Mono'ing Bass In Mastering stage

J

jaynm26

New member
I have been hearing about mono'ing bass for a while I wanted to ask the vets if you guys follow this procedure and how do you achieve this in the analog domain?

Here is a video and the only video I found where this is done with the Fabfilter Pro-Q at 3:55. Hit me when some knowledge guys preciate it.
 
I use a stock plug in Samplitude that allows me to split the signal (not unlike a maul-the-band compressor) but it deals with stereo spread, pan and level.

I'd say that most of the time, if I'm using a HPF on the low end, then I'm probably using a mid and a side (the side usually removing a higher frequency, as is being done in that video). The Samplitude "stereo" tool allows me to actually collapse or expand the image of a particular frequency band. Truly "mono'ing the low end" -- That said, it's usually reserved for mixes with problematic phase issues in the bottom (not nearly as rare as I'd like, but I guess until more people treat their spaces properly, more people won't hear those problems).
 
Theres a free plug called Sanford Bass Tightener that I have used. If you can't find it anymore then PM me.
 
This was done a lot in the old days of vinyl to stop the needle from skipping around. I would say it's not such a common technique today besides maybe for rescue missions, like Massive said.

Cheers :)
 
At OP, If I understood your question correctly, you can do this with the Izotope Ozone 5 mastering plugin. If you enable the "stereo Imaging" section you can bring the band 1 down which focuses on the lower frequencies.
 
AscendRecording said:
At OP, If I understood your question correctly, you can do this with the Izotope Ozone 5 mastering plugin. If you enable the "stereo Imaging" section you can bring the band 1 down which focuses on the lower frequencies.
Click to expand...

Naw my question wasnt "how" do it, it was more like why? and how did eng do it in the analog world. I have Pro Q and Monofilter so I have the tools to do it. Why was the ?
 
jaynm26 said:
Naw my question wasnt "how" do it, it was more like why? and how did eng do it in the analog world. I have Pro Q and Monofilter so I have the tools to do it. Why was the ?
Click to expand...


Analog gear for it:
http://rupertneve.com/products/portico-5014/

If your working with vinyl, you would have to aim the bass more towards mono. Vinyl Mastering engineer's usually have to make the bass closer to mono otherwise the needle would skip across the vinyl.
 
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jaynm26 said:
Naw my question wasnt "how" do it, it was more like why? and how did eng do it in the analog world. I have Pro Q and Monofilter so I have the tools to do it. Why was the ?
Click to expand...

The reason it's done as Mo mentioned is that excessive and wide low end would cause the needle to jump out of the groove or skip on vinyl.

There are analog Eq.s called elliptical EQ who's sole purpose was to control and keep the low end in phase when cutting vinyl through a lathe.
 
Waltz Mastering said:
The reason it's done as Mo mentioned is that excessive and wide low end would cause the needle to jump out of the groove or skip on vinyl.
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Exactly. Another reason is to let listeners play the music louder without distortion. This applies for CDs too, not just vinyl records. In most music, most of the energy is at low frequencies. Mono bass shares the load equally between the left and right speakers. This is why the kick and bass are typically panned to the middle when mixing!

--Ethan
 
Ethan Winer said:
Exactly. Another reason is to let listeners play the music louder without distortion. This applies for CDs too, not just vinyl records. In most music, most of the energy is at low frequencies. Mono bass shares the load equally between the left and right speakers. This is why the kick and bass are typically panned to the middle when mixing!

--Ethan
Click to expand...

Waltz Mastering said:
The reason it's done as Mo mentioned is that excessive and wide low end would cause the needle to jump out of the groove or skip on vinyl.

There are analog Eq.s called elliptical EQ who's sole purpose was to control and keep the low end in phase when cutting vinyl through a lathe.
Click to expand...

Got it. Ok so what bout digital? why would this technique be used in digital world? Is the a step you guys take when your mastering in the digital/analog domain today? or just a necessity with vinyl?
 
More accurately, I concentrate on problematic low end in the side information before I concern myself with tweaking the low end in the mono information. Depending on what's there, you can lose a lot of low end by simply rolling off the side information. If there's a lot there (in the side information), you're going to have to make up that energy somewhere to keep the feel of the mix.

If half the low end energy is in the side info and you simply HPF the side, you're left with freaky n' thin.
 
When talking about kick and bass I wouldn't use the term mono'ing, but rather "centering." If you're talking about taking all the signal in the mix below a certain frequency, regardless of instrument, and bringing that to the center through a filter, well that is something different... and I wouldn't do that. I rather balance instruments so there's a sense of equilibrium, which IMO is what good mixing is all about. Centering bass and kick is simply easier on the listener, regardless of the end-medium used.
 
There's Beatles-stuff were the bass is panned hard. So it seems to be possible without the pickup skipping or dancing all over the place. But perhaps it takes other sacrifices? Anyone can shed some light on this?
I do love stereo wideness, also on the low frequencies.
 
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