Problem using a band pass for reese modulation.

Discussion in 'Production' started by LG18, Sep 8, 2015.

  1. LG18

    LG18 Member

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    In Logic, I'm trying to use a band pass along with a couple of notch filters to modulate a reese style bass sound.

    the notches are fine, but the problem I'm having is that I don't know how to reinforce the overall sound when the band pass is applied.

    obviously, by nature the bandpass is cutting out most of the frequency spectrum, and making what's supposed to be a bass sound go completely thin as if you've added the telephone effect (Which is essentially whats happened)

    I want a full sound, but then I can't get my head around how that works if you've got this type of band pass on there.

    If you were to add frequencies back in with another EQ by splitting the Chanel and bossting the highs and lows where the band pass had cut them out, surely that would also negate the band pass because you'd just have a full spectrum again...


    Any ideas?

    Thanks
     
    Last edited: Sep 8, 2015
  2. RUSSLA

    RUSSLA DNBF Monarch

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    In my experience if you're using a bandpass it has to be a quick sweep. Question is why are using a bandpass? It's doing exactly what it should do from your description.
     
  3. LG18

    LG18 Member

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    I'm using it to isolate the frequencies for a sweep to go along with the notch filters.

    I know in it's nature it's meant to take out the bottom and the highs to a large extent, but it's doing too much of it in that it's sucked all the life out of the sound.

    I'm using the AU band pass plugin in Logic that you're probably familiar with, and it's limited at best.
    For some reason it's not letting me widen the band pass at the bottom to include at least some of the lower and higher frequencies without thickening the top to a large extent, and looking at it now I think that's the issue.
    The sound's barely audible despite the distortion.

    Rather than tapering off to a point at the top in a triangular fashion, it's taking on more of a square appearance at the top, something other band pass filters I've used haven't done, but this is the only one I have right now.
    In fab filter it works fine.
     
  4. RUSSLA

    RUSSLA DNBF Monarch

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    I kinda get what you mean but not entirely. If I were you I'd just use pro-q and automate the bands independantly. Or even better get yourself The Drop by Cytomic - Such a sick filter plugin that even has a mix dial so you can do crazy bandpass stuff without destroying the whole sound (y)
     
  5. Mr Fletch

    Mr Fletch aka KRONIX

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    Yeah id just link a low pass filter and a high pass filter to the same dial, set the min and max parameters then automate that one dial, thus controlling both filters together
     
  6. LG18

    LG18 Member

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    Cool, I'll check that filter out.

    Thanks allot
     
  7. LG18

    LG18 Member

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    I thought about doing this but I have no idea how to within logic - I'll have a look online.

    I'm confused as to why Logic's parametric EQ doesn't have a band pass, really.

    Thanks
     
  8. Mania

    Mania i fukin wot m8

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    What he's describing is what the AU Bandpass already does. You can control the with the the lines beside the middle of the band, and you can move it around with the circle.

    Don't worry about logic's EQ, its only really useful for standard high/low/notch filters. What you're doing with the bandpass is fine, add some pre and post distortion and compressions, move the bandpass around the lowend more where most of the sounds volume is.
     
  9. Mr Fletch

    Mr Fletch aka KRONIX

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    I dont use logic so cant help there.

    But yeah, in ableton I would simply create an EQ with a lowpass and high pass on it. Link them to one dial on my midi controller. Then in the midi learn function I would set the values so when the dial is moved, the parameters change accordingly
     
  10. Ncomfortable

    Ncomfortable Member

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    Use an exciter or a distorsion mate, the whole aim of using a band pass on a reece is to reduce the frequencies content to give more room to the harmonics produced by the distorsion/excitement,btw I would suggest to use logic's channel da instead of the as bandpass
     
  11. Dissiopathic

    Dissiopathic Member

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    Split your bass (CHAIN A-> LowPass 100-200hz) (CHAIN B-> HighPass100-200hz + BandPass Modulation + Subtle distortion over 500hz)
     
  12. miszt

    miszt BASSFACE Royale

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    layer them up, duplicate your reese 4-5 times, and have each filter at a different freq, then route them all together, and use the bus as your main reese channel - distortion/saturation will help bring out some nice harmonics (along with layers of phase/flange/resonantors/and distortion between each)
     
  13. sam the dnb man

    sam the dnb man Variation

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    Duplicate, but change the filter to a low pass filter, adjust the settings until it's just sub/low mid and layer.
     
  14. Gamgee20

    Gamgee20 New Member

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    Pretty much what has been said above, but distortion and a hefty amount of multiband compression after the bandpass can help to keep the reese sounding full but also really bringing the movement of the BP.
     
  15. Meiosis

    Meiosis Member

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    had the same problem earlier... all the tips above helped solve it...

    distort/compress the fuck out of the signal after bandpass...