Neurofunk sub bass and neurobass EQ help

Discussion in 'Production' started by Quotec, May 20, 2014.

  1. Quotec

    Quotec Active Member

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    Hello!

    I started some neurofunk today and I created a heavy neurobass(square being operated by detuned triangle and applied some LP to it, sounds awesome, I recommend trying) which has some lovely content in 20-100Hz area. At the same time I have a sub playing beneath. How the heck should I EQ both basses to keep this lovely low-end content of neurobass(centered around 60-100Hz) and have a decent sub beneath with no clashing?
     
  2. Dark Lizardro

    Dark Lizardro The Lizard that has a hammer Staff Member

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    Highpass the bass, leaving the sub area (60hz to 20hz) clean to the sub.
     
  3. JimpaDirt

    JimpaDirt Vettvilling

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    Or just use your midrange sound as the sub instead? and freq-split it at say 100 hz. Then treat the lows as you would with a sub bass.

    A sub doesn't always have to be a pure sine imo.
     
  4. mugatu

    mugatu Verva Music

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    has an 808 got sine underneath?
     
  5. Mania

    Mania i fukin wot m8

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    An 808 is a sine
     
  6. Quotec

    Quotec Active Member

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    Thanks for advice, I managed to somehow make it sound better as of now. I ceased to use pure sine waves to make my subs, imo they sound ridiculously boring and tend to eat a lot of headroom.
     
  7. Solace

    Solace Active Member

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    you shouldn't really hear the sine, its the sub, it goes beneath everything, it should be felt
    they might seem to take alot of unnecessary space, but they do make a difference

    and on the problem you have/had, I'd split the bass, as JimbaDirt mentioned
     
  8. Dark Lizardro

    Dark Lizardro The Lizard that has a hammer Staff Member

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    Unless you use a bit of saturation on the sub, just to add some harmonics and make it more audible, specially on small speakers.
     
  9. bantam

    bantam Sam Chills

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    Your sub layer, should you split, should be felt more than heard and usually sits just below the kick. The upper half of the split is where you hear the bass more and where you can modulate and add FX etc. You can modulate basic sines to make them less boring by using pitch envelopes, LFO's tied to volume, slight saturation and so on.