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  1. David
  2. Sherlock Holmes
  3. MOTIFXF
  4. Friday, 11 October 2019
What’s a good way to remove some of the sub bass frequencies from a bass instrument? I’m thinking of something like a high pass filter. I have been mostly using the part EQ for this purpose, which seems to work pretty well, but maybe is not as precise as a high pass filter would be. The elements filters don’t seem suited for this purpose, since they are needed for shaping the texture of the voice.Are there any insert effects that would be useful for this? Just wondering if there’s any tricks of the trade that I’m not aware of.
Responses (2)
Bad Mister
Yamaha
Accepted Answer Pending Moderation
What’s a good way to remove some of the sub bass frequencies from a bass instrument?
The best way would be to work with the programming at the Oscillator level of the program itself. It maybe a single Oscillator responsible for the sub frequencies... if you don’t want it or don’t like how it impacts the sound, then removing it or lowering its output level may be all that is necessary. You could use an EQ or you could use a Filter (both have things in common) but to efficiently use either you’ll still need to identify the Oscillator responsible for the sub bass frequency.

An EQ combines a boost amp and a filter to do what it does.
A Filter is designed to principally remove only.
Both can be tuned to operate at a specific frequency.

I would start by looking at the source of the sub bass frequency ... then decide the best way to attenuate its impact.
The Oscillator is an AWM2 Element you have an EQ per Element and a Filter per Element!

Extra Credit
There are Insert Effects with EQ built in, to tailor the effect itself. In the AWM2 architecture you have a 3-band EQ pre the Insertion Effect blocks, and a 2-band EQ post the Insertion blocks. The reason for this routing is ideal for preparing a signal for the Insertion Effects and tweaking it after it’s been effected. Theory is certain effects work best on certain frequencies... engineers try to thin sounds that are going to be reflected. High frequencies reverberate in a better way than low frequencies... highs hit a barrier like a wall and remain in the environment, lows hit a wall and move the wall. This is why when you are next door to the room with the music all you really hear are the low frequencies. High frequencies reverberate (bounce back) and remain in the room, low frequencies that are trapped in the room tend to muddy the sound (if they are allowed to remain in the room). “Intelligibility” is a word that applies to not only vocals, it conveys sharpness, clarity, and is associated with high frequencies. “Mud” is the opposite of this intelligibility. Low frequency instruments can have intelligibility—you control this by how, where and what you EQ within the bass sound.

It takes awhile to listen closely enough to know what you are listening to but once you start knowing where to direct your attention and what to listen for, it comes fairly easy. If you can isolate the source of the sub bass frequency, and if you can adjust just the Element EQ on that one item, you can surgically tweak the sound. The farthest from the source would be to use the MASTER EQ (by attenuating extremely low frequencies on the Master EQ, you could solve your issue, but it’s not a surgical removal). The difference to the experienced ear might be huge... general rule of thumb is — be surgical whenever you can!

As a musician you can *know* what frequency is causing an issue... you know the Key of the music... look for it on your Equalizers. Be aware of which octave across the Keyboard are which frequencies... look for pitch in things like kick drums, toms, they have a predominant pitch. Be aware of tonal centers... if the song is in the Key of E, be careful about boosting frequencies ranges that contain E, you don’t want it to be so significantly louder than other keys. If the song modulate you don’t want the contrast to be too great.

Attenuating low frequencies can be effectively done with a HPF (High Pass Filter) tuned to allow all frequencies to pass except extreme low frequencies, but you want to apply that as specifically as you possible can.

A DJ can only change the overall frequency balance... they are farther away from the details than the recording engineer. The recording engineer can find and isolate the exact cause, and edit just that item. That’s what you want to do.
  1. more than a month ago
  2. MOTIFXF
  3. # 1
Accepted Answer Pending Moderation
Thank you for that informative answer.
My take away is that although the motif doesn’t have a filter in the part edit, One can be even more surgical by applying filters, Or adjusting volumes on the element level. Or one could use the Part Edit EQ.

Another Takeaway is that I should be mindful Effects can impact frequency as well. I noticed that some of the parameters within effects like Reverb and delay include EQ and HPF cut off frequency. So these can be used as well.
Some of what you mentioned seems to be for the montage, not the motif. Am I correct?

My question doesn’t apply to a specific project so I can’t tell you Specifically what voice is at issue. I’m just trying to educate myself on various mixing techniques and how I can apply them using the motif.The part EQ has worked pretty well for me For adjusting bass frequencies, But I was wondering if there was more to it. Your answer indicates a resounding yes! Thanks again.
  1. more than a month ago
  2. MOTIFXF
  3. # 2
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