well im recording and mixing a lot of Punk, HC, Stoner, Doom, Metal-stuff and I have to admit that this method ist very good to get some badass grind-sounds.. BUT I'm pretty sure that you'll only hear the 2-3kHz (attack) and some undefined bottom end in the final mix... None of this basssamples have the most important frequencies for a fat bass: the LOW-MIDS! you can hear it on your mix at 6:44: some undefined lows and high mids - but you can't hear what the bass is actually playing It's important to make sure, that your bass signal has enough low mids in it to get a bass through a thick mix. Most of the people don't understand that you won't get a great bottom end if you keep on boosting the lows on the bass signal as much as possible... all you do is automatically masking the bass drum. Don't get me wrong I don't criticize you mix and I also know: these guys like it as dirty as possible - I also do, but i wanted to make sure that these scooped bass sounds can't get through a thick mix (sry for that bad english...)
Hey! Thanks for adding to the content! The examples in this video was just made to show the theory, these are not taken from finished mixes. But it's great to point out that the low mids is where you have to work to make it fit together with guitars etc, and also to leave room for kick in the lows. Do you have any examples of your work? Would be cool to hear =) Cheers!
When doing the split processing, I like to finish by busing both tracks together and running them through very light overdrive, compression and EQ. I feel it "glues" the tracks together better.
Good video, thanks. I'll add one more that's very similar to the methods in the video that always gives me good results. David Eden WT330 bass amp head + David Eden D410XLT 4x10 bass cab... 2 mics on the cab (both close-mic'ed... within inches of the speakers). Audix D6 for the lows, Heil PR20 for the mids/highs. EQ the amp to sound as clean and punchy as possible... no distortion. Of course, this is my amp/cab/mic setup, your amp/cab/mics may vary but the technique should still apply. Split the signal (either with a DI box or using the DI out of the back of the amp, bypassing the EQ/preamp if possible) to a separate DI track + Darkglass B7K preamp. Add distortion here (again, use what you have to distort, doesn't have to be the Darkglass). Blend the 3 tracks (Audix D6 track for lows, Heil PR20 track for mix cut-through/note clarity, Darkglass B7K track for distortion) in your DAW. High Pass / Low Pass / EQ / Multiband Compress as needed for the various tracks. With the cab close-mic'ed, I don't really get many phase issues with this method and room problems can be minimized. Lots of versatility too with this method. ...ends up sounding mostly like that OAK bass tone in the video. Great job. Final note, and sorry for the long comment... a bass guitar + the Darkglass B7K straight into the DAW works perfectly fine and is very simple, but, mic'ing up real amps/cabs just adds... something!
Really good. It's surprising to me sometimes how a lot of us often use more or less the same techniques. I guess it's the little details that make a big difference.
Brother I just want to say those two tones sound amazing mixed... Bass is one of the hardest instrument for me to record even with great gear. Thanks for the tip
I can't understand people commenting. It works really good probably with everything BUT you don't have to use a ton of distortion...also you will need to cut a quacky sound maybe like around 2k or something!
Thanks for the guide, Hoborec! Good stuff. If you don't mind me asking - do you have a go-to-EQ for the split bass tracks when you are mixing? Like which hz to cut, which hz to boost? Tack så mycket!
You should always make sure the differnt signals are in phase... but also in this example I put low pass and high pass on each track to make them just take care of their specific area. That also minimise some phase issues.
If my memory doesn’t fail me it’s this open.spotify.com/album/16eQHbw98MbWaB9Vh1KAG5?si=fJnAtX6xR4awHHFKyeU6Yg Don’t remember exactly what mics though.
It won’t necessarily give you a perfect mix, but it can make it easier to manage. Especially if you want lots of distortion that can mess up the low end if you distort the full signal. BUT, that can also be cool in the right situation.
@@hoborec How would I go about splitting this signal? I have a Roland Cube 60 along with my Alpha Omega Omicron pedal. Do I just get a quarter inch cable splitter and have one go to my audio interface while the other one goes to my pedal and amp?
