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newrigel wrote:Since I used Trilian there's no problem with the lower octaves. I think artificial bass is just that... Use great samples and you don't need to muddy up the sound with this. If the thump isn't there to begin with then maybe you try something else? I make sure I have more than needed... then I just cut. Easier to cut than add what isn't there to begin with.

The point of MaxxBass isn't just to add something that's not there; it's to add something the speakers aren't capable of producing "on their own." It's psychoacoustics.

Ever play a duet with someone, and you heard a 3rd voice when you nailed the intervals just right? Telemann and other composers actually composed trios for 2 players using those principles, so they're nothing new. But to get a bass note to stand out on tiny speakers is almost asking too much. MaxxBass calculates the difference pitches and manufactures that sub-harmonic that reinforces the bass sound even on speakers that are not capable of directly producing those bass sounds.

I've used similar principles in my arranging to produce ghostly notes that seemed to come from everywhere yet nowhere, and which did not in fact exist outside the ear. Remind me to explain sometime. I recently located some files that had those kinds of harmonics, and you might find it interesting to hear what can be done along these lines.

Bob Doerschuk of Keyboard Magazine was blown away by a demonstration of it when he was interviewing me for an article in Keyboard, April, 1993. (he briefly mentions it at the bottom of the 2nd page; he was much more excited in person, but how do you put it into words?)

So, yes, it's a very real phenomenon, though not easily explained or understood, and yes, you can actually produce the perception of notes that are physically larger in wavelength than a speaker is capable of producing. You will recall that Jota said he is doing a presentation on a portable system that is too small to produce the bass he wants to be sure is present. That's a job for MaxxBass.

Shooshie

Shooshie wrote: The point of MaxxBass isn't just to add something that's not there; it's to add something the speakers aren't capable of producing "on their own." It's psychoacoustics.

Ever play a duet with someone, and you heard a 3rd voice when you nailed the intervals just right? Telemann and other composers actually composed trios for 2 players using those principles, so they're nothing new. But to get a bass note to stand out on tiny speakers is almost asking too much. MaxxBass calculates the difference pitches and manufactures that sub-harmonic that reinforces the bass sound even on speakers that are not capable of directly producing those bass sounds.

I've used similar principles in my arranging to produce ghostly notes that seemed to come from everywhere yet nowhere, and which did not in fact exist outside the ear. Remind me to explain sometime. I recently located some files that had those kinds of harmonics, and you might find it interesting to hear what can be done along these lines.

Bob Doerschuk of Keyboard Magazine was blown away by a demonstration of it when he was interviewing me for an article in Keyboard, April, 1993. (he briefly mentions it at the bottom of the 2nd page; he was much more excited in person, but how do you put it into words?)

So, yes, it's a very real phenomenon, though not easily explained or understood, and yes, you can actually produce the perception of notes that are physically larger in wavelength than a speaker is capable of producing. You will recall that Jota said he is doing a presentation on a portable system that is too small to produce the bass he wants to be sure is present. That's a job for MaxxBass.

Shooshie

Hi Sooshie!
You are the Guy!!
You said what I'd like to say.
The Bass that I will be processing is very well recorded . The best studio , PreAmps.Mics and DIs, and played by one of the best Bass Player I've worked here in Brazil.
Thanks for your attention and the great explanation.
Thanks to all guys and girls that posted here and help me too.
See you

Shooshie wrote:

newrigel wrote:Since I used Trilian there's no problem with the lower octaves. I think artificial bass is just that... Use great samples and you don't need to muddy up the sound with this. If the thump isn't there to begin with then maybe you try something else? I make sure I have more than needed... then I just cut. Easier to cut than add what isn't there to begin with.

The point of MaxxBass isn't just to add something that's not there; it's to add something the speakers aren't capable of producing "on their own." It's psychoacoustics.

Ever play a duet with someone, and you heard a 3rd voice when you nailed the intervals just right? Telemann and other composers actually composed trios for 2 players using those principles, so they're nothing new. But to get a bass note to stand out on tiny speakers is almost asking too much. MaxxBass calculates the difference pitches and manufactures that sub-harmonic that reinforces the bass sound even on speakers that are not capable of directly producing those bass sounds.

I've used similar principles in my arranging to produce ghostly notes that seemed to come from everywhere yet nowhere, and which did not in fact exist outside the ear. Remind me to explain sometime. I recently located some files that had those kinds of harmonics, and you might find it interesting to hear what can be done along these lines.

Bob Doerschuk of Keyboard Magazine was blown away by a demonstration of it when he was interviewing me for an article in Keyboard, April, 1993. (he briefly mentions it at the bottom of the 2nd page; he was much more excited in person, but how do you put it into words?)

So, yes, it's a very real phenomenon, though not easily explained or understood, and yes, you can actually produce the perception of notes that are physically larger in wavelength than a speaker is capable of producing. You will recall that Jota said he is doing a presentation on a portable system that is too small to produce the bass he wants to be sure is present. That's a job for MaxxBass.

Shooshie

Thanks for the science lesson Shooshie but your talking about harmonics and beat frequencies that reinforce each other creating triad component overtones but true RMS fundamental power is different than algorithmic components generated by some effect processor.
Now when the song is played in a system that can handle the lower octaves, the mix is going to be hyped up on the low end... if the system isn't capable of playing back the lower octaves it's just inherent in the playback system. Now all the systems are going to have this sudo bass in there.
But thanks for the lessons... I'll stick to the real deal so when it's played in ALL systems, it's not over-hyped in any way. I showcase stuff for people and I do it in a environment where I can showcase it! While your @ it, whip out your cell phone to present your awesome stuff on... C'mon man, it's just what it is.

newrigel wrote:But thanks for the lessons... I'll stick to the real deal so when it's played in ALL systems, it's not over-hyped in any way. I showcase stuff for people and I do it in a environment where I can showcase it! While your @ it, whip out your cell phone to present your awesome stuff on... C'mon man, it's just what it is.

We each carry our own gifts and burdens, sometimes two faces of the same thing.

Many happy returns,

Shoosh

Shooshie wrote:

newrigel wrote:But thanks for the lessons... I'll stick to the real deal so when it's played in ALL systems, it's not over-hyped in any way. I showcase stuff for people and I do it in a environment where I can showcase it! While your @ it, whip out your cell phone to present your awesome stuff on... C'mon man, it's just what it is.

We each carry our own gifts and burdens, sometimes two faces of the same thing.

Many happy returns,

Shoosh

You know me Shooshie... I'm a hard sell on the "wonder" plugs he he. The wow plug will work and it's a non destructive process on the source and I think that would be a better option than printing the process but that's my opinion...