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 Bassroom by Mastering The Mix is a Virtual Effect Audio Plugin for macOS and Windows. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin and an AAX Plugin.
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Product Bassroom
Developer Mastering The Mix
Price (MSRP)
£49.00
Type / Tags Mastering EqualizerAudio MasteringEQEqualizerMixing and Mastering
Plug-in, App & Soundware Format(s)
Effect(s)    
Operating System Availability
Operating
System
Latest
Version
Download Released
 
1.0.5
 
Downloads Released
System Requirements
Windows 7, 8 or 10. 32-bit or 64-bit VST 2/3 or AAX host.
 
1.0.5
 
Downloads Released
System Requirements
OS X 10.8 or higher. 32-bit or 64-bit AU, VST 2/3 or AAX host.
Miscellaneous Information
Copy ProtectionSerial Number

Balancing the low-end is one of the hardest challenges in any mix or master. This is where so many potentially awesome tracks fail. Too much bass and your track will sound bloated and lack clarity. Not enough bass and your track will sound weak.

BASSROOM is a final mix and mastering EQ that helps beginners and pros nail their low-end in seconds. It does this by delivering exceptional sound quality and suggesting genre-specific EQ adjustments a great audio engineer in a world-class studio would make.

We analyzed the best mixes in various genres to give you EQ target presets you can trust. From this starting point, you can tweak your low-end to perfection using the immersive 3D room interface.

Key Features Overview

  • BASSROOM has unique filters that have minimal phase distortion and minimal transient distortion providing greater transparency than standard linear-phase filters at low-frequencies. This means that the low-end is not affected by unwanted phase changes that can alter the timbre of your audio or by transient distortion that means you lose the bite from kicks or bass-lines.
  • Immersive 3D room display where frequencies are displayed vertically and gain is represented by depth in the room. The unique and intuitive UI helps you visualize how you're adjusting the low-end of your song. This gives you a more immersive mixing experience, helping you connect more with your music.
  • The targets on the walls of BASSROOM suggest the genre-specific EQ adjustments a great audio engineer in a world-class studio would make. This isn't simple 'slowed- down' frequency matching. The targets are a result of a complex algorithm that accurately identifies how the human ear perceives low-frequencies relative to the balance of the whole mix.
  • Minimised phase distortion and transient distortion filters.
  • Immersive 3D user interface.
  • EQ targets based on reference material.
  • Level match pointer on output gain.
  • Fully resizable user interface.
  • Create your own EQ targets by importing reference tracks.
  • Solo bands.
  • Q Bandwidth control.

Overview Video: {See video at top of page}

Latest User Reviews Average user rating of 0.00 from 0 reviews
Discussion

Discussion

Discussion: Active
marcusmack
marcusmack
18 January 2020 at 11:11am

I've been testing BassRoom (demo) with various music tracks of various genres, with synthesised and sampled kick drums, with synthesised instrumental sounds, and also analytically using a swept sine with spectrum analysis. My conclusion: I won't be buying this plugin.

The main claimed technical advantage for BassRoom is that it will not introduce dramatic phase shifts and yet, uniquely, also will not introduce substantial pre- or post-ringing. And I agree that when using low or minimum Q for each of the bands, pre-ringing does not appear to be audible with sounds such as synthesised kick drums - often the most critical sound for revealing this aspect of a filter. However, with Q at max, a short pre-ring is definitely audible, to the extent that I'd avoid using BassRoom with high Q settings. The claim that BassRoom is superior to FabFilter's "natural phase" filtering in that the latter still has post-ringing, is I suppose technically true; but in practice in many if not most cases the post-ringing of FabFilter's natural-phase filtering is effectively masked and inaudible.

But then the problem with using low Q settings in BassRoom is that in some cases it can be very difficult if not impossible to create - with any degree of skilled predictability - neat or surgical frequency response profiles, as compared with using other makes of filters such as FabFilter Pro-Q3, Melda MAutoDynamicEQ, or Waves GEQ (Modern). I suspect this aspect would be problematic for many pro mixing and mastering engineers.

Moreover, BassRoom's filters with high Q settings can be even less amenable to sculpting response profiles other than crude or very basic shapes. Having used analytical techniques to reveal the resulting Bode plots for various settings of BassRoom's filter bands, I can guess why its developers chose to avoid the conventional Bode plot display for BassRoom's GUI. I'd call BassRoom's frequency responses "quirky-derpy" and not convenient, helpful or very useful for professional work.

The GUI is somewhat like a graphic EQ turned through 90 degrees and I don't find its 'Chest of Drawers' image particularly useful, though its cartoonish look may perhaps appeal to some neophyte bedroom producers.

As for the genre-matching facility, it may be fun for some producers to find out about normative bass profiles for genres with which they're not familiar, but I doubt if genre-specific aficionados would need it or want it.

Bottom line: I don't regard BassRoom, in both technical and practical terms, as a better choice than FabFilter's natural-phase filters.

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