Metal Bass Guitar tutorial...

So are you saying that doing post-distortion EQ might help the two bass-tracks sit nicely together, whereas pre-distortion EQ might make the distorted bass track stick out like a sore-thumb?
 
I'm saying that omitting that pre-distortion EQ will make the distorted track uglier, dirtier, ickier, or otherwise messier, and that it looks like he wanted that. EQ after the fact is essential, of course, but if there's a difference to notice then I don't think the intent is to aim for pretty. My favorite bass distortion is the RAT, since it left low end less screwed and still put plenty of ugly in the midrange - saving the trouble of splitting the sound while still giving enough low end to sound full and enough grit to sound like pissing used pipe cleaners must feel - and I see no reason why making the bass grit sound nice is at all a priority.

Jeff
 
Nah he was doing post-distortion EQ as far as I could make out. What I tend to do is run my bass on two tracks - one with just a clean amp. Other with an EQ cutting out the lows and highs, then I run it through something like a big muff at a very low gain setting, just to give it some fuzziness but not overbearing. Then I run that through another amp (usually a model, because I don't have a good enough bass amp at home)

But yeah - bass is fucking fun.
 
drew_drummer said:
Nah he was doing post-distortion EQ as far as I could make out. What I tend to do is run my bass on two tracks - one with just a clean amp. Other with an EQ cutting out the lows and highs, then I run it through something like a big muff at a very low gain setting, just to give it some fuzziness but not overbearing. Then I run that through another amp (usually a model, because I don't have a good enough bass amp at home)

But yeah - bass is fucking fun.
Click to expand...

My apologies, I forgot to negate the important part of the first sentence. I meant to point out that the processing you're doing would make the distortion less ugly, and ugly seems to have been the goal.

Jeff
 
drew_drummer said:
Nah what I was getting at is there is gonna be a difference between how the distortion reacts to the full bass signal, and to a lp'd and hp'd bass signal. I tend to lp+hp the bass BEFORE the distortion, so that the distortion circuit doesn't crap out on the lower frequencies, and it also tames the distortion characteristics too.

But since Ola gets fat-as-all-unholy-fuck tones, I'm going to assume he knows what he's doing. So I'm curious if he's tried the other way, and if he prefers the way in his tutorial, and if so... why. I should really just go and try it, but I'm lying in bed with a laptop and a smelly arse - getting into my own stinky groove here.
Click to expand...

I've tried both ways. I only mixed one of Ola's bass DIs once, but I think it may have been with the HP prior to distortion approach (can't recall for the life of me whether I had the PSA-1 at that point).

The end result is here: http://dl.dropbox.com/u/285689/Forum/OlaTrack-Nebula.mp3

Excuse the rawness, as it was only a 1 hour rough mix, but it should somewhat illustrate that approach.

Anyway, lately with the PSA-1 I've been running the full-range bass signal through it, but high-passing after. It has a similar sort of effect in the end, depending on how you EQ it. It's just a different means to the same end I think. You can hear this approach on the Eye of the Enemy record (the few times you can make out the bass grit anyway).

Both can be cool, and I don't think there are any rules here, ESPECIALLY with bass. It's why I love it so much. You throw the kitchen sink at it, with your sole goal being to make it sound as ugly as possible, and it becomes the shining point of the mix, or at least the element that sonically 'unifies' everything else.
 
Ermz said:
I've tried both ways. I only mixed one of Ola's bass DIs once, but I think it may have been with the HP prior to distortion approach (can't recall for the life of me whether I had the PSA-1 at that point).

The end result is here: http://dl.dropbox.com/u/285689/Forum/OlaTrack-Nebula.mp3

Excuse the rawness, as it was only a 1 hour rough mix, but it should somewhat illustrate that approach.

Anyway, lately with the PSA-1 I've been running the full-range bass signal through it, but high-passing after. It has a similar sort of effect in the end, depending on how you EQ it. It's just a different means to the same end I think. You can hear this approach on the Eye of the Enemy record (the few times you can make out the bass grit anyway).

Both can be cool, and I don't think there are any rules here, ESPECIALLY with bass. It's why I love it so much. You throw the kitchen sink at it, with your sole goal being to make it sound as ugly as possible, and it becomes the shining point of the mix, or at least the element that sonically 'unifies' everything else.
Click to expand...

Fuck me in the ass Ermin that's the best sounding version of my song I've heard!
 
I would really like to know how you get the robot computer voice thing happening?

Do you just talk normally and whack a plugin on the channel or is it more complex?
 
Goddamn Guitar said:
Dude that's a text to speech software... Just search on google and you'll find several of them
Click to expand...

thanks man. i have an idea for a song with dueling vocoders and a robot voice. i was really hoping for a plugin but thanks anyway and thanks for taking the time in making a tutorial.
 
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