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 Now online (3)Roger Wilco Monoid big ...and 157 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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with your toes. do you ever do that? ...with the way it feels through your toes? moves around the room? ...because, while i can't hear ~15hz, but i can feel it my toes. or my ass, if i sit on the floor [for really tough mixes]. 1) someone must. like, adrian utley at least [utleyeste?] because listen to "strangers" [off of portishead - dummy]. it just crawls all over the floorboards. if you take a decade to make an album, i suppose that's what you spend it on ...i just fart around and get it sounding nice as i compose. i'm not very scientific about how it gets there [but am keenly aware of it in an arrangement sense] 2) LUKE VIBERT ~ the first "The Ace of Clubs" track ~ wow. this isn't terribly organic/feely [like me 'n' the 'heads] but it is fucking surgical. there's a whole mix down there -- and it's a brutal stalinist regime where a swift death awaits any frequencies outside of the ranges allotted From Above. i'm not inclined to go this way myself, but it's [darth vader] Impressive i mean, sure, i'll research it myself. but this is my stupid thred for today so... anyone have any thots? |
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im thinking i knew a girl who bet she could finish someone off with her feet alone that being said, bass is a science. how can you possibly get it right on all systems? i mean i have a sub with tewakable frequency and vol, set just right. but its not like that anywhere you go. every set of earphones is different etc.. |
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well, to be hearing or feeling ~15hz it'd have to be from a natural / analogue source like the ww2-era hand-cranked sinewave generator andrew mackenzie used to use. modern speakers / headphones aren't designed to be putting out anything below ~20hz and that'll be next to inaudible for most ppl could you be feeling resonances with certain areas or objects? is it only on certain tracks or in certain areas? because if the speakers aren't making that frequency in the first place, well... |
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thinking about it, is it possible yr hearing 30hz on yr system? 15hz would be an octave lower so harmonics may be tricking you into hearing something that's not there |
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would a work |
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jurassic park, the glass of water. they loved that in stereo stores as a demo, like they did the pink floyd song with clocks. the first time i ever saw jurassic park was in the tweeter demo room as my parents went around and shopped for a new TV + stereo. that was p. great once someone asked, "can i finish myself off while sucking your toes?" "uhh sure but i'm very ticklish there" and then "should i stop" because i'm laughing and squirming all over "no you're fine" |
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thinking about it, is it possible yr hearing 30hz on yr system? 15hz would be an octave lower so harmonics may be tricking you into hearing something that's not there again -- not hearing, feeling it. even if it does have an audible component 15hz probably wrong tho, yeah. i'm mostly talking about the parts i can feel move around the room, and that i don't get without a proper sub. 30hz, you're probably on it. wouldn't surprise me if that's where the upstairs sub bottoms out anyways and you see my point with this thread, yes? - "what's going on here" - "i'm conscious of this when i write music but i'm flying by touch" - "portishead does this like some organic thing generated by nature while vibert is laser-cut down to microns" and a low shelf covers a range of frequencies, so then i'm mixing by ear too. and since finding cassettes bottom out at 50hz i've been paying a bit more attention to it last couple weeks |
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subjectively: i close my eyes and just focus on the vibrations moving around and within a few seconds i can pick out things like "it's running down that board along the wall" and "that moves through the floorboards in a very interesting..." pattern? cloud? i don't even have words and just trying to nail it all down a bit |
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fun fact u mae kno, elephants communicate with sub-audible bass frequencies, can travel miles through the ground |
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i love bass music with a deep and throbbing passion. reminiscing about loefah bringing plaster down from the ceiling at leeds west indian centre |
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yes, thru their feet also, they say on tv. its amazing.. i want a sub for my other room, a tiny one would do, but the only way i can think of to use in combination with the old stereo would be an active one, which i would know where to fit in. we need to talk to a bass mekanik |
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sub-audible bass frequencies, can travel miles through the ground this i knew: bass travels better [treble travels terrible]. sound moves better through sold mediums than air. switching mediums repeatedly (i.e. brick, air, wood, air [room with room]) is a good way to kill the acoustic energy. fun fact u mae kno, elephants communicate with sub-audible bass frequencies THIS I DID NOT KNOW and it's great. do you have a reference? [for now, i'll go with the obvious assumption that they stomp their foot to make a sub-audible bass] this is actually the most helpful thing so far. providing a biological / evolutionary explanation: if you know the thuds a bear makes, you can use that to avoid running into one. so of course we are hardwired to attempt to make sense of bassy sounds moving about the olipfantoot... olipfituut? -- oliphant hoof toot. they live in wide open flat places without much to stop the bass from traveling. they're big giant beasts that can stomp properly. they have large ears [for large wavelengths]. i wager they always have at least one foot on the ground too. not big jumpers it'd make sense they'd have some way of talking with each other. perhaps even recognize the stomps of particular oliphants, the way wolves can identify individual howls. it would delight me to go too far and post for ages about [the sahara turf is like an IRC server hosting many different chat channels at once via FDM (each #species channel uses a different <frequency, timing> and maybe it's more like CDMA?)] but let's just go back to my point: i'm listening to the first portished album, and it's like plaudite omnes! because the bass is just crawling all around the room like it's alive. vibert is more like very precise on/off DMX controlled lighting and i do fine enough getting more towards the portished end just by ear. but i would like to understand it more. particularly for mix can anyone compare their approaches? |
