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Post by mrholmes on Jan 5, 2018 10:43:44 GMT -6
10 Years ago I came across the SPL Charisma. A Tube Saturation unit which also uses some kind of compression / limiting. I have yet not met a better tool for this task.  Whats your weapon to make the base player a part of the whole picture? Cheers. Holmes |
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Post by stormymondays on Jan 5, 2018 14:14:30 GMT -6
Weight Tank tube compressor. Also, a parallel comp track with kick and bass (ITB).
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Post by drbill on Jan 5, 2018 14:59:35 GMT -6
Right now, mine is a Weight Tank as well. Sometimes an LA2a if I'm looking for a gentler sound.
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Post by drbill on Jan 5, 2018 15:30:00 GMT -6
PS - BTW, on the budget side of things (with high end results), the Apex 661 in easy rider mode can be phenomenal on bass - holding it right in the pocket.
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Post by svart on Jan 5, 2018 15:51:09 GMT -6
Tracking the driven amp as well as DI. Use the clean DI as the source for your bottom and top end by scooping it, and adding the driven amp track as your mids. Distorted bottom and top only add mud and fizz to the mix and do not add anything else. The amp-based mids add the grown and the grunt to the mix that make it seem like it's cutting.
Then compress the hell out of it.
Done.
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Post by nnajar on Jan 5, 2018 16:03:07 GMT -6
A bass player who plays with control over his dynamics and good time.
Barring that a daking fet 2 and slice and dice.
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Post by nick8801 on Jan 5, 2018 16:03:17 GMT -6
My pair of Neve 542’s....no tape sim. Just silk red cascaded into silk red. Then a nice eq boost around where the “note” of the bass stands out. Then my Buzz SOC 1.1 on auto 20:1. At least that’s this weekend’s chain lol.
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Post by geoff738 on Jan 5, 2018 16:53:48 GMT -6
Then compress the hell out of it. Done. Both the DI and the amp? what type of comp(s)? Do you ever run them in series? Do you prefer higher ratios/ limiting or lower ratios? I suppose that probably depends on what you have to work with, but what are your go tos? Cheers, Geoff |
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Post by svart on Jan 5, 2018 17:39:56 GMT -6
Then compress the hell out of it. Done. Both the DI and the amp? what type of comp(s)? Do you ever run them in series? Do you prefer higher ratios/ limiting or lower ratios? I suppose that probably depends on what you have to work with, but what are your go tos? Cheers, Geoff Right now it's always a dbx160a with the detector strapped for feedback. If it's a plodding bassline on a laid back song I use low ratios with low threshold. If it's a grinding bass tone or I want a lot of oomph, I'll use high ratio and high threshold. In either case, it's usually around 10-15db of reduction on the loudest parts. |
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Post by cowboycoalminer on Jan 5, 2018 19:27:23 GMT -6
Tracking the driven amp as well as DI. Use the clean DI as the source for your bottom and top end by scooping it, and adding the driven amp track as your mids. Distorted bottom and top only add mud and fizz to the mix and do not add anything else. The amp-based mids add the grown and the grunt to the mix that make it seem like it's cutting. Then compress the hell out of it. Done. This sounds very interesting. You got a sound clip of this in practice? |
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Post by johneppstein on Jan 6, 2018 12:44:50 GMT -6
Whats your weapon to make the base player a part of the whole picture? Cheers. Holmes Ampeg B-18N with JBL 18" speaker miced with an RE-20 or occasionally a D-12. No active basses. |
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Post by swurveman on Jan 6, 2018 13:13:39 GMT -6
UA LA2A or 1176 depending upon how much distortion and/or warmth I want/need.
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Post by jcoutu1 on Jan 6, 2018 13:43:19 GMT -6
Waves Rbass.
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Post by schmalzy on Jan 7, 2018 10:54:19 GMT -6
Tracking the driven amp as well as DI. Use the clean DI as the source for your bottom and top end by scooping it, and adding the driven amp track as your mids. Distorted bottom and top only add mud and fizz to the mix and do not add anything else. The amp-based mids add the grown and the grunt to the mix that make it seem like it's cutting. Then compress the hell out of it. Done. Very similar for me in my world of local musicians, heavy fast music, and small rooms, Three tracks: DI dry, DI top and bottom only, and mostly midrange amp (often a Sansamp) with some distortion. Compress hard or limit the scooped DI. Compress the amp. Blend faders with the dry DI. All three into a buss with EQ, slower, modest compression for some movement and to glue the pieces together, probably some extra saturation, and maybe a multiband transient designer like JST Transify if it needs more love in one area but none in others. |
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Post by jimwilliams on Jan 7, 2018 14:36:01 GMT -6
Aphex 651 direct coupled. Feel that bass...
