It's a bit counterintuitive with the mid and high controls, the mid control has a fixed frequency that is focuses on and the high control can actually go *below* the mids, it can even distort the lows depending on how low you set the frequency. The mid control is basically just for dialing in that "bite" that is usually somewhere in the mid to upper-mid region on a bass, while the high control distorts everything but excludes some low end, depending on how high you set the frequency. So really the mid and high controls almost always overlap. The graphs do show this, to be fair, and this is actually the key, we want that overlap in there for the distortion to sound natural, so you sometimes need to be careful with how much you're separating them. In most cases I would not bring the frequency on the high band above 600 hz, I feel it loses a lot of the "good dirt" that you get when you distort 400 hz and above. If I want a really sludgy disgusting bass sound for a stoner song or something I would literally bring the frequency down to 300 hz or even 280 hz.
Sounds like you’re looking for seismic bass suite by MMS. It’s multiband and you can change the amp on each band, handful of pedals to work with. Similar to parallax but def way more options
For an older metalhead like me who had access to live extreme metal from 1987 or so onwards, it's the closest I've come to getting a similar tone to the first distorted basses that I heard back then. Everything from a DI into the PA to something like Putrefaction era Carcass. 🤘🤘 This tutorial is gold, thanks Dave and URM
Aurora DSP Mammoth is a sick bass plugin too. You get different distortions with it also. more controls but it's in a knob format instead of this graphical EQ format.
really cool how he is gradually eqing the bass into the mix, first roughly with the built in equalizer, then more precise with Pro Q. I'm gonna try that next time. Sounds killer!
One thing I've noticed using the Parallax. The built in cab/mics are not that versatile imo and often sound too scooped to my liking. That's why I almost always use a separate impulse response in the cab section(usually something from Redwirez).
My two cents. Cent one: I could not work without color coded tracks. Cent two: I am recording my bass DI. When I am slapping that bass, I am adding a gate. When not, then no gate it is. That's it. That approach gives me so many opportunities for variation and dynamics. Every processing that I would add would ruin those opportunities.
Its easy to this without the plugin just separate the bass into three tracks One is low pass di with compression for the lows another with your favorite guitar distortion with a good ir And another for the highs
Don’t get me wrong. I love all the work that’s been put into making processing metal bass easier and straightforward but since everyone is using this it’s a huge turn off. Every bass sounds like this now. I’ve doubled down on doing my own thing. I don’t want to be a hater because I love the sound but it’s copy/paste nonstop.
I actually kind of agree. I don't mind is as much with the kick and snare. I actually really love Kohle's bass sounds, they're really gritty and gnarly but they sound pretty original.
I couldn't have said it better. I play bass in my band and love a tight punchy bass. These types of bass tones have a weird feel and have an odd mid frequency sound. I'm more for the tool meets iron maidens tones
It’s pretty easy to use a different cab or preamp/effect before parallax and get a drastically different sound from what the straight presets sound like. I don’t like the built in distortion but I love the eq bands. so I use it for the cab loader, eq shaping and taming the low end. Compress before or after too, depending on what the song calls for. they’re just tools at the end of the day. People just need to be more creative in how they use them
Clawfinger's Jocke Scog released a processed bass sample library two decades ago, it was very close to this kind of tone and if I remember correctly the downloads were limited to a certain number for that precise reason. The people in the music industry today are just rediscovering what's been done 20+ years ago, do it much poorer, and instead of keeping it to themselves, they socialize "their" methods for views on RUclips, antiquating their own sound and the sound of the bands they've produced. I would never want my engineers to go on social media and blabber about how exactly they've made my records sound the way they do. Recording/mixing/mastering used to be an art, now it's just a factory that shit outs records that are relevant for a week because everyone in the production chain does everything in their power to devalue the craft and the art behind it to make it worth exactly zero dollars.
You kids today with your fancy schmansy plug-ins! Back in my day (this past weekend), my bass rig spewed nothing but the choicest overdriven bass tones in the tradition of our betters such as Tom Pettersen (Cheap Trick), dUg Pinnick (King's X), and Chi Cheng (Deftones). Sure, "Grandpa, go sit down. We got it from here." But you'll see. You'll all see. But seriously, that's a really cool piece of software. I could have used that this past weekend on some mixes. Oh well, I have it now. Thanks! But also, start out with the best sounding rig you can. Then use this tool. Simple as. Have a nice day! Past distortobass fun: ruclips.net/video/-MS6826dusU/видео.html
This video is incredible. I haven’t been able to get a sound I like out of Parallax. I’m confident I can nail it now. Thank you!
It's a bit counterintuitive with the mid and high controls, the mid control has a fixed frequency that is focuses on and the high control can actually go *below* the mids, it can even distort the lows depending on how low you set the frequency. The mid control is basically just for dialing in that "bite" that is usually somewhere in the mid to upper-mid region on a bass, while the high control distorts everything but excludes some low end, depending on how high you set the frequency. So really the mid and high controls almost always overlap. The graphs do show this, to be fair, and this is actually the key, we want that overlap in there for the distortion to sound natural, so you sometimes need to be careful with how much you're separating them. In most cases I would not bring the frequency on the high band above 600 hz, I feel it loses a lot of the "good dirt" that you get when you distort 400 hz and above. If I want a really sludgy disgusting bass sound for a stoner song or something I would literally bring the frequency down to 300 hz or even 280 hz.
Parallax is great, but it would be 100x better if you could move the mid band around and also change distortion character on the mid and high bands
The distortion character is really one-dimensional. They should introduce a few options and it would be the best plug-in ever!
You just described Saturn 2.
