How should I use compression on bass?

[Rex Rocker]

well... title pretty much sums it up... what kind of compression and how should I compress my bass tracks to make the low-end sound even throughout?

I play with a pick, if that is of any help.

Thanks!

 

[fabz]

Man, that depends on many too factors... you can't just throw a preset on your bass tracks and expect them to sound awesome.
That's not how it works...
You'll have to fiddle around with the compressor and find YOUR setting.

And is it really that hard to type "bass compression" into google and hit search?
Anyway this should get you started:
http://azwebpages.com/bass/basscompression.htm
and this
http://www.tunemybass.com/bass_effects_guide/bass_compressor_settings.html

 

[Rex Rocker]

Yeah, I just wanted some guidelines to get started and I thought I'd ask you guys first.

Thanks for the links.

 

[Ihsahn1981]

I like to use two compressors. One with a "fast" attack to tame the "pops" ever so slightly and one with a "slow" attack to work on the rest.
I have UAD plugins and I usually use the 1176SE (not LN) for the "pops" and the LA-2A for the rest.
This is what works for me and gives me a sound I like.

 

[AudioGeekZine]

as a bass player I should pay more attention to the bass tracks but I never do. I just stick Stillwell Event Horizon on the track and flatline it.

(simplifying it a bit)

 

[Tommy Gun]

I find a lot of bass players to be inconsistent with their attack, especially finger-style players. It usually requires me to throw a pretty heavy ratio on them (10:1, up to sometimes 50:1) to keep the track consistent and under control. I usually just stick with a medium attack and release setting at first, and then adjust it as needed for that song. I also put the EQ in front and use the comp while EQ-ing, almost like Mix Bus Comp.

 

[Ihsahn1981]

I find a lot of bass players to be inconsistent with their attack, especially finger-style players. It usually requires me to throw a pretty heavy ratio on them (10:1, up to sometimes 50:1) to keep the track consistent and under control. I usually just stick with a medium attack and release setting at first, and then adjust it as needed for that song. I also put the EQ in front and use the comp while EQ-ing, almost like Mix Bus Comp.

True, but as a bassplayer I must say that for some of us those "incosistencies" are part of our sound and groove.
Of course, if it all turns to mud and it doesnt work with the bassdrums then measures must be taken.

However, too many just completely squash the dynamics of the bassguitar, in which case you might as well just program a midi bass or something and not waste precious studio time.

 

[Tommy Gun]

True, but as a bassplayer I must say that for some of us those "incosistencies" are part of our sound and groove.
Of course, if it all turns to mud and it doesnt work with the bassdrums then measures must be taken.

However, too many just completely squash the dynamics of the bassguitar, in which case you might as well just program a midi bass or something and not waste precious studio time.

Agreed. I try my best not to absolutely have to crush the bass. One bass player who I've recorded more than once is really very good, especially in the studio, and I usually only wind up putting about a 4:1 on his tracks. Regardless, I am VERY big on dynamics, and always do my best to preserve them in the mix.

 

[Rex Rocker]

thanks for the replies, dudes! I'm experimenting with that right now...

 

[Ermz]

I've yet to find a way that really works for me. I've only been happy with the way I've mixed bass on *one* song so far. That involved a mixture of EQ, compression, multi-band compression and being bussed with the kick from what I recall. That also involved a very well tracked bass (chapman stick), by an amazing player. Kind of put in perspective what it really takes to get the magic flowing.

 

[ThomasT]

I like to use multiband compression.
One band to level the lows, one band to compress the 2k-5k. To get a well balanced sound for all strings. A nice metallic sound on the B- and E-String without the click and annoing doings on higher strings.

My most complicted setup was:

Two mics, a D112 (12" speaker) and a AKG451 (8"speaker).
Both through a Mindprint T-Comp with moderate setting. Only slight compression the equal some extrem levels. Highpassfilter activated for the AKG channel (does not compress <300Hz).
The AKG Channel through a FinaLiza (nice free 3band comp scope plugin). Compressing only the lows a little bit and more compression on >2kHz, no compression on the mids. Mixed with the D112 channel to add more lows and sound.

During mix, a used a C4. Mainly for the same purpose, to control the upper mids. And then a D-Comp scope plugin (a kinf of LA-2A clone) for level compression.

I found that using more comps but with moderate settings are far better than one heavy compression.