Try this.
Send your bass to 2 other aux/group channels. Insert saturation, distortion and/or bitcrushing on each aux/group channel. Pan 1 hard left and the other hard right. Now put a highpass filter on each aux/group channel (not the source channel) with corner frequencies set in the 300-500Hz range. Presto! Now you have a superwide bass.
This technique fools the listener into thinking the bass is across the entire stereo field. In fact, all the bass/sub frequencies are still in the center. Hope this helps.
Only problem with his technique is that if there's no distinguishable difference between your 2 aux channels, i.e you have identical setups on both, then all it does is raise the amplitude of the signal when it's combined.
You will get the exact same results by simply having one aux track with the volume raised not panned in either direction.
I thought people always said to keep your bass panned to center? Because I've been trying to get that forever elusive wide, thick and tight bass as well, but sometimes it just doesn't pop out and sound and tight as it should, even after compression/saturation/eq.
I thought people always said to keep your bass panned to center? Because I've been trying to get that forever elusive wide, thick and tight bass as well, but sometimes it just doesn't pop out and sound and tight as it should, even after compression/saturation/eq. The best example I can give of the type of bass I'm talking about is "Virus" by Martin garrix and Moti. It's just incredibly wide and powerful.
Ahh I see. I notice that a lot, I feel like the 350-500hz mark is where it really comes out and sounds amazing when it's spread out wide along with thick bass layered underneath it. I didn't know why I never thought of that. They must be highpassing their leads quite a bit though, because how else would the beater of the bass really pop out if the leads are playing down there as well. I'm finding that I'm getting better results when I don't lowpass it as much.