Bass GROWL!!!
- Thread starter Diblan
- Start date
everybody's x
My name is Damage
lately I have been splitting the bass at tracking
1. mic'd ampeg svt3>ampeg 4x10>at4033
2. sansamp bass driver DI
3. whatever guitar rig the guitarist uses with the same settings.
It's working very well with the distorted track separated where I can push and pull the distortion as needed. Just don't solo that track, it sounds like complete shit by itself. (very Spinal Tap)
1. mic'd ampeg svt3>ampeg 4x10>at4033
2. sansamp bass driver DI
3. whatever guitar rig the guitarist uses with the same settings.
It's working very well with the distorted track separated where I can push and pull the distortion as needed. Just don't solo that track, it sounds like complete shit by itself. (very Spinal Tap)
Josh Burgess
Member
Check the ProCo RAT out. Less gain on low stuff and more gain on higher stuff so you can get a good sound much more easily and you don't even need to use two tracks sometimes.
As for plugins, I'd use the Guitar Suite stuff... highpass the track, send it through the SD-1 and get the distortion from that, then send it through whichever amp sounds best or through an equalizer and a cab impulse. You'd need to actually add the 'thump' to that separately, of course, but the grind will be pretty good.
Focusing on the area between 300-700Hz or so seems to pay off the most, that's in my opinion the critical 'roar' region... and of course if there isn't 'growl' coming from the bass you have a ton of work ahead, but there's what you can do in a reasonable amount of time.
Jeff
As for plugins, I'd use the Guitar Suite stuff... highpass the track, send it through the SD-1 and get the distortion from that, then send it through whichever amp sounds best or through an equalizer and a cab impulse. You'd need to actually add the 'thump' to that separately, of course, but the grind will be pretty good.
Focusing on the area between 300-700Hz or so seems to pay off the most, that's in my opinion the critical 'roar' region... and of course if there isn't 'growl' coming from the bass you have a ton of work ahead, but there's what you can do in a reasonable amount of time.
Jeff
jesterroot4
Member
i'm sure you can fuck up your guitar amp by putting a bass through it...
the instruments have different types of output and could fuck up your guitar amp.
this is what i've be told.. and have always avoided it.
I don't think the problem is with the output of either instrument; there's not really "different types," it's either more or less, and either way an amp can handle it - the main reason people say not to put basses through guitar amps is because of the speakers.
Let's see... metal strings, vibrating over magnetic pickups, going through EQ and volume stages, out a 1/4" jack... yep, completely different types of output.
No 'magic' behind it, it's just a matter of the guitar speakers not being able to handle extreme lows. They're lo-fi by design and are meant to focus their work on the midrange, so putting a bass through them isn't going to make them happy... and by 'isn't going to make them happy' I mean 'is going to fuck them up because you're trying to turn a vibrator into a jackhammer', in case that needs clarification.
Jeff
No 'magic' behind it, it's just a matter of the guitar speakers not being able to handle extreme lows. They're lo-fi by design and are meant to focus their work on the midrange, so putting a bass through them isn't going to make them happy... and by 'isn't going to make them happy' I mean 'is going to fuck them up because you're trying to turn a vibrator into a jackhammer', in case that needs clarification.
Jeff
Oh, and this guy will tell all of you about my sexy sexy Brice and how it roars through a DI... on that note, put that thing to use, I'm bored.
Jeff
Jeff
If you are running Pro Tools then check out Massey THC. It's a stompbox plugin that kicks ass on bass and snare. You can also get a good amount of saturation with the Tapehead plugin as well.
everybody's x
My name is Damage
I would avoid it because it sounds like shit, but mixed underneath it is righteous
Jaymz
Stymphalian Productions
everybody's x
My name is Damage
chaosmonger
Member
Here is the setting we used for our distorted bass (Don't know if it's the sound you are after, but hopefully it will help you somehow).
Spector Legend 4 w/ Elixir strings --> Maxon OD808 --> Marshall Jackhammer (overdrive mode) --> Ampeg SVT4 Pro.
