I think you may want to try some kind of high pass filtering if all of the bass is excessive? If you don't want to lose too much of the low-end, you may want to use some 200 to 400 hertz notching? This will remove some of the "Tubbieness" while still preserving low-frequency response. I frequently find myself cutting a little around 250 hertz on many bass guitars while mixing, with a "Q" bandwidth between 1/2 to 1 octave. Sometimes necessary on the entire stereo recording when what you described has happened but sucking too much mid-bass out on a stereo mix can leave things sounding rather thin.

Astalavista baby!
Ms. Remy Ann David

Gabriel Sousa wrote: i need to master a song, but the bass has many boom sound... how i remove a boom bass, in a mixed song?

Depends on which octave the "Boom" is in.

Your question is too broad and general.

Sweep your parametric EQ through the low freqs while the song is playing, find the freq that overloads easily and notch there.

Of course you could High Pass at 21Hz, Shelf down a little (1-2dB) at 90Hz and below, and Scoop out the Mid Bass at 165Hz 1.5dB... but that might not work at all, depends on the Song, Instrumentation, Mix, Key, Vibe, etc.

Seems like Mike gets a lot of simple questions over here from people wanting an easy "quick fix" answer. Best take your song to a Mastering Engineer (like Mike, John, or Thomas) to get it right... otherwise it's just guess work.

If you have a multiband comp you could use that instead of EQ. If you dont know what that is, your mastering session is gonna be rough. But good luck to you.

Vaylence wrote: If you have a multiband comp you could use that instead of EQ. If you dont know what that is, your mastering session is gonna be rough. But good luck to you.

Are you implying mastering is dependent in some way on Multiband compression?

Also make sure that the boomy low end is not caused by room modes instead of a "real" frequency issue of your audio. The bass is often difficult to judge in untreated listening environments. Try to audition your mix in different rooms and on different speakers and compare it to cds that you know very well.

Greets,
Julian

It might be too late for this, but you could always ask the mixing engineer to fix the boomy bass in the mix, and send it to you again.

Not at all seamskin, I'm saying that succesful mastering takes years of ear training, and learning your gear. If someone is trying to master, but does not know what multiband is, it tells me they do not have the experiance to know what needs to be done or not done to a mix in mastering.

I'm sorry, I do not mean to imply that Gabriel Sousa is incompetant, just that even experianced engineers can not master up to full potential. It seems like the longer someone is in the business the more they appreciate MEs.

It is a bitch to hear someone say, if you want it done right send it off, but the truth really is just that. Any ME will tell you that you cant tweak what you cant hear, and even great mix rooms can be mediocre mastering rooms. Imagine how quickly the curve goes down for a compromised room, with midrange gear.

But maybe Gab already understands that the awesomenes of his master is going to be limited by his gear. And he may tweak and tweak, but there comes a point where it just really isnt going to get better. You gotta do the best with what you have, gear, experiance, acoustics and so on. My point is MEs excel in all those catigories, and they did not get there with out learning what multiband is.

sorry for the windyness.

A direct quote from a Manley/Langevin product manual - (I don't think I could have said it better, so I'll let EveAnna do it for me...)

EveAnna Manley wrote:
"Multiband Compressors" are OK for this,
but in most peoples hands they have become something to be feared especially by mastering
engineers who can rarely fix the damage done. It has become common for people to be sent back to
the studio to re-mix, minus the multi-band. The only mastering engineers we know that own them
keep them in the closet except to demonstrate why not to use them and show the comparison between
a pro mastering processing chain and cheese.

Please leave such a disasterous weapon out of the mastering studio. Pretty Please!!