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Publication date: September 2013 Published by George Robinson Getthatprosound.com Copyright George Robinson, All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, mechanical or electronic, including photocopying and recording, or by any information storage and retrieval system, without prior written permission from the publisher. While all attempts have been made to verify information provided in this publication, the Author does not assumes any responsibility for errors, omissions, or contrary interpretation of the subject matter herein. Of course, please let me know if you find any errors and Ill correct them! The Purchaser or Reader of this publication assumes responsibility for the use of these materials and information. Neither the Author nor its dealers or distributors, will be held liable for any damages caused either directly or indirectly by the instructions contained in this book, or by the software or hardware products described herein.
Contents 1.
Introduction........................................................................................ 4 Bass Is The Foundation Why Is Bass Difficult To Deal With?.................................................. 5 Acoustic Treatment Solutions Part 1: Getting A Bass Sound............................................................ 8 Initial Recording: Acoustic And Electric Bass Initial Synth Bass Sound Programming In 5 Steps Part 2: Refining The Sound, And Fitting It Into The Mix................ 14 Mix Order: Bass, And The Rest Distortion For Additional Punch Bass Attack Bass Compression Bass EQ Harmonic Enhancers Bass Panning Bass And Effects Part 3: Finishing, Testing And Mastering....................................... 21 Mastering Bass Judgement Day Conclusion......................................................................................... 23
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Introduction
Bass Is The Foundation
Having a tight, punchy low end in your tracks is a prerequisite for a professional-sounding mix. Particularly today with the development of bass music, bass is taking centre stage like never before, often taking on the roles of lead sound and providing the main musical hook as well as its conventional function of offering low-frequency weight and support to the other instruments. But regardless of whether you make electronic music, rock, pop, folk or any other style or genre, get the low end component right and you have the perfect stable foundation for the rest of the production; get it wrong or laving it unrefined and youll find almost everything else you try will be something of an uphill struggle towards getting a consistent, powerful mix.
Thats where this guide comes in. Well examine the bass range all the way from recording or programming the ideal bass sound, to fitting it into a full arrangement and grooving with the drums, to effects, processing, mixing and mastering. Everything youll need to craft the perfect bass, and low end in general, for any type of production. Lets get into it...
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Bass traps are generally positioned in corners, and consist of foam triangles (either pur-
pose-built acoustic foam or homemade versions with ceiling insulation wool will actually work equally well). The deeper the foam the more effective the traps will be, both in terms of the dB amount they reduce bass frequencies and the range of frequencies they will work down to (i.e. the thicker the trap the deeper the frequency it will work to, the trade-off being the amount of space very thick traps and panels will take up in a small room!).
Broad-band acoustic treatment would typically consist of as many ridged foam pan-
els as you can fit onto the exposed walls and other large flat surfaces. Not specifcally designed to deal with bass like the traps, some general taming of the mid and high frequencies is still obviously desirable, and will indirectly effect how you mix the relative balance of bass with these other ranges.
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Appropriate speakers for your studio are essentially the best monitors you can afford
that are designed to provide the correct power for the size of room you are working in. Theres little point getting huge Genelecs with a separate sub-bass unit to put under the desk if youre working in a cloakroom. Youll be sitting so close to them the majority of the time that the additional power will be wasted; it would be far better to opt for nearfield monitors, callibrated for the purpose of accurate frequency response at close quarters and comfortable levels for extended use. Also, if you are going to use headphones to mix (not recommended, but in some situations its unavoidable), dont use them exclusively without also testing your mixes on other systems. More on this later.
Proper speaker placement is simple to do and can completely change the sound Keep monitors a minimum distance from walls and avoid corners wherever possible
youre getting from them. Usually there are suggestions from the manufacturers in the manual that it would be wise to follow, but typically theyll tell you things like:
Place monitors along the shortest wall so that theyre firing down the longest dimension in Position monitors upright (not on their sides) and with the tweeters at the same height as
your ears when seated at the listening position
the room (this minimizes the effect of reflections off the back wall to the listening position)
Isolate them from stands and desks with foam pads (the Auralex ones are favourites) to
minimize vibrations and keep the low frequency response as tight as possible. Its also worth mentioning here that with an amazing monitoring system and listening environment in place, its easy to forget that your music is likely to be listened to by other people on crappy phone speakers, in cars, on radio (hopefully) and ringy MP3-streamed from Youtube to tinny laptops and headphones. None of these will give you the kind of deep bass response you get in your studio in some of these cases they just cant reproduce any real bass at all! - so well be looking at the various tricks and ways to make your bass sound amazing on any system throughout the guide.
