Top Tips for MUCH Better Low End - SonicScoop.com

How do you get the low end to sit right in your recordings and mixes? Justin Colletti has answers. Join him for this deep dive into the bottom end of record production in this, episode 47 of the SonicScoop Podcast.

Thanks to Soundtoys, Eventide and Mixing Breakthroughs for sponsoring this episode.

[adelnoppert]

I like how you end some sentences with a sort of whisper, makes me feel so relaxed

[johndavid]

a physics teacher told me that the reason a complex chord sounds harsh or muddy is that with lower frequencies the harmonics are closer together (since the freq numbers are lower) that makes them rub more. Love your videos! You are an excellent teacher!

[ProducerGio]

Referencing low end will help tremendously

[deadscenerecords]

Even to a seasoned mixer and mastering engineer, this was a great episode. I loved the advice of sampling the drummer and using it for drum replacement. Cheers!

[maxmus]

One of the best video about low end. Thank you!

[slim]

Iv'e been recording my own music in my home studio for the past five years. I studied hard at youtube university to learn as much as possible. Problem was, no one was really breaking things down to a level that someone like me could understand. Your explanations are so good, I can go to a mix I'm currently working on, and attempt what I just learned. It's always on a learning curve, but it always makes an improvement. I really appreciate these little talks of yours.

[hellcat]

Yeap. Made it all the way to the end Justin. Thanks for the detail!

[CraigFlowersMusic]

It's like trying to play chords on a bass guitar, isn't it. Or really low on a piano. I've definitely made this mistake more than once. Excellent advice!

[jeffrobinson]

Love the tip on sidechaining the kick sample. Brilliant!

[russell_szabados]

This episode is a revelation for me. Thinking back, I've slowly been working towards making my low end sound good by focusing on low-mids instinctively, but without thinking about why. Hearing you talk about it set off the proverbial "a-ha!" moment. Thank you and cheers from Las Vegas!

[oledahl.]

This really sounds and seems like a channel where I can get really useful information. And that is hard to find amongst all those other bedroom producers (like me) who have channels where they try to teach us mixing and acting like they are masters of it even though they never mixed a really good song or have any credentials at all. This is the total opposite. So thank you for sharing your knowledge! So glad I found this channel! Kindest regards from Oslo, Norway 🇳🇴

[ericnolan]

Great episode. This gave me a lot of great ideas and should help me moving forward with the low end!

[tysonkingreymusic]

Thanks so much, Justin! I appreciate your input. I'll be checking out the workshop as well.

[davidcamarda]

probably the most useful tips on low end. All of these Sonic Scoop vids are gold.

[varsitynblue]

You are the YouTube college professor in music production sir. all your tips & advice I put into action. My skills & mixes continue to improve thankyou!💯

[cloudvision]

sound toys is SUPER underrated. Buy it!

[jacquelamontharenberg]

Great info Justin.... thank you for your tips....

[sammiller]

Thanks. In my current home project, having experimented with the over/under EQ technique with kick and bass, clearly allocating each their own fundamental frequency range, I tend to prefer side-chaining, with maybe a touch of EQ--for example, a slight notch in the 100hz (-3db) for the kick sound combined with subtle sidechaining with Trackspacer--rather than doing a steep highpass on either instrument to create separation. In the current song I am working on, I want both the kick and bass to be discernable but also experienced as a whole--both contributing to the subs. The trick to making this work is to start off on the right foot by choosing a kick and bass sound that sharply contrasts each other--for example, warm bass with sustain versus a sharp, punchy kick. Bass playing technique and additional effects, besides EQing and sidechaining, can help distinguish it from the kick. For example, we can apply warm tube-type saturation to the bass to make it rounder, fuller to contrast against a sharp kick. Lastly, some degree of masking may be desirable in some cases as it can create a sense of cohesion/glue--depends upon the song and genre.

[BrockAtkinson]

you're a gem, mate - thanks for putting this stuff out there

[omarr]

Your knowledge is indispensable and you sir have earned my subscription