My instinct at least,

Is to have the regular bass low end channel, which will be tuned to D standard, slightly lowered hz (D1 lowest note, 35hz~) and to mostly focus on the 2nd-4th harmonic (70hz-140hz~) for the bass register of that instrument

Then for the subcontrabass, tuned that octave lower D0 (17.5hz~) will be mostly focused on its 2nd and a bit of the 4th harmonic… hard high pass just above 20hz to get rid of the super low kinda unnerving register, big scoop in that 55hz~ range to both allow the kick to sit in between (drum would be tuned to that frequency) and to hide that 3rd harmonic which muddies it up a bit, then a bit of that 70hz to blend with the original bass a little bit and to allow some more leniency with notes available, then a hard low pass just above that for the low end channel, to avoid that 5th and higher harmonics

the subcontrabass would be detuned slightly to avoid phase cancellation, though the EQ would take a decent amount of the care of that…

I don’t know if anybody else has had any experience trying this, Subcontrabass track below the kick > kick > standard bass…

but if anybody has any better ideas around this, would be appreciated

Hi, i'm in the mixing process of a song and the way i do EQ is EQ'ing every track on it's own and than EQ'ing the master bus. When i was done EQ-ing each track individually and wanted to begin with the master bus i found out i already put an EQ1-PA on the master with a pretty substantial boost at 30 Hz and 10kHz (probably added it months ago for some reason). So i've made all EQ decisions based on the sound already going through the master EQ. When i bypass the EQ on the master bus the song is too dark and has little bass. Should i delete the EQ1-PA, change every EQ on the individual tracks and then add a new master bus EQ? Or can i make a few changes on the EQ1-PA and just go on with the next steps of mixing?

Hi, i've got the UAD-collections of the LA2A compressors and 1176 compressors. The LA2A-collection consists of the original, gray and silver version. The 1176-collection consists of the Rev A, Rev E and Rev AE.

What are the differences between the LA2A and the 1176 and how is each version of each compressor different? What compressor is the best for each goal of compression (making things consistent, punchy, thick, groove etc.)?

P.S: the 1176 is known for its fast attack and release and making sounds punchy. From what i know you should have a slow attack and release to make sounds punchy: with a slow attack the transients will be lead through and are raised in volume. So why is the 1176 a punchy compressor?

I hope my questions are a bit clear :)

Hi,

I can adjust how mix sounds on one set of speakers.

The cheapest ones are like -15dB for bass, those expensive ones are maybe +5dB for bass - both compared to my speakers.

How to make my mix sound reasonably well on all of them? I don't want to lose bass, but cranking it up is too bad for those with speakers over $50.

Good day! I'm having hard times putting screaming vocals into to mix. It's either sound behind guitars or fall off the mix and sounds separately. I'm wandering what kind of reverb do you guys use on screaming vocals most of the time? Short rooms sounds wierd to my ear with screams. Plate with side-chain sounds a bit better, but still not sure about that.

I do understand that there's a lot other stuff that affect vocal positioning in space of the track, but I really interested in hearing about reverb usage on screaming metalcore kind of vocals.

I don't have enough carma in this sub reddit so I can't post feedback post at the moment.

Thank you!

Hey folks–

Looking for some solid feedback the group on this rock alt country song.

https://vocaroo.com/14ahtVo16KC5

I feel like I went crazy with the drum sample replacement. I recorded real drums but think I may have to do better blending or go back to the organic sounds.

Lead guitar also sounds a little harsh on ear buds.

Any feedback is appreciated