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Take Care From The Start: Take Time To Experiment, Trial And Error
Try to avoid the garbage in, garbage out syndrome by making sure you start with the very best, or at least most musically appropriate bass sound. Whether its a sample, a real bass guitar or a synth bass patch, do as much as you can at source to get the bass sounding great. Yes, it does take some time to experiment and discover the right combination of source, additional processing and EQ etc. but its always time well spent, and time that you might otherwise use fixing problems with the sound and how it fits at the mix stage later.
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Worldized Bass
Even if your bass originates from a synth or sample, you can still mic it up to imbue it with additional real-world ambience and vibe. This is a trick that comes most famously from the film sound design world, where sound designers would take their fantasy and sci-fi sounds and play them back over a small speaker positioned and miked up in a real world location such as a subway station or elevator shaft. This would give the fabricated sounds a real reverb and character that can be quite different to what could be achieved with studio processing. Plus, its way more fun to record stuff in unusual spaces, and youre guaranteed to come with original sounds!
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Even if youre aiming to create a sub bass sound that will appear to be just a deep thudding boom, its a good idea to start with at least some other harmonically rich component layered over the basic sine wave: sine waves literally have no harmonics (hence the smoothness of the waveform), so any filtering you do on a sine wave will simply reduce its level, and anyway as you turn a deep sine wave up loud enough to hear, youll use up far more of your available headroom than is really necessary. Using additional saw or square waves will not only provide additional sonic character to tweak into your perfect bass sound, but these waves inherent upper harmonics will enable the sound to literally cut through the mix and register at lower listening volumes and on smaller lsitening devices. Remember, harmonically rich sounds will always appear louder than pure tones. Old School Waves Its worth noting that the classic Roland TB-303 bass synth, beloved by many dance producers, offered only saw and square wave options the lack of a pure sine wave didnt stop it from producing killer, heavy bass sounds. If you ever wondered what the harmonic difference is between the different wave types, saw waves contain all of the integer harmonics (both odd and even), while square waves contain only the odd, integer harmonics. Triangle waves are much less harmonically rich than saws or squares, making them a poor choice for bass sounds in most circumstances, while sine waves have no harmonics at all. In fact, many electronic producers literally construct their bass sound as two or three separate components, programming different sounds that occupy specific frequency ranges and that give the impression of a single frequency-spanning behemoth when played together. This allows the sub-bass to do its job of adding real weight, and the mid-range bass parts adding sonic interest, character and sizzle. If you want to remove some or even most of the resulting harmonics you can sculpt them away with a low-pass filter but you cant sculpt or emphasize later what isnt there to begin with, so start harmonically rich and refine down as necessary, as you go.
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Layered Samples
The same rules for detuning synth oscillators also apply to samples: try layering up two different bass samples and tuning one sample a few cents sharp and the other a few cents flat, or alternately tuning them a whole octave apart.
Ideally while playing back your bass riff, or at least playing different notes up and down the keyboard, begin to shape the sound with amp and filter envelopes. Youll almost certainly want a fast attack for helping each note audibly punch through the mix, and a reasonably fast release as you dont want the tail of each bass note flapping around uncontrolled after youve let go of the key. Keep things tight and controlled at this stage, unless you have a creative reason not to. Decay and sustain will help create the character of your bass sound, making each note more plucky, for example, or longer and more pad-like. Generally, the longer each note is in your bassline, the more movement you can and should introduce into each of those notes. Try assigning an LFO to modulate pitch, filters or oscillator level. You could also assign velocity and even keyboard tracking to certain parameters so the notes sound different depending on how hard they are hit or how high up the keyboard register they are. Keep playing different notes and little sequences to see what a different each tweak makes dont just repeat a single note over and over, as this wont give a very useful impression of the sound in context. A neat trick for enhancing the attack of a bass sound is to route an envelope to the filter cutoff and set it with very short attack and decay times and zero sustain, so that it very briefly opens the filter up a little at the start of each note. This can help a struggling bass sound be heard.