Ideally you would have a line box to split your signal. You can try a y-cable or use your tuner pedal as a splitter but it will probably cause some grounding issues that will come with some noise.
How would you go about getting Korn's début album bass tone or something very similar? What amp/cab, mics should I use? I currently have an Ibanez SR505 5-string with Bartolini active pickups tuned to A standard with heavy gauge strings and a Countryman DI box
First thing is first. Fresh strings. Set that action LOW. So low that it's causing the string to smack against the front pickup. Hit it with heavy, fast compression. Slap the crap out of it in that spot, with all the bass and all the treble and NO mids whatsoever. If you're not there with that advice in the exact setup you have? Throw some overdrive on it haha.
Do you have an opinion on the CAD M179 mic's? I'm thinking about getting them for recording toms, but I'm not sure if they're worth the extra money over Sennheiser e604s
Hi ! When using this technique (lo passing DI + hi passing amp) I always end up with weird phase problem due to the filters. Should I seperate the cut frequency on both EQs more ? LIke lo passing at 150Hz and hi passing at 200Hz for example ? Thanks.
When I run into this problem I make the difference between the two tracks more extreme. For example: Hi Pass main bass track @ 70HZ and the DI distortion all the way up to 700HZ. The same goes for the Low Pass. Seems to always do the trick.
We used this technic on our selfproduced debut album and it turns out great! 🤘
well im recording and mixing a lot of Punk, HC, Stoner, Doom, Metal-stuff and I have to admit that this method ist very good to get some badass grind-sounds.. BUT I'm pretty sure that you'll only hear the 2-3kHz (attack) and some undefined bottom end in the final mix...
None of this basssamples have the most important frequencies for a fat bass: the LOW-MIDS!
you can hear it on your mix at 6:44: some undefined lows and high mids - but you can't hear what the bass is actually playing
It's important to make sure, that your bass signal has enough low mids in it to get a bass through a thick mix.
Most of the people don't understand that you won't get a great bottom end if you keep on boosting the lows on the bass signal as much as possible... all you do is automatically masking the bass drum.
Don't get me wrong I don't criticize you mix and I also know: these guys like it as dirty as possible - I also do, but i wanted to make sure that these scooped bass sounds can't get through a thick mix
(sry for that bad english...)
Hey! Thanks for adding to the content! The examples in this video was just made to show the theory, these are not taken from finished mixes. But it's great to point out that the low mids is where you have to work to make it fit together with guitars etc, and also to leave room for kick in the lows.
Do you have any examples of your work? Would be cool to hear =)
Cheers!
When doing the split processing, I like to finish by busing both tracks together and running them through very light overdrive, compression and EQ. I feel it "glues" the tracks together better.
Good video, thanks. I'll add one more that's very similar to the methods in the video that always gives me good results.
David Eden WT330 bass amp head + David Eden D410XLT 4x10 bass cab... 2 mics on the cab (both close-mic'ed... within inches of the speakers). Audix D6 for the lows, Heil PR20 for the mids/highs. EQ the amp to sound as clean and punchy as possible... no distortion. Of course, this is my amp/cab/mic setup, your amp/cab/mics may vary but the technique should still apply.
Split the signal (either with a DI box or using the DI out of the back of the amp, bypassing the EQ/preamp if possible) to a separate DI track + Darkglass B7K preamp. Add distortion here (again, use what you have to distort, doesn't have to be the Darkglass).
Blend the 3 tracks (Audix D6 track for lows, Heil PR20 track for mix cut-through/note clarity, Darkglass B7K track for distortion) in your DAW. High Pass / Low Pass / EQ / Multiband Compress as needed for the various tracks. With the cab close-mic'ed, I don't really get many phase issues with this method and room problems can be minimized. Lots of versatility too with this method.
...ends up sounding mostly like that OAK bass tone in the video. Great job.
Final note, and sorry for the long comment... a bass guitar + the Darkglass B7K straight into the DAW works perfectly fine and is very simple, but, mic'ing up real amps/cabs just adds... something!
