlZtji9CUY8k

[@beatsmithradio]

The way you explain this was so intuitive! Thanks for your teaching style! Keep it up!

[@xil.sanctified]

Jeez. Again, dropping knowledge bombs everywhere. What I knew was close but with just a little of your guidance, I've finally got that sound I want. ty

[@panorama_mastering]

My new favourite audio channel on YT! Great work! Instant Sub!! Keep up the incredible work!

[@EVILJAMARR]

Glad I found this! So helpful. Clean up the low end and the highs start to open up on their own

[@SunroseStudios]

this definitely clears up some of the misconceptions we had about bass mixing, thank you!

[@leahre]

that tip for only compressing the low end is so good but so simple i have no idea why i havent thought about it before

[@SimoneLaurino]

Great video! Be careful in Serum with the random phase knob when you do subs. Set it to 0 so the sine will always start in the Same position.

[@ephjaymusic]

You are a true gem Alice! Fantastic visual and practical explanations.

[@DagerMusic]

Your production level is top-notch!

[@BorisBarroso]

Excellent video!!. What about using mid side, can this be another technique to solve this issue? You can use an EQ for center and another for the sides.

[@serapheogen]

What do you think of simply always high passing everything that and using a dedicated sub? I’ve always understood that keeping the natural sub in any synthesized bass sound was a bad idea for two reasons. 1. Any processing would effect not only the mids and highs but the sub itself which you don’t want 2. Uneven amplitude in the sub (which you demonstrated here) Only good reason I could think of is high passing certain sounds even as little as necessary can still noticeably change the timbre in ways you dislike. Some bass sounds sound better because even using gentle filters it’s hard to *only* remove the sub without ruining the sound. But this capability of Serum for example to only remove the fundamental seems like a game changer. Of course this could be accomplished in any synth that allows you to manually draw in your waveforms. So now I *really* don’t see a reason to not use a dedicated, separate sub.

[@DR4GON8IT3music]

4:38 - I don't understand, why the compressor didn't fix the low end... Had the high end more dynamics, so it triggered the comp. first? tnx for the video

[@xypc8582]

Awesome video! It's also worth mentioning linear phase EQ, for example Pro-Q can be switched to linear phase mode.

[@shilverback523]

Ok yeah this video just blow my mindhole! Might have to re-watch this a few times to apply it to my projects. Cleaner sounding mixes here we come!

[@LEVRAN]

I think ive seen a short of urs already with the last methood which is amazing

[@landonmatthew]

this was awesome thanks so much!

[@sankaplays3098]

It really, really depends. I make drum and bass, a genre often played on a PA setup with woofers set to mono in the first place, so often its best to have your mono imaging in a really good place - making the bottom end of 100hz completely mono lets the sub bass sit better under the kick and midbass.

[@DanielPizarro184]

THANK YOU! I LOVE THIS ❤️❤️❤️❤️

[@reyfortea6090]

You’re such a knowledgeable engineer. Thanks for sharing your knowledge so legibly. Question about mono compatibility: At what point do we all band together and stop engineering for compatibility with an archaic technology? Imagine if software engineers still engineered for compatibility with Windows XP? It seems like this consideration impacts a bunch of creative decisions which means it limits our creative boundaries :(

[@reyfortea6090]

I think of a song like Canvas by Imogen Heap. It’s such a beautiful atmosphere but it’s definitively engineered to be played in stereo, not mono.

[@westbethkid]

High production value, clear concise explanations, getting to the point quickly--this is one of the best videos I've seen on mixing and music making in general. Love love LOVE use of paper and markers. Subscribed!

[@cinderblock3544]

I love the story telling you bring in your tutorials and lessons! fresh way to learn :)

[@alainrivas4870]

Amazing!! so what happens to the kick?? Is the same thing, do you recomend apply the same process??

[@Vintsent]

Amazing video ! Thanks a lot for all of thèse video 😉🙏 Really love all these tutorials, keep on going In the hard way to stabilize the sub frequencies, why I should remove the fondamental if just after I set an EQ up with an high pass ? Is the same thing no ? 🤔 Or mainly as you said to avoid the phasis pb, because when you put an EQ we create phasis move ?

[@bluedev1495]

Damn, Alice! This is one of the best vids I’ve ever seen on this topic. Been struggling with bass on a track recently this is a MASSIVE help!

[@alexyakas]

0:56 There is no such thing as flipping the phase. You flip polarity. Phase is relevant to time and delay.

[@stevecarter8810]

If you rotate anything by 180 degrees then it's flipped, right? So a 180 degrees phase shift...

[@alexyakas]

@@stevecarter8810 Again, phase is dependant to time, delay. You align phase by moving the delayed signal back or forward to align it with whatever you're trying to align it to. Think of drums recording. Mic distances and phase issues this might cause. The ultimate question you align to overheads or to snare. All these have to do with phase shift (like you mentioned), delay, but not flipping. You flip polarity, not phase. Phase rotation you say, yes, a portion of your signal, a frequency, but when you flip an audio file bringing what was in +1 to -1 and vice versa, then we're talking about polarity inversion (flip) no phase flip.

[@joeldollie5826]

Really like how you explain things ! Very well done and clear for beginners.

[@sandeboe]

7:40 You can also use an EQ with linear phase mode enabled :)

[@MarcPlaysDrums]

Been on this for a while. It’s why you pan the bass side only(not to be mistaken with stereo). Plus it kinda clears out the center where you can place the kick so they don’t step on each others toes.

[@alexcoastmusic]

This is amazing Alice, many thanks, great tip and solutions ;)

[@erikgwk]

Great video, this is one of the most useful explanations I found. Phase it's such a complicate topic but is made it clearer to me

[@djkrptdnb]

Something interesting I tried was this: after splitting a stereo waveform into its constituent parts (bass, vocals, drums, other) using splitter software, I noticed my bass stem was fluctuating a lot (typical when splitting music like this). I loaded my bass stem into Alchemy using the additive synthesis function. The result, as it was resynthesised using pure sine waves, ended up a LOT cleaner and consistent than before! It doesn’t work as well with more complex sounds, but give it a try!

[@DelayedLaunch]

I really liked the demonstration at the beginning. Love your videos, easy sub!

[@BenjaminKoloi]

You're brilliant, how you explained it in every possible way in detail of the unseen sounds.

[@mb9ether]

This lady explains things better than anyone on here .

[@NEEDSHES]

Which way you went? Old school? Just cut all the stuff down there and replaced it with something warm and nice?)