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As well as your harmonically rich waveforms, most synths will allow you to add some form of creative distortion, whether its a white noise-generating oscillator or distinct distortion or warmth effects section. Its a good idea to add some noise at this stage to bring out even a little grit and character in your sound a completely clean and polite bass sound is generally one that will disappear in the mix context, so youll be surprised at first how much noise and harmonics you can get away with on bass without it being perceived as a distorted sound. And as before, you can always remove unwanted frequencies afterwards. Quite often the best sounds are created from just one or two oscillators and maybe three envelopes modulating the filter, pitch and amplifier sections of the patch. By all means experiment and particularly try taking apart presets to see how they work, but for effective bass programming for a track try not to overcomplicate matters by using all the oscillators and modulation options at your disposal.
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At some point during the initial sound design process (probably somewhere between the other steps mentioned, but it will always depend on your approach and that particular tracks needs) youll want to go that extra bit further to begin developing a unique character for your bass sound, or even simply to give it some movement that fits the specific needs of the sound of the part that its playing. The possibilities are endless, but here are some ideas and typical starting points for further exploration:
Layer multiple sounds together, either the same synth sound with different amp envelope or
filter settings, or the sounds from two completely different patches or synths. This si a great way of coming up with unique and signature sounds, and allows you to combine hard digital with warm analogue, or sharp attack sounds with swelling pads for example, in such a way that they appear to be one complex and developing texture. for modulation and rhythmic movement tailored to your bass riff and sound style. For example, a triangle wave LFO modulating the filter cut-off on a bass sound is guaranteed to change things up and spark fresh ideas. of your sound to make sure its providing enough attack or a smoother fade-in, if appropriate to punch through the mix, work with the inherent groove of the part and keep the separation between the notes clear and distinct. One trick here is to actually use the attack part of a completely different sound, such as a percussion hit, guitar pluck or even a snippet of pitched or filtered white noise: layered up to trigger with each bass note, it becomes part of the perceived bass sound itself, providing additional character and definition. setting a pitch envelope to bend one of the oscillators down and the other up at the attack phase. As long as theyre the same amounts the tuning will remain in the right key, and youll have an interesting sound with plenty of movement.
Nows the time to explore the many options provided by LFOs (Low Frequency Oscillators)
Once youve got your bass part, the riff or notes, figured out, re-appraise the initial transient
Related to the tip above, if youre using mulitple oscillators for your synth bass sound, try
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One factor that might determine how much work your bass sound needs in the mix is the order in which you introduce all the parts into the mix. You might be inclined to start with the lead part such as the vocal or main synth or guitar riff and mix around that, and this is valid of course if it works for you. But all other things being equal, the most popular and strategic mix process is to start with getting a rock-solid foundation for the track with the bass, kick and snare drums: get these balanced and their grooves locked together and its difficult to mess up the rest. Bringing the bass in early also means you can can filter, EQ and balance the other instruments around it, pre-empting the scenario where you bring up the bass into an already busy mix and find no matter how loud you turn it up its not being heard. Having the bass there from the start means you dont have to carve holes at the end to slot it in: its been there all along. Doing things this way also means youll have a good indication of how much high-pass filtering you can get away with on all the other instruments (its advisable to high-pass everything to some degree apart from the bass and kick drum, keeping the bass range clear and tight) youll be able to remove more than you would think if you were filtering the part in solo, as the bass will be doing its conventional job of providing focused low-frequency support for everything happening in the higher ranges. Remember, dont worry if things sound worse in solo if it sounds right for the complete mix, thats all that counts in the end.
