You can crucify me for not knowing, or caring, that the bandwidth doesn't affect the low frequencies but you'd be missing the point. My approach to mixing isn't deeply technical. It has to feel right to me, however I make it get there. An inexperienced mix engineer might watch this and think I'm hardly doing anything, but the few things I'm doing took me decades of my own trial and error experience and watching incredible engineers like Joe Chiccarelli do similar things. Incidentally, I didn't just record this track. I played every instrument on it live. If you actually think I'm just advising you to buy plug-ins, you might want to consider a career in concrete. 🤘
G Wells Remember the Golden rule: The RUclips comments section is atrocious. There was a significant difference in the low end after your adjustments. Keyboard warriors that have never stepped foot in a studio, listening to this from laptop speakers might know better than you though... After all, music is about consulting a meter for perfectly calibrated frequencies, not what sounds good /s
I get sad reading some comments, we are living in a time when we have access to information, and people always find a way to criticize it. I always want to learn more and get more information, I know we should never stop, we should always be one step ahead and that needs study and humility! Thanks G. Well for all the teaching, you really inspire me.
The real lesson here, kids, is that if you want to get a great mix, start with a great recording. A great recording mixes itself. I get it, mixing is fun. We all like plugins and/or gear. Learn how to mic a source and capture it. That's many times more important than knowing how to mix.
Yeah you've made this comment twice and still no one cares. Stop trying to act like you're the biggest source of knowledge in music to have ever lived, people can realise this themselves without you writing vain comments trying to boost your ego because you're like oh look at me I know so much more than these dickheads in these comments lets show I'm superior to these people. Fuck off.
never said he's wrong, but the fact he made this exact comment twice exactly the same shows he ain't just tryna give decent advice, he's tryna act superior cos he's in a comment section of people he feels he knows more than it's simple psychology, he just should know himself better and the fact people will know that fact, let them learn physically about how they get their best recordings and mixes.
Question: do you know what vanity is? Also, you're bitching at me for simply stating a fact. Did someone fire you from a recording gig recently? You sound bitter.
Not A Plug-in ad but I switched to NI awhile back and this Super-duper-charger plug-in finds its way on a lot of tracks with lo-end. Eric Valentine and Señor Wells use it better than most and that's rad!
It would be easy to simply be envious of your set up and equipment roster, plus the exquisite microphones used in the recording.... but that's all window dressing to the knowledge and experience from the guy tweaking the knobs and adjusting the faders.
Tnx 4 tips genius...and forget about jealousy, because smart people like U getting negative attack all the time... but we're love U...because Ur episodes R Great...
I have the standard version of it. Super affordable (I think it was free at one point) and sounds so good on bass. The saturation of it just adds so much. I also use it on a drum bus. Makes the drums slap
I wonder if people believe that all these plugs by these popular engineers are real and that they actually use the same products as regular folks. They use very expensive hardware for their masters. Cool tips and such and neat vids but I hate how they pretend these arent just new aged commercials and that they actually use these in their high profile projects.
Was I the only one underwhelmed by the lows in the bass tone? Capturing low end in high fidelity is less about using an $8000 microphone and more about the distance. To catch those really low cycles in the highest possible fidelity, you should have a distance microphone some distance from the cabinet. It depends on the instrument. The lowest fundamental of the low B-string on a 5-string bass is around 60Hz, and it takes 18 of space to complete a single cycle of 60Hz. That's where you should put your distance mic. On a normal bass at standard tuning, the lowest fundamental of the E-string is around 80Hz, which translates to 14 feet of space needed. That's is where that distance mic should be placed, as well. No matter what mic you're using, this is literally the most accurate way of capturing the low end on any instrument. A/B your drums with the room mics on and off and you'll see what I mean. This isn't voodoo, this is physics. Also, before I post, I'll point out that, yes, you'd have to align the close and distance signals for both phase and polarity in the DAW. Whatever. That's not an argument against what I'm saying, and I know that comment is coming.
This may SOUND like a plausible theory, but ... that's not how sound works. For one thing, any microphone placed 14 feet away from anything will capture a ton of room ambience. That's a lot further away than, say, the overheads on a drum kit, which are immediately more room-y sounding. The absolute LAST thing you do to capture low-end accurately is place a mic 14 feet away, or even a foot and a half. Second, as pointed out already, even if that theory was correct (which it isn't) your figures are off by an octave: so, under your theory, you'd need to place a microphone 28 feet away from a bass cab to capture the low E. This is, again, simply not how bass is recorded. It would be just about the worst thing you could possibly do for your sound. Finally, audio simply doesn't work that way. It's not like it's trying to "capture" the entire wave at once; the wave flows through the air, and the mic (or your ear) hear each part of the wave as it reaches the diaphragm - however far that diaphragm is from the source. This is also why, for instance, engineers do NOT need to place a mic 14 feet away from a guitar cab to record the low E of a six string guitar - in fact, almost all of them are done with the mic placed a couple inches from the cab. Nor do engineers need to - or choose to - place a vocal mic 7 feet away from male vocalists, to capture their low register. Or 3 and a half feet from female vocalists. Or anything like that. In practice, as soon as you move a mic more than a foot or so off the source, you introduce noticeable room tone. Bass, in particular, needs to be as dry as possible in a mix. World class studios, with great sounding rooms, will mic their vocalists from less than a foot. They'll mic their guitar and bass cabs from within a couple inches. (Acoustic and bass guitars, they will mic from a little further - but this is because the sound emanates from several places on acoustic instruments, so close-mic'ing sounds less natural. It has nothing to do with how long the wave forms are.) But, really, the physics of this is flat out wrong. Just run a 100hz sine wave through your speakers. You absolutely do NOT need to be 10 feet away from that to hear it properly; nor are there any benefits to doing so. (Incidentally, this is also why mixing engineers don't need to sit 28 feet away from their monitors to do accurate low-end mixing.)
