In fact many times the entire sound system is mono to provide a more consistent experience for club goers as they move around, but that’s a subject for another time. For example, many clubs may have an entire row or stack of subs, however they’re certainly not running in stereo. Note that this doesn’t necessarily mean there’s only one subwoofer, but rather that any additional subwoofers are all being the fed the same signal. Next up, single-channel subwoofer systems. As always, the best advice here is to have a relationship with and consult your cutting engineer. If it’s on the subtle side and not overly dynamic you can probably get away with it, whereas sudden bursts of low frequency width are more likely to be problematic. Still, if you’re working on music that is eventually destined for vinyl it’s a good idea to at least be aware of what kind of width you’ve got going on below about 200 Hz. Don’t believe me? Check out Scott Hull’s excellent article for on the subject, particularly the Not Every Phase Problem Is a Problem section. out of phase, in anti-phase, decorrelated, etc.) can be problematic when cutting vinyl, but a little low frequency width is not nearly as problematic as many would lead you to believe, at least providing it is reasonably well controlled dynamically speaking. Let’s get something out of the way right off the bat: yes, low frequencies with a negative correlation (a.k.a. many club systems, along with 2.1 and 5.1 home entertainment systems).įirst, vinyl. Ok, great, but why does this matter so much, and why the emphasis on low frequencies? y u no make wide bass?īroadly speaking there are two reasons to worry about the mono status of the low frequencies in your music: 1) vinyl, and 2) single-channel subwoofer playback systems (e.g. Thus, to mono (etc.) a signal is to remove any differences between its left and right components. Long story short though, if the left and right speakers are doing the same thing at the same time, then you’ve got yourself a mono signal.
There are other ways to express this, although they really only tell part of the story: one would be to say that the left and right channels are in phase, while another would be to say that they are highly correlated. In the simplest sense, for a signal to be considered mono in this context it must be identical, or very nearly identical, in both the left and right channels. Primarily, what do we mean by ‘mono’, ‘mono-ing’, ‘mono-izing’, etc.
MONO BASS FABFILTER PRO Q2 HOW TO
So, let’s get into it and figure out when, why, and how to Center That Sub!īefore we go too far I want to cover some basic definitions to make sure we’re all on the same page. If I’ve missed something you’ve thought of, please let me know in the comments, and heck, you just might learn something new along the way. Heck, maybe you’ve even watched a few YouTube videos on how to do it, or on what the Top 5 Best Low-End Monoizing Plugins! are.īut have you ever asked yourself when, or why, it’s important to mono low frequencies? Or what might make certain plugins better than others? Have you ever thought about how you might go about monoing low frequencies using plugins you already have, and not any specialized ones? If not, you’re in luck, I’m here to guide you through it! And if you have, well then kudos to you! We need more inquisitive, independent thinkers. If you’re into audio and have spent any time on the internet (which, given that you’re reading an audio blog, seems more than a little likely), then you’ve probably heard that it’s REALLY, REALLY IMPORTANT TO MONO YOU LOW END… (at least, sometimes).