I hear all the time that you should mono all your bass… Well, should you or shouldn’t you? What do you think? #mixingengineer #audioengineer #masteringengineer #protip
I used to be a a high school and college intern for Bud Hobgood (James Brown's producer/engineer) .He always used 2 tracks for bass.. one straight no effects panned hard right in the mix, and one with a slight plate delay panned hard left. It works for Funk & R&B.
i once had an angry A&R telling me the cutting plant for 12" vinyl almost damaged a lacquer mastering machine due to the fact my low end was too much out of phase 😂😂😂😂 It became a very big hit after all (after i turn led back the width of the sub bass that is) good times ❤
It does sound amazing, but doesn't sound as Pro as Big productions... We tend to follow patterns that we hear since the beggining of all, so I think we should consider to keep Monoing our basses no matter what... In a case where I'm showing my prodution to a TV/Radio personality, os even the internet, I wouldn't want to get my work rejected just beacuse it was "too different" to the market, just saying....
Note: NOT dance music. You'll lose all the power and in clubs, either the mono summing will eat frequencies or you'll get weird dead zones in the club. There are great modern phase plugins that are designed to create mono compatible bass effects, such as Basslane Pro.
@@b.scribe5999 Agree. It's always worked, why change the habit of a lifetime that virtually ALL producers use in all genres from decades. Just because you can, doesn't mean you should. Pretty sure Jeff Goldblum said that, and he's awesome so... So.. if I get to the end of writing and mixing a track and I then decide to put a plugin on the bass or even the entire master out and try messing about adding stereo bass effects - if it then adds something to the song that is so unbelievably essential, then I might keep it. Otherwise.. I can't see a reason to ever go down that road. I can already imagine the headaches I would start getting trying to keep a handle on all the phase issues its gonna kick up in the foundation of the mix that then affects everything mixed and built on top of that!
We must hear clearly the bass line, drums and the dynamic of the track. Some bass lines need to be on mono, some not, some in mono only to 150hz, depending on the situation 🤷🏻♂️👍🏻
wider doesn’t necessarily mean better.,. bass should be mono to avoid phase issues and so it hits harder on crappy speakers. try just spreading above 100hz
Hey I know this might be a hastle but I’d love to hear more. I’m a music lover wanting to break into audio engineering. Where did you start to develop your ear to hear THAT? Like what channels, videos, software do you recommend for a beginner to develop a strong foundation.
@tylersimon6882 Streaky has some online courses that are affordable and top-notch. I have a degree in Audio Engineering, but nothing is as helpful as just DOING it!
If you listen you'll hear almost a sinebass but this is covered in stereo guitar samples that could produce the illusion of wide bass. The bass is so simple harmonically giving it width would always be terrible - it's too low.
28 днів тому+1
@@pigknickers2975 I think I was mixing it up with XXX Rated by Excision which is also on my bass playlist, that has stereo movement really low down I'd guess it's never touched a vinyl though
A lot of really well produced drum&bass has a mono sub but then a stereo bass layer sits on top around 100-150hz
Yeah that ok that high up
I used to be a a high school and college intern for Bud Hobgood (James Brown's producer/engineer) .He always used 2 tracks for bass.. one straight no effects panned hard right in the mix, and one with a slight plate delay panned hard left. It works for Funk & R&B.
Phase is your biggest enemy, and it loves a good stereo bass. Just better hope no-one ever sums that track to mono.
just Splitt your bass, under 80-100 hz mono and open the stereo field above
Hell yeah streaky so glad to hear this
Nice little tip, I mono my bass and my kick on every track tbf. Makes sense being dance music especially when your producing at 170bpm 😅
The master has spoken
Agreeed
I've been wondering this for years thanks
i once had an angry A&R telling me the cutting plant for 12" vinyl almost damaged a lacquer mastering machine due to the fact my low end was too much out of phase 😂😂😂😂 It became a very big hit after all (after i turn led back the width of the sub bass that is) good times ❤
haha, hardly your fault was it. The cutting engineer should have sorted it.
@@pigknickers2975 The cutting engineer would have definitely sorted it.
Andy Wallace famously puts some stereo chorus on the bass on every track he mixes to make it wider
There are no rules it depends on the sound of the mix but if you’re cutting to vinyl or playing in clubs keep it mono
It does sound amazing, but doesn't sound as Pro as Big productions...
