This is correct.

Hey if you mic the subs and run that back through the pa it would double the bass!!! ;)

@@powdermnky007 Ehh...sorta, but not in a way that is useful. What you're describing is exactly what we call feedback, which is usually a bad thing, and the entire purpose of this trick is to *avoid* feedback. The reason it's bad is because it's an endless iterative process. If you take 1x sound from the mic and run it through the electronics, then you get 1x sound from the speaker. That then combines with the original 1x to put 2x into the mic. That 2x goes through the electronics and comes out the speaker. That then combines with the original 1x to put 3x into the mic. That 3x goes through the electronics and comes out the speaker. That then combines with the original 1x to put 4x into the mic. That 4x goes through the electronics and comes out the speaker. Etc. If you have the "volume control" any higher than exactly 1:1 (we don't actually call them that because we have tons of them that are subtly different), then it's even worse. 1x in might produce 1.1x out, add the original 1x, then 2.1x in produces 2.31x out, etc. Pretty soon, you're just playing a square wave at full power. Not good. The trick in this video makes it come out differently from how it went in, so that it still sounds good, but multiple iterations of that difference make it unplayable and so it dies there.

@@powdermnky007 you have an EQ for that ;)

Most modern pro subs have HPF built-in to their management unit,either a processor or the amp itself,and limiters too.

Should do to stop you blowing the speakers up - especially in a 6th order bandpass cab.

Great questions! We do use the microphone itself in the main arrays to amplify the general sound of the instrument. But if we can't get enough gain in the low frequency, we sneak in a little bit of that effect. You can think of it like a regular reverb send, except that the return goes only to the subwoofer aux. And as far as the infrasub frequencies, we're using Nexo/Yamaha products which have steep filters for that kind of stuff, so even if I send a bunch of it to the amps, it will not pass through. Perhaps other systems with less protection would suffer, but you could also put a strong high-pass filter on the effect return at 30Hz or whatever.

The X/M32 also has a pitch bender in the effects library, though I'm not sure if it has the same functionality as the Yamaha plugin to work the same. The routing would be similar to how he has it rigged in the CL5. Not familiar with A&H boards, though.

use a dedicated drive rack with a built subharmonic synthezier. or any sub harmonic synthezier. aka epicenter BUT , THE real trick of this is only using on the instruments wanted, and 2 very carefully controlling you high pass and low pass on the signal 2 prevent the subs from unloading, and to prevent this effect picking up higher frequencies

RTM?

if you have pitcher... yes

I think all SI series and Vi series from soundcraft have a pitch shift effect, so it’s eaxactly the same setup

We do use the microphone itself in the main arrays, it picks up the general sound of the drum or whatever, and then the internal routing through the downpitch effect fed to the subs gives the sound that extra bump.

You probably need an outboard reverb unit with pitch shift for doing this.

​the drive rack runs the whole sound system typically so this would not work because you would end up sending this to the whole system BUT if you had a dedicated drive rack for this purpose and only for this purpose im sure you would be able to pull it off.

I think the Hypabass effect ($50) is the same on the SQ line. Haven't tested it out though.

use headphones

@@lordclancharlie1325 no

Sounds fine on my main living room stereo system.. The difference is quite obvious

agreed. phase nightmare. way to over-complicate things for the sake appearing clever. seems to me the sub deployment has some obvious flaws in the first place.

Weareallbeingwatched are you kidding or serious..?

@@DanMarcelino I'm fully serious m

Weareallbeingwatched ahh.. then I’m afraid you’re missing the benefit and the genius of this technique 😔

@@weareallbeingwatched4602 OK, so its been a year but blame the YT algorithm.. This works well only for bass instruments whose first harmonic is effectively the same as the fundamental. That way the 1 octave pitch shifted 1st harmonic adds to the unprocessed fundamental. meanwhile the pitch shifted fundamental is below anything that can be reproduced. The second harmonic is not relevant since it is rejected by the low pass filter. Wont work is there is no significant first harmonic, sounds crap if the instrument pitch changes rapidly or notes are short.

Autotune fixes everything...