00:00:00
hey guys still breezy here welcome back
00:00:02
thanks for tuning in we're gonna dive
00:00:04
into a little bass guitar for the most
00:00:06
part I always love recording a DI and
00:00:09
two amps usually one amp is on the
00:00:12
cleaner side one happens on the dirtier
00:00:13
side so I can have you know a balanced
00:00:15
nine out of ten times I'll always reamp
00:00:17
something as well let me just solo these
00:00:19
up for you for a second you can check
00:00:20
out was here this is the DI track I'm a
00:00:27
big fan of like fatter sounding directs
00:00:30
I mean for me it's really the sound of
00:00:32
the DI and I'll change the eyes track
00:00:34
per track actually depending on the band
00:00:36
and the song itself sometimes the DI you
00:00:38
want a DI that's warm and round
00:00:39
sometimes you want a DI that's bright
00:00:41
and aggressive so it kind of depends
00:00:43
[Music]
00:00:51
but you can see it has a lot of dynamic
00:00:53
built in I didn't level it on the way in
00:00:56
here's one amp sound it's got some sub
00:01:04
to it it's also got some pick attack and
00:01:07
this one's labeled this Distortion
00:01:09
[Music]
00:01:13
when I put these two together
00:01:16
[Music]
00:01:20
three so are given my bottom man out of
00:01:23
di and then there's a ramp track and it
00:01:27
sounds like this it's got some hair on
00:01:31
it and unlike me
00:01:36
is it seems like you can get bass dirty
00:01:40
in a track and it really kind of holds
00:01:42
it all together I will spend some time
00:01:43
getting these in phase as well the
00:01:46
relative phase as we talked about
00:01:47
earlier for instance obviously was a di
00:01:50
there's an amplifier the Beast is gonna
00:01:52
go into this direct box comes out of
00:01:54
direct box into an amp out of the app
00:01:56
into a speaker out speaker in a
00:01:58
microphone through a recording chain and
00:01:59
at that point the amplifier sound that's
00:02:02
gonna be later in time compared to the
00:02:03
direct so a little bit of experimenting
00:02:07
on getting it a little better in phase I
00:02:10
might actually start between the DI and
00:02:13
one amp di and second amp the two amps
00:02:15
themselves kind of flipping the phase
00:02:17
for the most part though I'm looking for
00:02:19
a blend and see how the blend works if
00:02:21
things don't sound like they're
00:02:22
canceling sometimes sometimes the
00:02:23
cancellation honestly on the track
00:02:25
that's really dense sometimes the
00:02:26
cancellation is good I'm not making
00:02:29
these decisions in solo either at this
00:02:31
point the drums are gonna be going I've
00:02:33
had some guitars up is the bass cutting
00:02:36
what's the combination of the base and
00:02:38
it could change in sections too and in
00:02:41
these there's a true story somebody
00:02:42
actually came to me one day was like I'm
00:02:43
really unhappy with the mix that I've
00:02:45
done on my album can you help me and I'm
00:02:48
like what don't you like and they're
00:02:50
like I don't really like the bass
00:02:51
sounded there's no bottom and I just had
00:02:53
the person bring over the tracks and
00:02:55
pushed him up and pushed the DI in the
00:02:57
amp up and hit the phase on one of them
00:02:59
and the bass was there and they're like
00:03:00
hey that's awesome mike has a face which
00:03:02
so uh you know instead of be cueing the
00:03:05
hell out of something it's just really
00:03:07
starting to think in terms of is it you
00:03:11
know did the engineer spent enough time
00:03:12
moving the microphone around so actually
00:03:14
it was reinforcing and not canceling but
00:03:17
a lot of times under recording a bass or
00:03:19
you get tracks in that somebody else is
00:03:20
recorded and they didn't really pay
00:03:22
attention to certain notes are there are
00:03:24
dead spots on the bass so when you get
00:03:27
into that spot where you have a dead
00:03:29
spot you have all this beautiful low-end
00:03:30
happening and all sudden you get a dead
00:03:32
spot sometimes just putting Renaissance
00:03:35
bass or something like it max bass or
00:03:37
whatever on that track and turning it on
00:03:40
and off for that note normally I would
00:03:42
reach for volume first maybe that the
00:03:44
note is not really speaking but
00:03:46
sometimes to the note is just dead
00:03:48
Renaissance bassist really makes it boy
00:03:50
you'll hear it right now
00:03:51
so what I'm gonna do is just solo up
00:03:53
this bass track nine out of ten times
00:03:55
I'm gonna probably have the CLA 1176 up
00:03:59
I just want to control it a little bit
00:04:00
on the way into the console I really
00:04:03
like the way it sounds and all
00:04:13
experiment obviously with the attack and
00:04:15
release is to get it you know sitting
00:04:17
nice I'll use the black instead of the
00:04:20
blue because the blue is really
00:04:21
characterized as a little more distorted
00:04:23
which is great for bass but it's also a
00:04:25
bit brighter and on this di that I'm
00:04:27
trying to really capture the low-end my
00:04:29
di is my featured the thing is the DI is
00:04:32
because it's not coming out of speaker
00:04:34
there's no mic picking it up it's very
00:04:35
solid and I'm looking to maintain as
00:04:37
much low as possible so I'm using the
00:04:40
black it's dead a little bluer for that
00:04:41
reason always use the plugin plugin is a
00:04:44
very easily controllable I might use the
00:04:47
hardware on something else and I only
00:04:50
have two and minor silver which is a
00:04:52
kind of a different ballgame and
00:04:53
honestly I don't really even get into
00:04:55
the different revisions anymore I really
00:04:57
don't care
00:04:57
it just has a color to it if this was a
00:05:00
ballad I might not use this 1176 I might
00:05:05
actually use the la-2a version something
00:05:07
that's a little fatter and rounder the
00:05:09
eyes for me are really kind of 75% of
00:05:12
the bass sound I'm just gonna insert
00:05:13
honest on space here
00:05:16
as you can tell it's a little bit loud
00:05:18
but it's adding so much for that
00:05:20
beautiful round bottom man that I'm
00:05:22
missing it's a whole nother octave down
00:05:31
there
00:05:35
if our base doesn't cut it maxxbass
00:05:37
might cut it if maxxbass isn't cutting
00:05:40
it you know maybe low airs gonna cut it
00:05:43
and I'll just give you a quick example a
00:05:45
little air is one of my new discoveries
00:05:51
so this is obviously set for no direct
00:05:56
[Music]
00:06:05
and this thing is this gargantuan on the
00:06:08
bottom man if you just get rid of some
00:06:09
of this I might actually just keep that
00:06:12
going underneath that's just some
00:06:16
serious Rumble down there Renaissance
00:06:19
bassist really might go to low air is
00:06:21
more for like the patty or stuff or
00:06:23
keyboards synthesizers and things that I
00:06:25
want this kind of just super crazy fat
00:06:27
low-end or from doing more soundtrack
00:06:30
e-type stuff or something that's slower
00:06:32
this is a very fast song so I'm probably
00:06:34
not gonna use low air on this track also
00:06:37
you know do crazy stuff like cut it out
00:06:39
and process it differently this probably
00:06:40
went through some guitar pedals for this
00:06:43
very party
00:06:46
[Music]
00:06:48
so obviously processed with some sort of
00:06:51
EQ but let's just check out the bass in
00:06:54
general
00:06:55
together
00:06:56
[Music]
00:07:10
[Music]
00:07:16
so that's kind of really it on bass
00:07:23
stars at Sunday
00:07:27
[Applause]
00:07:35
[Music]
