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Post by Martin John Butler on Jan 11, 2014 19:57:30 GMT -6
Never loved the B15 as much as so many others, although in a Stax/Volt 60's R&B groove, it really worked beautifully.
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Post by Johnkenn on Jan 11, 2014 20:00:10 GMT -6
Here's a post that Reid Shippen made in response to this question about mixing bass - this was right when the forum started...Reid is the hot country mix guy right now. My question - I continually have a problem getting my bass to punch in the mix - on my own tracks...I'm thinking it might just be my cheap Squier Classic Vibe. Having a hard time getting rid of mud and keeping punch. I've recorded it all different ways...Radial phantom DI into any number of pres (some of Jeff's) into sta-level, etc...Even used the Kemper on a B15 a couple of times (sad that it sounds just as good)...but I'm having a problem finding a spot for it to live in the mix. I usually try and have the bass prominent around 90Hz and roll off around 50 down to get rid of mud...but I just can't seem to get any punch. Any ideas? Here's his response and you can see the thread here... www.realgearonline.com/post/4683 |
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Post by Guitar on Jan 11, 2014 20:18:21 GMT -6
It's true, record a great bass player, and there it (almost) all is. How did he do that? Why does it sound perfect and I haven't touched anything??
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Post by Johnkenn on Jan 11, 2014 20:57:49 GMT -6
That is totally the truth...Honestly, when you have great players and singers everything kinda just falls into place. That's the magic bullet.
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Post by tonycamphd on Jan 11, 2014 21:01:49 GMT -6
I assume that it's understood, player and execution are the most important thing in the recording chain, no matter the instrument.
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Post by Guitar on Jan 11, 2014 22:35:59 GMT -6
I guess it's slightly rare to be wowed by a player, so sometimes it gets forgotten until it comes up, maybe.
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Post by Martin John Butler on Jan 12, 2014 0:06:00 GMT -6
I've had the unique pleasure of playing with a few of the world's finest bass players, world class, major league cats, and it is true, they basically plugged in, and it was happening. One guy was Busta Jones, who'd worked with Sparks, Chris Spedding, Talking Heads and Robert Fripp and others. He was asked to join the Rolling Stones, but didn't, (long story). Anyway, you'd show him a song, he'd noodle around for a minute, start playing something, and from that moment on, it was the song, you could no longer imagine it without his part. So, when I play bass on my demos, I already know the best I can hope for is you don't notice it.
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Post by Johnkenn on Jan 12, 2014 0:08:08 GMT -6
I'm doing more and more stuff at home - not because I want to - because of budgets. Demo budgets ain't what they used to be...So - that being said - I'm not mixing these studio guys as much as I'm mixing myself these days...and let me tell you - mixing me is a lot harder. It's all about the performance and the player. I'm going in to do a session coming up in Feb...looking forward to it...
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Post by Martin John Butler on Jan 12, 2014 0:17:26 GMT -6
Another great player I worked with was John Kumnick, (John K). He'd been with Cyndi Lauper and David Bowie. I'd be showing him a song, and he'd start playing along, as I'm showing it, he could anticipate chord changes, even unusual ones, he never made a single "guess the next chord" mistake, like he was psychic, and oh my, did it sound right. You can see him on Bowie's Fashion video, among others.
John, thanks for posting that link to Reid's post, that was part of what I wanted to know.
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