Really good. It's surprising to me sometimes how a lot of us often use more or less the same techniques. I guess it's the little details that make a big difference.
Thanks! Yeah I guess when we try to make things as easy and efficient as possible we often end up at the same place hehe.
Brother I just want to say those two tones sound amazing mixed... Bass is one of the hardest instrument for me to record even with great gear. Thanks for the tip
I can't understand people commenting. It works really good probably with everything BUT you don't have to use a ton of distortion...also you will need to cut a quacky sound maybe like around 2k or something!
You don’t HAVE TO use ton of distortion, but it’s more fun 😂
@@hoborec Exactly!
Thanks for the guide, Hoborec! Good stuff. If you don't mind me asking - do you have a go-to-EQ for the split bass tracks when you are mixing? Like which hz to cut, which hz to boost? Tack så mycket!
wow, Sage bass sounds killer!
Thank you!
Great video! I have a question for the q&a, is there a top notch microphone for voice below $1k?
nice. Good advice. Thanks
What about dealing with phase and the related problems ? Thanks , great channel.
You should always make sure the differnt signals are in phase... but also in this example I put low pass and high pass on each track to make them just take care of their specific area. That also minimise some phase issues.
Great practical advice, thanks
Killer bass tracks
Would love to hear the song where you used 6 mics! Can you post a link?
If my memory doesn’t fail me it’s this open.spotify.com/album/16eQHbw98MbWaB9Vh1KAG5?si=fJnAtX6xR4awHHFKyeU6Yg
Don’t remember exactly what mics though.
Let me get this straight, to get the perfect mix you have two bass tracks, one with the high pass distortion and low pass clean?
It won’t necessarily give you a perfect mix, but it can make it easier to manage. Especially if you want lots of distortion that can mess up the low end if you distort the full signal. BUT, that can also be cool in the right situation.
@@hoborec How would I go about splitting this signal? I have a Roland Cube 60 along with my Alpha Omega Omicron pedal. Do I just get a quarter inch cable splitter and have one go to my audio interface while the other one goes to my pedal and amp?
Ideally you would have a line box to split your signal. You can try a y-cable or use your tuner pedal as a splitter but it will probably cause some grounding issues that will come with some noise.
How would you go about getting Korn's début album bass tone or something very similar? What amp/cab, mics should I use?
I currently have an Ibanez SR505 5-string with Bartolini active pickups tuned to A standard with heavy gauge strings and a Countryman DI box
First thing is first. Fresh strings. Set that action LOW. So low that it's causing the string to smack against the front pickup. Hit it with heavy, fast compression. Slap the crap out of it in that spot, with all the bass and all the treble and NO mids whatsoever. If you're not there with that advice in the exact setup you have? Throw some overdrive on it haha.
Do you have an opinion on the CAD M179 mic's? I'm thinking about getting them for recording toms, but I'm not sure if they're worth the extra money over Sennheiser e604s
Hi! No, I haven't tried them. Maybe I should hehe
FAN-TAS-TIC! :D
Thanks, man!
Well thank you!
Useful as always! thanks
Glad to hear =)
Really good dude. Thank You
Killer sounds!
Thanks!
Hi !
When using this technique (lo passing DI + hi passing amp) I always end up with weird phase problem due to the filters.
Should I seperate the cut frequency on both EQs more ? LIke lo passing at 150Hz and hi passing at 200Hz for example ?
Thanks.
When I run into this problem I make the difference between the two tracks more extreme. For example: Hi Pass main bass track @ 70HZ and the DI distortion all the way up to 700HZ. The same goes for the Low Pass. Seems to always do the trick.
Alright... alright... I'm in ;)
Omg so nice
Reading your T shift while drunk is not advisable...
Haha true. Nice avatar picture, love Cursed!
Gave this a thumbs down for the bs ads!
Ads for what?
those heavily distorted bass tones are getting too muddy and undefined, never understood why such treatment became a trend... it is just ugly.