You can crucify me for not knowing, or caring, that the bandwidth doesn't affect the low frequencies but you'd be missing the point. My approach to mixing isn't deeply technical. It has to feel right to me, however I make it get there. An inexperienced mix engineer might watch this and think I'm hardly doing anything, but the few things I'm doing took me decades of my own trial and error experience and watching incredible engineers like Joe Chiccarelli do similar things. Incidentally, I didn't just record this track. I played every instrument on it live. If you actually think I'm just advising you to buy plug-ins, you might want to consider a career in concrete. 🤘
G Wells
Remember the Golden rule: The RUclips comments section is atrocious.
There was a significant difference in the low end after your adjustments.
Keyboard warriors that have never stepped foot in a studio, listening to this from laptop speakers might know better than you though... After all, music is about consulting a meter for perfectly calibrated frequencies, not what sounds good
/s
Also, you're Greg Wells. Thanks for sharing. Your MWTM stuff is awesome.
Mixing is about what you feel, not what button you push. You did not get there by accident.... Respect is sometimes a rare thing on RUclips
If you're going to take everything on the internet seriously then you're going to get bald from the rage and stress lol. Embrace the memes
Let me work with you 😊🙏 I can shut up and learn!
I get sad reading some comments, we are living in a time when we have access to information, and people always find a way to criticize it. I always want to learn more and get more information, I know we should never stop, we should always be one step ahead and that needs study and humility! Thanks G. Well for all the teaching, you really inspire me.
I use the standard Supercharger on my bass for years now! It just has the sound, even on a drum bus, guitars, it sounds amazing!
Sounds good. Now which plugin would change those lyrics?
😅
Yo VL Stay on context man and donot skip on the demetia pilss
@@butcher8371 Thanks for the advice. Stay away from sharp objects.
@@vl292 i missed the part where that's my problem
Oh, dear! What a wonderful bass sound!
Thank you for sharing your talent and thoughts...
I like that mix. Bass sounds good.
Still waiting for a monthly subscription to watch the full video's on Mix with the Masters...
Same!
The Supercharger is great to get fat beefy snares with a lot of punch. But as you said, great on a lot of things.
Interesting tips on mic choice and combinations. I use a grot mic on drums and it works great, but never really explored it on bass.
Thanks Greg! Sounds excellent with the Supercharger GT and the Pultec EQ.
Never uses DI, only subtle processing moves... respect!
wow!It always starts from a great recording!
Hi. Can you please tell me more about the american microphone? Which Model? Thanks.
The real lesson here, kids, is that if you want to get a great mix, start with a great recording. A great recording mixes itself. I get it, mixing is fun. We all like plugins and/or gear. Learn how to mic a source and capture it. That's many times more important than knowing how to mix.
Yeah you've made this comment twice and still no one cares. Stop trying to act like you're the biggest source of knowledge in music to have ever lived, people can realise this themselves without you writing vain comments trying to boost your ego because you're like oh look at me I know so much more than these dickheads in these comments lets show I'm superior to these people. Fuck off.
he isnt wrong
great music arrangement = great recording = great mixing = great mastering
if the first 2 sucks, mixing or mastering will just enhance crap
never said he's wrong, but the fact he made this exact comment twice exactly the same shows he ain't just tryna give decent advice, he's tryna act superior cos he's in a comment section of people he feels he knows more than it's simple psychology, he just should know himself better and the fact people will know that fact, let them learn physically about how they get their best recordings and mixes.
Question: do you know what vanity is?
Also, you're bitching at me for simply stating a fact. Did someone fire you from a recording gig recently? You sound bitter.
Not A Plug-in ad but I switched to NI awhile back and this Super-duper-charger plug-in finds its way on a lot of tracks with lo-end. Eric Valentine and Señor Wells use it better than most and that's rad!
It would be easy to simply be envious of your set up and equipment roster, plus the exquisite microphones used in the recording.... but that's all window dressing to the knowledge and experience from the guy tweaking the knobs and adjusting the faders.
Great video thanks for this!!
Great bass sound
"Sonority" - G Wells wins the Vocab game
Full video available exclusively on mwtm.org/gw-bass-sound
I prefer my Greenland microphones... they sound fantastic !!!
