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Post by schmalzy on Jan 9, 2023 6:01:04 GMT -6
I've only used it for electric guitars, maybe once in a blue moon on a vocal. I love that sort of chorus sound on a bass. I often split my bass into multiple tracks (think of it like DIY-ing a 2-frequency-range multi band compressor in-DAW) and one of the main reasons is because I like to treat the midrange and top end of bass instruments with different compression characteristics, different saturation types/amounts, and chorus. Just thought I'd mention it since I didn't use chorus on a bass instrument for a long time and - not too terribly long ago - tried it and appreciated the extra bit of dimension and width and specialness that comes from blending it in on the mids/highs of a bass. Related: I've also recently embraced "getting the sound on the track" earlier rather than later. That whole mental space is next-door neighbors to the "on the track rather than on an aux" approach for stuff like modulations or specific effects. For a long time I'd hold off on printing reverbs or modulations or distortions (or a million other attributes) on tracks because I wanted to tweak it later - especially when I'm using software instruments. But just getting something that's inspiring and cool, committing, and continually moving forward rather than backward seems to be putting me in a better spot come client review time. |
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Post by Deleted on Jan 9, 2023 7:28:05 GMT -6
I love that sort of chorus sound on a bass. I often split my bass into multiple tracks (think of it like DIY-ing a 2-frequency-range multi band compressor in-DAW) and one of the main reasons is because I like to treat the midrange and top end of bass instruments with different compression characteristics, different saturation types/amounts, and chorus. Just thought I'd mention it since I didn't use chorus on a bass instrument for a long time and - not too terribly long ago - tried it and appreciated the extra bit of dimension and width and specialness that comes from blending it in on the mids/highs of a bass. Related: I've also recently embraced "getting the sound on the track" earlier rather than later. That whole mental space is next-door neighbors to the "on the track rather than on an aux" approach for stuff like modulations or specific effects. For a long time I'd hold off on printing reverbs or modulations or distortions (or a million other attributes) on tracks because I wanted to tweak it later - especially when I'm using software instruments. But just getting something that's inspiring and cool, committing, and continually moving forward rather than backward seems to be putting me in a better spot come client review time. Splitting bass is the oldest trick in the metal handbook, it's nice to get the top end to pop whilst you tuck the lows in. I've read about quite a few modern mixing techniques recently and I was surprised how much its shifted in terms of aux's, I'm a big parallel compression / aux fan but many seem to go with the blend approach or control compression amounts on a per track basis. From experience it does help with ADC even if newer versions are less prone to faults.
I still use a room sim / Lexicon on aux's and that won't change. Also I like chorus on drums / bass, at one point I'd use excess opto compression to try and round off the top end but chorus works a treat for overly bright vocals or an annoying snare and as you said it gives it a bit more dimension. Cool stuff.!
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