We tend to follow patterns that we hear since the beggining of all, so I think we should consider to keep Monoing our basses no matter what...
In a case where I'm showing my prodution to a TV/Radio personality, os even the internet, I wouldn't want to get my work rejected just beacuse it was "too different" to the market, just saying....
Note: NOT dance music. You'll lose all the power and in clubs, either the mono summing will eat frequencies or you'll get weird dead zones in the club.
There are great modern phase plugins that are designed to create mono compatible bass effects, such as Basslane Pro.
Yeah, I’ll just keep it mono. It has more impact.
@@b.scribe5999
Agree. It's always worked, why change the habit of a lifetime that virtually ALL producers use in all genres from decades.
Just because you can, doesn't mean you should. Pretty sure Jeff Goldblum said that, and he's awesome so...
So.. if I get to the end of writing and mixing a track and I then decide to put a plugin on the bass or even the entire master out and try messing about adding stereo bass effects - if it then adds something to the song that is so unbelievably essential, then I might keep it. Otherwise.. I can't see a reason to ever go down that road. I can already imagine the headaches I would start getting trying to keep a handle on all the phase issues its gonna kick up in the foundation of the mix that then affects everything mixed and built on top of that!
He said "...on stuff that isn't dance music" so what's your argument?
@@SteppaBanton I wasn't arguing, not every post online is automatically argumentative. I was confirming what he said and went on to make my point.
@@MOSMASTERING thanks, I thought every post online was automatically argumentative.
For dance music I mono sub under 80. Stereo above.
Can you show us an example perhaps using space control by Luca and hardwell? Or even just a kirchoff
Thank You.
This is great advice.
What are the best widener plug-ins you'd use for this ?
Ozone imager
We must hear clearly the bass line, drums and the dynamic of the track. Some bass lines need to be on mono, some not, some in mono only to 150hz, depending on the situation 🤷🏻♂️👍🏻
If it's going near a dance floor then mono the sub.
but that just causes phases issues though?
Streaky's a legend 🙌 👏
wider doesn’t necessarily mean better.,. bass should be mono to avoid phase issues and so it hits harder on crappy speakers. try just spreading above 100hz
Sub should be mono yes.
you should show an example to prove your point
Chorus is usually the best option
Wait. Are you still mono'ing your bass in 2024?
@@DBTHEPLUGgood luck with the sub punch, stereo guy
@@DBTHEPLUG I don't think stereo below 100-150hz is necessary or even desirable… I always find I lose punch on speakers due to phase cancellation!
@@YvanKay The subject of the video was about putting the entirety of your bass in mono or not. Nobody was saying anything about the 100-150hz range.
agreed, phase coherence and mixing in mono aren't the same thing
How did mixing in mono end up in this?
@@SteppaBantonedit: making your bass mono and making sure it’s in phase is not the same thing
Taylor Swift's "Lover" album has stereo bass all over...and it sounds huge. It gives the vocal a nice pocket to sit inside the stereo field
Taylor swift is a horrible reference for any music.
Dislike whatever you want. Understanding how the biggest records are engineered and mixed is crucial to growth.
Hey I know this might be a hastle but I’d love to hear more. I’m a music lover wanting to break into audio engineering. Where did you start to develop your ear to hear THAT? Like what channels, videos, software do you recommend for a beginner to develop a strong foundation.
@tylersimon6882 Streaky has some online courses that are affordable and top-notch. I have a degree in Audio Engineering, but nothing is as helpful as just DOING it!
@@tylersimon6882 just passion
Breathe by Prodigy is a rest example of stereo bass working wonders
I’ll check this as I can believe they would do that as that will have defo been a vinyl release back in the day
@@Streaky_com Just listened, it's a just tight mono on the bass but the guitar samples have a lot of chorus.
@@pigknickers2975 hmm I must either be thinking of a remix or misremembered then
If you listen you'll hear almost a sinebass but this is covered in stereo guitar samples that could produce the illusion of wide bass. The bass is so simple harmonically giving it width would always be terrible - it's too low.
@@pigknickers2975 I think I was mixing it up with XXX Rated by Excision which is also on my bass playlist, that has stereo movement really low down
I'd guess it's never touched a vinyl though
Well I love stereo bass. I think mono bass in 40~50Hz is enough.
Unrelated: video/audio is out of sync.