Nice Sounds excellent
Tnx 4 tips genius...and forget about jealousy, because smart people like U getting negative attack all the time... but we're love U...because Ur episodes R Great...
Greg Wells Great Best
What DAW is he using?
Pro tools
Don't worry guys, the Telefunken U47 is only $8k.
So you could save about 7,5k by buying the Copperhead ;)
And it's not a real 47 ;)
Oh man dat kick drum!
Nice tips! Thanks Tom Hanks
Is this a young Dave Pasado?!
pensado?
he's an irish singer called Bry!
everybody now gonna buy super chargerGT plugin😂
It's actually pretty good.
I have the standard version of it. Super affordable (I think it was free at one point) and sounds so good on bass. The saturation of it just adds so much.
I also use it on a drum bus. Makes the drums slap
I mostly know this guy as the guy that worked on Vessel by twenty one pilots, so I can't hate him that much.
"Gives me a bit more... 🐗!"
My IPhone made this sound awesome.
Didn't know Tom Hanks was an engineer
Gives me more aaaaaa
Bandwidth knob on uad pultec eq is just for hi frequency band!!!!!!!!?????
It controls Q for high bell
Is this really the one comment he wrote a novel to respond to? Jesus christ what a baby.
Coool song
Little labs vog
0:25 - tele-fuckin'-USA
"Gets an almost finished mix, puts in a subtle compression on the bass... I'm a genius" - Greg wells, probably.
i think the vids are about the whole song they just take a little part to tease you into buying the whole yearly plan
I don't know why the mix here is good, but in the actual music video of this song sounds awful.
I wonder if people believe that all these plugs by these popular engineers are real and that they actually use the same products as regular folks. They use very expensive hardware for their masters. Cool tips and such and neat vids but I hate how they pretend these arent just new aged commercials and that they actually use these in their high profile projects.
Wells must be such a liberal, woke dude, all his way are so liberal..... and his stuff is awesome
Was I the only one underwhelmed by the lows in the bass tone? Capturing low end in high fidelity is less about using an $8000 microphone and more about the distance. To catch those really low cycles in the highest possible fidelity, you should have a distance microphone some distance from the cabinet. It depends on the instrument. The lowest fundamental of the low B-string on a 5-string bass is around 60Hz, and it takes 18 of space to complete a single cycle of 60Hz. That's where you should put your distance mic. On a normal bass at standard tuning, the lowest fundamental of the E-string is around 80Hz, which translates to 14 feet of space needed. That's is where that distance mic should be placed, as well. No matter what mic you're using, this is literally the most accurate way of capturing the low end on any instrument. A/B your drums with the room mics on and off and you'll see what I mean. This isn't voodoo, this is physics.
Also, before I post, I'll point out that, yes, you'd have to align the close and distance signals for both phase and polarity in the DAW. Whatever. That's not an argument against what I'm saying, and I know that comment is coming.
Lowest fundamental of the low B on 5 string bass is around 30 Hz, first or octave harmonic is around 60 Hz. Fundamental of the E string is 41 Hz.
This may SOUND like a plausible theory, but ... that's not how sound works.
For one thing, any microphone placed 14 feet away from anything will capture a ton of room ambience. That's a lot further away than, say, the overheads on a drum kit, which are immediately more room-y sounding. The absolute LAST thing you do to capture low-end accurately is place a mic 14 feet away, or even a foot and a half.
Second, as pointed out already, even if that theory was correct (which it isn't) your figures are off by an octave: so, under your theory, you'd need to place a microphone 28 feet away from a bass cab to capture the low E. This is, again, simply not how bass is recorded. It would be just about the worst thing you could possibly do for your sound.
Finally, audio simply doesn't work that way. It's not like it's trying to "capture" the entire wave at once; the wave flows through the air, and the mic (or your ear) hear each part of the wave as it reaches the diaphragm - however far that diaphragm is from the source.
This is also why, for instance, engineers do NOT need to place a mic 14 feet away from a guitar cab to record the low E of a six string guitar - in fact, almost all of them are done with the mic placed a couple inches from the cab.
Nor do engineers need to - or choose to - place a vocal mic 7 feet away from male vocalists, to capture their low register. Or 3 and a half feet from female vocalists. Or anything like that.
In practice, as soon as you move a mic more than a foot or so off the source, you introduce noticeable room tone. Bass, in particular, needs to be as dry as possible in a mix. World class studios, with great sounding rooms, will mic their vocalists from less than a foot. They'll mic their guitar and bass cabs from within a couple inches. (Acoustic and bass guitars, they will mic from a little further - but this is because the sound emanates from several places on acoustic instruments, so close-mic'ing sounds less natural. It has nothing to do with how long the wave forms are.)
But, really, the physics of this is flat out wrong. Just run a 100hz sine wave through your speakers. You absolutely do NOT need to be 10 feet away from that to hear it properly; nor are there any benefits to doing so. (Incidentally, this is also why mixing engineers don't need to sit 28 feet away from their monitors to do accurate low-end mixing.)
@Owen Thomas: Thank you!!!
try the 432 hz tuning instead of the 440.... Awesome !!! great job !!!