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everyone has their bass ritual, where exactly they roll it off and how, and i would rate myself as "oh, fine enough" there. like, okay, i think i can avoid killing anything good i've done on the mastering floor. i'm happy to hear about that tho what i'm really interested in, however, is how some songs will make all the widgets on someone's mantle buzz in patterns while others don't seem to speak that language at all and how does this work? because being more deliberate about it would be nice i'm writing on hardware and i literally sit on the floor a foot from a boxed-in... um, presonus eris sub8, i think. so i'll sit there and tune the synths, the EQ, the feedback, over an evening. find a good bit of it by chance and snowball it through hours of bemused tinkering but being more deliberate about it would be nice |
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i looked it up and the eris sub8 bottoms out at 30hz. it still kills me i had to sell off the adam setup that went deeper better so obviously i'm not sitting there glued to a spectrogram [but i do leave one open sometimes...] and i don't know shit about the actual frequencies (15hz lol whops) yet, yet -- i have enough of a handle on it to pick two stellar examples of [the thing i mean] that are polar opposites. analog and digital |
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For African elephants, calls range from 15 to 35 Hz with sound pressure levels as high as 117 dB, allowing communication for many kilometres, with a possible maximum range of around 10 km (6 mi). doesn't make clear that's through the ground tho. i think i first heard about it on an attenborough doc |
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its been some time that i heard about elephants and low frequencies, might not be fully explained yet. elephants have very soft feet though. maybe that led to this theory of picking up low rumble. at least thats what i think they said back then |
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dont know much about inaudible bass, but, bass in a room can be weird. it gathers in corners or walls and sometimes even floods the whole room. a bassline melody often makes every note appear at different places. puts a whole lot of fun in jungle music imo. time to start a series of barefoot dancing experiments. i didnt pick up much afaik but its gonna be fun nonetheless. |
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you're precisely on it now ! "it gathers in corners or walls and sometimes even floods the whole room." this is type A, the Analog Feely-s. for that we want the first portishead album portishead - dummy ⋄ glory box, biscuit, strangers. ⊙ strangers ~ most aggressive floorboard-grabber on the album, and it hard cuts in and out. as obvious as i can make it ⊙ biscuit ~ much more woven into the songwriting; it's part of why this song just cuts right into you ⊙ glory box ~ best all around track on the album, so suitably: the bass puts on a good showing, but it's competing with other elements a bassline melody often makes every note appear at different places. for this we go to Luke Vibert Classid Trax ⋄ Classid One - Classid Four i mean, like, right in the opening. "makes every note appear at different places" -- that's not strong enough for me so i said, "vibert is more like very precise on/off DMX controlled lighting" and it's like a very deliberately programmed light show to match the music. this is type D, for Digital Precision. since vibert does it all in reason, he can take the time to sort it all out like pixar sorts HDR out. then save some EQ presets and use them forever ...but use particular ones at particular times. wouldn't surprise me if says to himself, "well i'm in D-phyrgian for this track so this note here should end at [precise frequency that is not 1 single Hz off] where as portishead is something something adrian utley's mixing science, kind mixing desks, tape, alchemy, etc |
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For African elephants, calls range from 15 to 35 Hz with sound pressure levels as high as 117 dB, allowing communication for many kilometres, with a possible maximum range of around 10 km (6 mi). doesn't make clear that's through the ground tho. i think i first heard about it on an attenborough doc if it's a "call" they're tooting their trunk, not stomping. i suppose they have one of the big organ pipes for that too(t) then we're down around 15 to 35hz because birds can't go that low and they use up all the bandwidth above, i dunno, 60 or 80hz up into ultrasound. the little shits |
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it's also kind of hard to describe the unorthodox nightmare my setup would probably seem to someone: "i can't here it over here, and it sounds like crap over over there!" then i'd be like "sit here and play with the mixer" and the response "ohhh. huh. kind of a sweet spot" and then next, "go sit in the $5 chair from savers" to which it'd be "oh it works here in a better for listening way" and after spending a few weeks in the room i can just see the path the sounds are taking like donnie darko trails, and that's clear enough that it annoys the shit out of me until i get creative with geometry and furniture. the budget allowed isolation pads for the sub and monitors, i direly need one (1) of those corner sticky things because the bass gets stuck there so the sub is isolated. boxed in. i've left a little slit open, i've cut all the bass from the monitors, and you sit in the spot where you can reach all the gear at once and it all balances out if you're gunning for Bob Katz Master of Mix shit, it'll be terrible for that. a particular frequency or two will still be all over and you can't use this to do really great mastering if i weren't renting and i had a spare $30k it is actually FUCKING IDEAL for a proper room within a room i'll settle for having my spaceship cockpit of bass that doesn't need to get so loud the neighbors care at 3am in any case. i am deeply impressed by both dummy and classid trax. and remember how snares said he loves listening to 4/4 music, he simply has trouble getting himself to write it? i love classid trax, but i can't see myself building a frequency empire like that |
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