Sounds like you’re looking for seismic bass suite by MMS.
It’s multiband and you can change the amp on each band, handful of pedals to work with. Similar to parallax but def way more options
Isn't that basically what you can do by setting the low pass and high pass?
For an older metalhead like me who had access to live extreme metal from 1987 or so onwards, it's the closest I've come to getting a similar tone to the first distorted basses that I heard back then. Everything from a DI into the PA to something like Putrefaction era Carcass. 🤘🤘
This tutorial is gold, thanks Dave and URM
WHERE THE SLIME LIIIIIIVVVEEE!!!!
Nickelodeon theme song
Aurora DSP Mammoth is a sick bass plugin too. You get different distortions with it also. more controls but it's in a knob format instead of this graphical EQ format.
really cool how he is gradually eqing the bass into the mix, first roughly with the built in equalizer, then more precise with Pro Q. I'm gonna try that next time. Sounds killer!
i too watched the video
@@tonybruce glad you shared!
Is this daaths cover of where the slime live?
Great Video!!! Thanks!!!
Excellent demo. I have this plug and really do love it.
I need a breakdown of bass in Nuclear Power Trio man! it sounds so good!
Hell to the yeah
Nick Shinz's tone is perfect
ngayon ko lang naintindihan itong parallax. maraming thank you
One thing I've noticed using the Parallax. The built in cab/mics are not that versatile imo and often sound too scooped to my liking. That's why I almost always use a separate impulse response in the cab section(usually something from Redwirez).
That's the plugin I use for bass. It's very flexible and the tone is awesome.
Wwwhere the slime liiiiiveh!. Cool vid man. Some crazy moves on the Pro-Q.
that really good information, thanks man.
Dave is the GOAT!
My two cents. Cent one: I could not work without color coded tracks. Cent two: I am recording my bass DI. When I am slapping that bass, I am adding a gate. When not, then no gate it is. That's it. That approach gives me so many opportunities for variation and dynamics. Every processing that I would add would ruin those opportunities.
How Come no indication of the original song and who it's by?
The song is Where The Slime Live, originally by Morbid Angel.
Really dig the guitar tone also. How was that acheived
Any chance you could share your custom parallax preset?
It’s crazy watching him do these wide cuts when you always hear people saying oh no you have to cut narrow or you’ll destroy your tone.
Any producer who speaks in absolutes still has some things to learn ;)
Dude, I'll do giant wide cuts with toms, bass, kick, stuff like that all of the time. Anyone who says that is ridiculous lol
I think they mean to say in “most” cases it’s probably better to notch. But the good news about that is there are no hard and fast rules in music
No multi band compression needed?
I know this song ❤
And what song is it mister! Sounds disgusting
@@KY1KRR Where the Slime live cover
Its ok that the input is clipping when you push it?
yes it is. these plug-ins are processing audio in way that there almost infinite input anyway, so just don't clip your master channel.
Yeah I always thought the jst hellraiser sounded weird when I didn't push it into the red....now I'll have to try that!
If it sounds good, it's good.
Its easy to this without the plugin just separate the bass into three tracks
One is low pass di with compression for the lows another with your favorite guitar distortion with a good ir
And another for the highs
Parallax plus darkglass is what u really want
Don’t get me wrong. I love all the work that’s been put into making processing metal bass easier and straightforward but since everyone is using this it’s a huge turn off. Every bass sounds like this now. I’ve doubled down on doing my own thing. I don’t want to be a hater because I love the sound but it’s copy/paste nonstop.
I actually kind of agree. I don't mind is as much with the kick and snare. I actually really love Kohle's bass sounds, they're really gritty and gnarly but they sound pretty original.
I couldn't have said it better. I play bass in my band and love a tight punchy bass. These types of bass tones have a weird feel and have an odd mid frequency sound. I'm more for the tool meets iron maidens tones
You know what works really good is the metalzone as a boost
It’s pretty easy to use a different cab or preamp/effect before parallax and get a drastically different sound from what the straight presets sound like. I don’t like the built in distortion but I love the eq bands. so I use it for the cab loader, eq shaping and taming the low end. Compress before or after too, depending on what the song calls for. they’re just tools at the end of the day. People just need to be more creative in how they use them
Clawfinger's Jocke Scog released a processed bass sample library two decades ago, it was very close to this kind of tone and if I remember correctly the downloads were limited to a certain number for that precise reason.
The people in the music industry today are just rediscovering what's been done 20+ years ago, do it much poorer, and instead of keeping it to themselves, they socialize "their" methods for views on RUclips, antiquating their own sound and the sound of the bands they've produced.
I would never want my engineers to go on social media and blabber about how exactly they've made my records sound the way they do.
Recording/mixing/mastering used to be an art, now it's just a factory that shit outs records that are relevant for a week because everyone in the production chain does everything in their power to devalue the craft and the art behind it to make it worth exactly zero dollars.
You kids today with your fancy schmansy plug-ins! Back in my day (this past weekend), my bass rig spewed nothing but the choicest overdriven bass tones in the tradition of our betters such as Tom Pettersen (Cheap Trick), dUg Pinnick (King's X), and Chi Cheng (Deftones). Sure, "Grandpa, go sit down. We got it from here." But you'll see. You'll all see.
But seriously, that's a really cool piece of software. I could have used that this past weekend on some mixes. Oh well, I have it now. Thanks! But also, start out with the best sounding rig you can. Then use this tool. Simple as. Have a nice day!
Past distortobass fun: ruclips.net/video/-MS6826dusU/видео.html
Love the video. Can’t stand the bass tone though lol
So nasty