Jun 16, 2003 09:34 am I've read on a few websites that you can get awesome bass tone by both miking an amp and going direct with the bass. But that's kind of moot if you're going to be restricted to line inputs. :-)
Bassin it up
Posted on Jun 16, 2003 07:37 am
crux
Typo Szar
Member Since: Jul 04, 2002
Im about to hit a fulltime studio in 2 days and id like to know any tips on getting a REALLY phat, really tight and boomy blow ur sox off bass sound. coz i was listening to papa roach, and not only is there bass really clear and well pronounced it seems to inhabit a niche in teh sound screen taht really punches out loud and clear from the mix... i think ill be restricted to line in though... so any tips?
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Jun 16, 2003 09:34 am I've read on a few websites that you can get awesome bass tone by both miking an amp and going direct with the bass. But that's kind of moot if you're going to be restricted to line inputs. :-)
Jun 16, 2003 09:53 am Roll off under 50Hz, Boost pretty hard around 80Hz (make the Q pretty tight) and 1.6Khz (open Q this time) - THEN compress the signal really hard (with a high ratio)
This should get some boom in.
jues.
Jun 16, 2003 10:55 am i agree with both. mic a speaker cab if it's a good one. the combination of the speaker sound and the direct sound gives a cool organic vibe to it.
as for compression, fast attack and release are key too.
Jun 16, 2003 11:01 am It's also pretty cool if you can put a mic on the strings where the neck meets the body. It captures some of the finger noise and the fret noize and can really add definition to the sound.
Jun 16, 2003 01:50 pm i think the key to that cds bass sound is that everything else sounds so thin and cheap that the bass seems awsome while comparing it to other cds it make you want to laugh *personal opinion*
Jun 16, 2003 08:35 pm i think jues has got with the EQ followed by compression. You can get a great bass sound going direct.
Jun 17, 2003 07:11 pm i heard about something called the new york compression trick. i forget how it works (maybe search for it on google). but i think it had something to do with layering your orginal signal up front, and placing a compressed version of that signal just a little quieter, beneath it, in the mix.
or something.
Jun 17, 2003 07:40 pm i'm familiar with the technique. i read about it awhile back in an interview with Dan the Automator (the Gorillaz, Deltron 3030) in an old issue of MC2. He was talking about layering your drum tracks like that: One compressed and another dry, and varying the mix of the two until they really pound. But I've never heard of it called the "New York". Maybe it's a common trick among New Yotk hip hop artists.
Nowdays with many software (plugin) compressors offering a "mix wet/dry" knob right on thier interface, you can tweak that perfect mix of the two in realtime before the effect is ever applied permanently.
Jun 18, 2003 05:38 am also, don't forget new strings and tight playing, as near to the bridge asyou can bear gives punch in the playing first....
....and it means you have a better sound when DI ing in my experience.
Jun 18, 2003 11:55 am For a full sound without sustain, if you are finger picking you can also use a little more of the fat of your fingers and get a bit of roll in the strings much like an upright player. This way you can get a little further from the bridge if you don't want the "funk" influence. You attack more of the top of the string with a roll. Also stay on the tips of your fingers with a good arch on your fretting hand. This will add distinction to your sound. Also some kind of pre amp will help a lot. An electric depends on amplificaiton for sound conditioning to a great extent.
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