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Post by EmRR on Jul 20, 2018 9:07:55 GMT -6
Didn't I just hear Glyn Johns proclaim he's always used a 414 on bass cab and never compresses? No DI I think?
I had a P bass clone (ESP?) briefly that had a strongly resonant D, at every position.
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Post by schmalzy on Jul 20, 2018 9:11:42 GMT -6
Fender basses are prone to this I've found. Mult/copy the track into two tracks, then place a hpf on one around 250-300, and a lpf on the other around 125-150. Compress the dickens out of both, and possibly some limiting on the one that "jumps" the most. Mix them into the song to taste. A lot easier than the normal EQ work with tons of narrow peaks and cuts. This is pretty close to my method. The only difference is - unless there starts to be some phase stuff going on - I split to three channels and leave the original in parallel to blend for more or less "feel" from the player. If it's a metal/hard rock/punk song that can support a pretty distorted bass I'll just blast 'em with limiters to give it all some edge and nail it into place. If it's something where the bass needs to be treated more delicately I'll use compressors that can grab and hold pretty hard but not as fast, distorted, and mangle-y as the limiters. Kush Novation works well.
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Post by johneppstein on Jul 20, 2018 11:39:00 GMT -6
Don's right - start with changing the strings to something else. It might take some experimentation to find a set that's a good match to the bass.
Also, I used to get bloom problems on bass (several different basses) all the time before canning the DIs and going straight to the B-18. For some reason recording bass direct seems to exacerbate body resonance problems.
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Post by Ward on Jul 20, 2018 12:26:46 GMT -6
Change the strings donr? Won't that void the warranty? "How's your bass?" "Good as new, still have the original strings on her"
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Post by lcr on Jul 21, 2018 5:40:38 GMT -6
Record direct, duplicate and run one thru UAD Ampeg B-15 moderately overdriven. Both tracks bussed and blended to : bass rider into fabfilter HPing usually 70hz and 300-500 hz scoop, careful with the scoop. The scoop either cleans up the end mix or sucks all the life out of the track and ruins it. I often revisit this cut throughout the mix. Next is a character comp often 1176 plugin into LA2A comp. If needed low end multi band comp followed by if needed high end boost. Often another bass rider and / or automation. I rarely ever add any low end boost. Learned this from CLA, he mentioned it usually creates more issues than helping. I occasionally use a little R bass, very little to add just a little oomph. I would say the 250-500 hz range of kick and bass is what I struggle with the most. I know bass rider and vocal rider are not liked by many but I like them both. Rarely do they just not work. The boomy notes should be addressed in the performance first and foremost, mixing 808’s requires heavy automation to get this under control.
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