sonicpowa wrote:But what is the purpose of MaxxBass plugin anyway?
Well I know the consept is useful for consumer electronics, but for musicians? I don't get it because we can mix and match the bass frequences.
It enhances the bass but when you filter out the fundamental frequency it's not that great. But if it could recreate that low bass feeling in full effect it would be awesome...
I used it yesterday to get a track's low-tuned bass to stand out a bit more on an iPhone app. I knew the mix was destined for a tiny speaker, and I was able to get the results I needed quickly and effectively. Personally, I can't imagine dicking around with a bunch of sidechains, saturation plugins and filters when I could use a professionally designed product like this, but I'm sure one could get similar effects, if capable and willing.
And I wouldn't expect MaxxBass harmonics to sound that hot on their own, they're intended for speakers that can't produce the fundamental. MaxxBass usually sounds muddy on my nearfields.
Exactly. The only time I used MaxxBass on a commercial release was for a game for the Sony PSP. End even there I had to be careful balancing the result coming out of the PSP's tiny speakers vs listening on decent quality headphones. It worked out very well.
I don't see any reason to use MaxxBass for material destined for full-range systems. Usually the only reason a hardware manufacturer would integrate MaxxBass technology into a speaker system is because the low end driver is incapable of producing healthy frequencies under 70-80 Hz. So it would be used to palliate a hardware limitation. Outside of that, its up to the user to get a better sound system.
My use of low-end synth or extension plugins these days is for special effects work. They can really help good but anemic front line effects find their "oomph"
BTW, if you're doing your own mastering and unless you have excellent full-range speakers and a properly tuned room, here's a piece of hard-learned advice. Always check your mix with a spectrum analyzer in line with your DAW output and insert a HQ steep high-pass filter right before it set to it's lowest possible frequency. Then sweep upwards until you start hearing its effect in your speakers. Then back off until you just don't hear a difference and master that. Check the spectrum analyzer to observe what effects your filter is having and note what you can't hear. Low end content you can't hear can destroy your mix; this way you have better chance of producing a mix that's balanced on any system. Out-of-control bass peaks is the biggest danger in using these low Fq extender plugins.
aciddose wrote:it's entirely possible there is prior-art for this type of thing. although it might come down to the very specific implementation in "maxxbass". i did a series of bass expander plugins back in 2000 using several methods that might be related. in some cases i don't actually remember how they worked exactly.
There is "prior art" in the form of research that was done on the perception of missing fundamentals from upper harmonics by many people from the 1800's on (check this link
under Psychological Background for Modeling Pitch and Harmony
). There's more info and links on the Missing Fundamental WIKI page
. Waves basically packaged the theory into a working system and patented it. If someone developed an alternate way of doing the same thing, it could bypass Waves' patent and be eligible for a patent as well. After all, you can't patent a natural phenomena.