I routed a clean line (before the pedals) with a boss line selector (Y mode) into my fireface's instrument input. Limiter on.
The other signal went into the dirt pedals, then into the amp.
The cab (ampeg 8 x 10) was miced with:
AKG 414, SM57 and E602. You should check your phase, though for me it was just a matter of pointing the 3 mics on the classical cone/dustcap fashion, barely touching the cab grill. I checked the phase and they were all in perfect alignment. For obvious reasons the D.I. was a bit offset, but it was easy to align it on Cubase. Sorry for the shitty cellphone pic!
On the mix I used the clean DI channel for the lo-mid frequencies, using a lo-pass filter to cut everything above 800Hz. It gave some nice thick body to the sound.
The 414 mic was the most "representative" and of the sound, having both a nice detailed crunch and warm low frequencies so I just boosted a couple dbs of hi-mids and set it relatively high on the mix of the 4 bass channels.
The 57 added the mid-dirty crunch, so I cut everything except the hi-mid frequencies. It was the "crunch factor" channel.
The 602 had some mega bass freqs, as some high frequencies crunch. We used just a bit of this mike on the mix, which made the sound "bigger" (it made a nice improvement, no matter how low it was in the mix). No eq on this channel.
Looking (listening?) to the results, I guess the 4 channels (that may sound like overkill for some) had their particular qualities that at the end made (IMMV) a full, big bass sound with very few post production.
We just used some eq to cut redundant frequencies, so every channel had its place in the freq spectrum, and that's it. No compressors, no modellers ... nothing else. It was all a matter of tweaking the level of the 4 channels to taste.
Here's the result (either of the 3 songs):
http://www.soundclick.com/jumungus
I hope it helps!
Cheers
Spector Legend 4 w/ Elixir strings --> Maxon OD808 --> Marshall Jackhammer (overdrive mode) --> Ampeg SVT4 Pro.
I routed a clean line (before the pedals) with a boss line selector (Y mode) into my fireface's instrument input. Limiter on.
The other signal went into the dirt pedals, then into the amp.
The cab (ampeg 8 x 10) was miced with:
AKG 414, SM57 and E602. You should check your phase, though for me it was just a matter of pointing the 3 mics on the classical cone/dustcap fashion, barely touching the cab grill. I checked the phase and they were all in perfect alignment. For obvious reasons the D.I. was a bit offset, but it was easy to align it on Cubase. Sorry for the shitty cellphone pic!
On the mix I used the clean DI channel for the lo-mid frequencies, using a lo-pass filter to cut everything above 800Hz. It gave some nice thick body to the sound.
The 414 mic was the most "representative" and of the sound, having both a nice detailed crunch and warm low frequencies so I just boosted a couple dbs of hi-mids and set it relatively high on the mix of the 4 bass channels.
The 57 added the mid-dirty crunch, so I cut everything except the hi-mid frequencies. It was the "crunch factor" channel.
The 602 had some mega bass freqs, as some high frequencies crunch. We used just a bit of this mike on the mix, which made the sound "bigger" (it made a nice improvement, no matter how low it was in the mix). No eq on this channel.
Looking (listening?) to the results, I guess the 4 channels (that may sound like overkill for some) had their particular qualities that at the end made (IMMV) a full, big bass sound with very few post production.
We just used some eq to cut redundant frequencies, so every channel had its place in the freq spectrum, and that's it. No compressors, no modellers ... nothing else. It was all a matter of tweaking the level of the 4 channels to taste.
Here's the result (either of the 3 songs):
http://www.soundclick.com/jumungus
I hope it helps!
Cheers
Jarkko Mattheiszen
The FU guy.
Clean, DI'd track + bass recorded through a 5150 works like a charm. It has never fucked anything up, and I know lot's of professional engineers who have done it on countless albums.
everybody's x
My name is Damage
exactly what I was saying. The last nickelback album multed the bass through a triple xxx and it sounded killer, despite having nickelback all over it :Smug:
kev
Im guybrush threepwood
ive always thought nickelback had good production but the band meh
default has good production aswell.
default has good production aswell.
