gamblor wrote:Can’t an eq be a high pass filter with the proper settings?
gamblor wrote:In any case, I’m using mostly eq to try and fix the problem I’m having. I’m cutting bass guitar at around 250 Hz and boosting the kick at the same frequency. I find the “mud” problem is happening at 250 and below, but at the same time these frequencies are very pleasing to the listener and help drive the rhythm of the song. Sometimes I think I’ll have it set just right, but then I’ll play the mix on another stereo and the bass will either be muddying up the whole mix or completely non-existent.
Drumwaiter wrote:That's not even getting into compression either. Do you use any compression on these tracks?
gamblor wrote:Drumwaiter wrote:That's not even getting into compression either. Do you use any compression on these tracks?
I have, but I thought that it killed the dynamics so my current mix has none. Perhaps I just wasn't applying it correctly?
So, the bass gtr sound itself is "muddy" or the low end of the mix is? If it's the bass itself, you're in for a less satisfying result.gamblor wrote:How do people on this board go about dialing the mud out of a bass guitar, while still keeping it present in the mix? I’ve read a lot about how using a high pass filter will aid the process, but how exactly does this differ from using an eq. Can’t an eq be a high pass filter with the proper settings?
"Relationship" is a good word.Drumwaiter wrote:This is of course all relative, but the relationship between the bass and the kick is a tricky one.
I would have to agree with your assessment. I would try slowing the attack time down and/or lowering the ratio if you find it's crushing the vibe of the bass. With bass guitar, until you're doing something fairly aggressive, a moderate release speed will do fine to get you in the ballpark.gamblor wrote:Drumwaiter wrote:That's not even getting into compression either. Do you use any compression on these tracks?
I have, but I thought that it killed the dynamics so my current mix has none. Perhaps I just wasn't applying it correctly?
Pretty much same here. In the DAW world, I've also gotten addicted to more than one in series.macrae11 wrote:It's rare that I don't have at least some compression on the bass, although it largely depends on the player. Often I'm not using it to control dynamics so much, but more as a tone shaping tool, often to get the attack or point of the bass to sit where I want it.
More than one recording has been ruined by missing this key point. Especially in this digital, endless numbers of tracks, world.Drumwaiter wrote:... try to get to the point (sooner rather than later) where you start a project with the endgame in mind. Don't ask yourself at tracking "Does this bass sound good?" ask yourself "Does this bass sound close to what I want it to sound like in the mix." But the one caveat is don't paint yourself into a corner. Don't compress or EQ something so hard going to tape that you can't dig yourself back out of the hole you're in.
If you take care at the tracking stage, the mixing stage gets easier.
Why listening to things in context during tracking is imperative. Also why making tonal decisions while tracking can make mixing an easier process.Jef wrote:Another consideration could be the other instruments within the mix. If you have a keyboard or guitar track that is producing tones that are similar to the bass track, it could throw your mix off too. I have heard guitar tracks that have a low frequency present which sounds really cool by itself, but in the mix, it totally sucks ass. This is caused from the frequency compounding its amplitude by overlapping the same frequency. If you have a particular frequency that is an issue with the bass, have a listen to the other tracks and maybe cut it there.
Malcolm Boyce wrote:An HPF is an eq of a certain type, and in spite of what you might think (Matt) it does get used on "bass" instruments at times.
You're talking about "eliminating" as if an HPF actually does that. It's a slope and nothing more, sometimes adjustable. Stop thinking about it as a straight vertical line and you might try it on more things.Drumwaiter wrote:Malcolm Boyce wrote:An HPF is an eq of a certain type, and in spite of what you might think (Matt) it does get used on "bass" instruments at times.
Sure, I guess it's not impossible. A person might want to eliminate anything below 80 Hz for example... but it's not something I'd do without a proper rationale. I didn't want to suggest it to him without proper context. Personally though,I have yet to do it but I can see where a person might.
The stock Sonar EQ is the same. Very useful tool.macrae11 wrote:The stock digi EQ is great for that very flexible hi/lo pass filters with lots of slope variations.
I'm not super clear on what you mean here. -24?Drumwaiter wrote:I know the slope is adjustable, but I don't think of things in terms of HPF or LPF. It's all EQing to me... When someone says HPF I usually assume that whatever the slope there's a -24 gain at the end of it.
Malcolm Boyce wrote:I'm not super clear on what you mean here. -24?Drumwaiter wrote:I know the slope is adjustable, but I don't think of things in terms of HPF or LPF. It's all EQing to me... When someone says HPF I usually assume that whatever the slope there's a -24 gain at the end of it.
macrae11 wrote:Just to clarify, Matt I'm pretty sure you're referring to -24dB/octave?
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