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Post by Quint on Jan 8, 2018 5:55:10 GMT -6
Tracking the driven amp as well as DI. Use the clean DI as the source for your bottom and top end by scooping it, and adding the driven amp track as your mids. Distorted bottom and top only add mud and fizz to the mix and do not add anything else. The amp-based mids add the grown and the grunt to the mix that make it seem like it's cutting. Then compress the hell out of it. Done. Very similar for me in my world of local musicians, heavy fast music, and small rooms, Three tracks: DI dry, DI top and bottom only, and mostly midrange amp (often a Sansamp) with some distortion. Compress hard or limit the scooped DI. Compress the amp. Blend faders with the dry DI. All three into a buss with EQ, slower, modest compression for some movement and to glue the pieces together, probably some extra saturation, and maybe a multiband transient designer like JST Transify if it needs more love in one area but none in others. I've not heard of the Transify, but I do like multiband transient designers. I'll have to give it a shot. How do you like it on drums? |
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Post by notneeson on Jan 8, 2018 12:14:29 GMT -6
Last night I mixed a track at a studio that has just about every damn compressor (well, a lot of them anyway). All I used was a little bit of (real) 550A and UAD Marshall emulation in parallel!
This bass player has some very cool credits and the sound is all in his fingers— I know they're not all like that. Also, the kick and snare were less than ideal so I used samples for the first time in ages, as well as a load of compression and limiting there. Kinda made sense at that point to let the bass remain more dynamic at that point, ya know? And this is the exception for me, I usually use some kind of opto on bass, maybe 90% of the time.
Oh, and with a Serpent SB4001 feeding a real 670 there was also plenty of glue happening down stream!
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Post by svart on Jan 8, 2018 12:43:58 GMT -6
Tracking the driven amp as well as DI. Use the clean DI as the source for your bottom and top end by scooping it, and adding the driven amp track as your mids. Distorted bottom and top only add mud and fizz to the mix and do not add anything else. The amp-based mids add the grown and the grunt to the mix that make it seem like it's cutting. Then compress the hell out of it. Done. This sounds very interesting. You got a sound clip of this in practice? I probably do. Honestly, it's something I've done off and on so much that I don't even pay attention to what I've used it on, or not. This isn't much more than creating a multiband compressor by separating the frequencies onto different channels and then compressing them separately and then summing them back together. It allows you to compress the ranges drastically different and then reassemble them. |
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Post by schmalzy on Jan 8, 2018 13:48:51 GMT -6
I've not heard of the Transify, but I do like multiband transient designers. I'll have to give it a shot. How do you like it on drums? Transify is pretty good on drums. I end up using it a lot to get more short punch out of the low end of kicks, and the 200 region of snares with out making that stuff too long like an EQ boost in that region might do. I also use it a lot on toms in parallel to get them to speak better. Got a tom sound you like but feel like you have to turn it up way too much to hear it (then it eats up your headroom)? Transify to poke that stuff through. I’ve also liked it on room mics to help bring up ambience and also on cymbal spot mics to manipulate the amount of ping. All that said, it’s my only multiband transient designer. I’m sure many others could pull the same thing off. Transify has clipping built into the bands if you want it (on/off switch) so that’s a cool extra feature. |
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Post by drsax on Jan 9, 2018 0:38:42 GMT -6
99% of the time here it’s the Innertube Audio Atomic Squeezebox on bass. Rarely does anything surpass it for bass. It’s a bass beast 😀
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Post by forgotteng on Jan 9, 2018 19:40:01 GMT -6
Lately my goto has been Dizengoff D864 into WARM EQP-WA I like to play with those growl and glow switches depending on the vibe.
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Post by adamjbrass on Jan 10, 2018 10:59:02 GMT -6
Strapless P-Bass
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