On this track, I will add a distortion plugin. The next thing to do is create a new Return track in SoundBridge. I made a short sub-bass sequence with Massive by Native Instruments, where we modulated the cutoff knob with the performer – to make it a bit more interesting. There is little justification for adding a lot of high-frequency harmonics from distortion only to cut them out again with an EQ when you mix. Nevertheless, it can potentially clash with other instruments. This may help to thicken the sound further and make it more prominent in the mix. By pushing drive and tweaking tone, you will hear the effect generate new harmonics at higher frequencies on the bass. To summarize: it is done by making a new auxiliary (send/return) track, inserting a distortion plugin (or effects unit) of your choice on it, and sending some of the track you wish to distort to it. This treatment works similarly to parallel compression – which we have covered before (See Blog: Bring Back The Impact). One of the best treatments for this issue is introducing parallel distortion. This is usually due to the lack of harmonic content in the spectrum of a sine wave. However, in some cases, it doesn’t fit the mix or has no presence against other elements. This is because the sine often sounds deep and majestic. When it comes to sub-bass, it usually consists of a basic sine waveform (See Blog: Why Waveforms?).
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |