the only problem i have with ths post, although i hear where you're coming from, is that people have already offered good advice in here but not in the form of a tutorial video. man good advice and knowledge can come from any of us just as much as some tutorial video...tutorial videos are made by producers you don't know as well, not by professional producers (in fact pro producers almost never get on camera because they refuse to give their real secrets away). so listen to what we have to say even if we don't have a specific tutorial for you ok?
second, if you liked that video, then do that! one of the biggest misconceptions about eq is that there is math involved, which there is not. if he simply split the sample into highs and lows, then all he did was go somewhere in the middle of the frequency spectrum and cut all the lows off on one sample and cut all the highs off on another sample. he also could have used a low pass filter on one (low pass filters let the low frequencies PASS through, while eliminating high frequencies above the CUTOFF you set), and a high pass on the other (a high PASS lets the highs pass, and cuts the lows below the cutoff you set). do you see how those are basically the same thing? to do what you're describing you'd need to do one of two things;
1) set a low pass filter on one sample, setting cutoff around, say, 5,000hz, with low resonance. this gives you your low sample, although note that because you're trying to separate the frequency spectrum into 2 bands, instead of 3 (i.e. low/high instead of low/mid/high) you're getting a lot of mids in this pad, so it won't be all that low. if you want to make this one more low end, drop the cutoff value on this and compensate on the hi pass.
2) set a hi pass filter with cutoff ~5000 hz, low resonance. this gives you one pad with lows and mids, one pad with his.
now from earlier i think you are asking about low end theory so here you go..
low end theory was a trick a lot of 80s and 90s producers used to accentuate the low end of their tracks. all you do is take an audio file of your track and put a low pass filter on the copy; you can set it anywhere but generally below 500hz with a low rolloff at 37hz. what this does, when you mix the copy back with the original, is simply make the low end louder; think about it- you've taken a copy of the track but only kept the low end on the copy and then added it back in- so the mids and highs are the same, but now the bass is louder.
openmind...wtf is up with you man? who said you could talk to nova like that? stop telling people to look at the thread and look at the damn thread yourself, because the answer is right there for you. we already said #1 it is not 50hz and below, it is 20hz. we also said #2 you dont use filters on the master bus, only shelving eq. thats all there is to know. look a low shelf eq works extremely simply; it creates a frequency "shelf" below its starting frequency. this shelf can be a boost or cut. so if you set a low shelf to 20hz and make it cut frequencies, it will simply cut frequencies below 20 hz, period. if you were to use a low pass filter at 20 hz, it would essentially do the same thing except around 20hz it would be sloppy with the signal; some frequencies at 21, 22, 23, 24hz etc would make it thru because even steep filters aren't 100% precise by nature. if you want to do a low frequency roll of at 20 or 37hz (a lot of engineers say the rumble between 20-37 hz isnt worth the slight amount of the same range that we can hear, so they cut from 37 on down) then feel free to, it can help your mix. personally i would advise you to do 37hz cuts, if you do them, on bass tracks and not the overall master fader. i dont really think shelving above 20khz will really make much of a difference.
and fix your damn attitude man, or otherwise you dont get advice liek this in the future. we're here to help each other, remember?
