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Digital Subscriptions > MusicTech > Oct 17 > Better bass in Logic Pro X

Better bass in Logic Pro X

Producing a mix with a great low-end isn’t just about EQ – it involves all kinds of creative approaches. Mark Cousins unlocks Logic Pro X’s secret weapons for creating a truly earthshaking bass end to your mix…

Logic Pro X Better bass

Perefecting the bass end of your mix can be one of the hardest parts of the mixing process, either resulting in a muddy, ill-defined low-end, or a mix that lacks the rock-solid foundation of a professional recording. Although it’s easy to think of one part of the sound spectrum being much the same as the other, the low end of the mix is a special case requiring a wholly different approach. Equally, there’s a lot more to shaping the bass end of your mix than EQ alone, with Logic Pro X including many different creative options that go above and beyond what equalisation can offer.

LOW-END THEORY

Before we delve into the specifics, it’s worth taking time to consider the essentials of how the low end works in a good mix. First off, visualise your mix as having distinct and separate ‘layers’ of bass, with each part residing in a unique part of the sound spectrum. For example, a bass guitar might inhabit the lows and low mids around 100-200Hz, while an 808 kick extends down into the subsonic regions beneath 60Hz. Avoid over-populating each frequency area, and be ruthless about other instruments cutting into this prime real estate.

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About MusicTech

The new issue of MusicTech is on sale from Thursday 21st September where this month we go all out and show you how to record EVERYTHING! Across 12-pages we cover the best ways to position your microphones and accurately capture the vast majority of instruments you’ll ever need to record. To help you along the way, our Beginner’s Guide this month takes an extensive look into the world of dynamic, condenser and ribbon mics. Elsewhere we sate our inner geek with our in-depth interview with the pioneering Radiophonic Workshop, whose rich history begins way back in the early 60s, where they painstakingly created innovative soundtracks for the BBC, most notably the theme for Doctor Who. As if that wasn’t enough we’ve also assembled a special 24-page supplement full of our favourite reader and pro studio interviews, free with this issue.
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