Once youre into the mix and have a few elements playing nicely together such as bass, drums and a melodic part such as guitar, youll quickly discover whether the bass has the necessary presence in the right frequencies to make itself felt and heard. The programmed harmonics or light creative distortion from the initial sound creation or recording may have helped, but this is
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Give Your Bass Sound An Attack That Helps It Cut Through The Mix
So youve got a nice and loud bass sound that doesnt get lost behind the rest of the mix. But once you bring in the combination of drum hits and sustained melodic sounds such as guitars and synths, you might find that the definition of each note start is now somewhat imprecise. An this can be problematic because we get most of our psychological perception of the timbre and character of a sound from its initial attack. Here are some fixes for sharpening the attack of your bass sound to really cut through any mix:
If youre using a synth bass, revisit your synth patch and program in either an additional
oscillator with a particularly hard or higher-pitched attack sound, or program a fast filter change to sweep very quickly through the existing sounds attack phase at the start of every note. For example, you can set the filter with an envelope to be fully closed at the start of each note and on note on open partially or fully as quickly as it possibly can. Additionally, have the filter then close right down again: the resulting percussive thlip will sound familiar from many electronic records. into the source synth sound, simply add a completely separate additional percussive hit to the start of each bass note. You want something pretty short and tight, although you may need to both lengthen the attack portion of the hit to make it less obviously drum-like and pitch the hit up or down to get it sitting in the frequency where it feels like it belongs to your complete bass sound and contributes the bite to each note that were looking for.
The tip above provides a clue for another technique: rather than programming a filter sweep
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Also try the above trick but with a sample of white noise: extend, chop and pitch to taste for
a particularly sharp attack noise to add to your bass.
Well cover bass compression below, but if your sound at this point uses any compression
(some synths like the brilliant z3ta+ have a compressor module built in, for example), make sure that the compressor is set with an appropriately long Attack setting to allow the initial transient of the bass notes through unsquashed.
Bass Compression
If youre working with a bass guitar performance or any samples of acoustic bass instruments that are not as apparently malleable as the synth patches weve been discussing so far, youll be relieved to hear that compressors can be used to similarly transform the dynamics of any sound source you choose to feed them. Compression can be used to turn a fairly limp bass guitar recording into a breathing, growling monster, or bring up the detail of timbre and recording artifacts that give the part (and potentially the whole track) a sense of character and uniqueness.
The Kick Drum Most of the tips weve discussed so far for creating and sculpting ultimate bass sounds apply equally to kick drums as well. Layering electronic or sub kick samples with higher-frequency acoustic ones can provide with a desirable combination of character and punch; and of course, compression, limiting and distortion are your best friends when it comes to drum processing too.
Consider that compressor models have different characteristics and can sound quite differ-
ent to each other, particularly when pushed to relatively extreme settings. For compressing bass instruments (and most other things as well), two of the most iconic compressors are the Teletronix LA-2A, Urei 1176 and Empirical Labs Distressor, and there are now plenty of compressor plugins modelled on these original hardware designs such as the Waves CLA2A and CLA-76 and the Universal Audio officially licensed emulations. Why are they often considered to be head and shoulders above the rest? Apart from the intuitive controls, its specifically for their saturation characteristics when driven hard with loud source signals. They can imbue sounds with nice and smooth distortion or extra grit (particularly useful for rock, metal and dubstep).
One trick used by many rock producers is to subgroup the drums and bass together and ap-
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Taking the bass and drums compression idea to an extreme in a sense leads to sidechain
compression. Ive discussed this in much more detail in the GTPS Ultimate Guide to Compression, but essentially youre compressing the bass every time the kick drum sounds, which both ensures the two are adequately separated and also contributes to the cool dynamic breathing effect found in most modern dance and electronic music. other sounds and parts. With this in mind, also try the classic processor chain of a compressor/limiter combination:
You can usually get away with far heavier and more aggressive compression on bass than
One of the main reasons to compress the bass sound will be to enable a significant increase in its overall level: we squash the peaks and bringing the average signal level up. Ironing out the peaks also of course makes the sound more consistent in level, which is doubly important for the track foundation role of basslines and sounds. However, compression can be only part of the solution to processing the bass sound for maximum punch and loudness. One of the significant characteristics of compression is that it works optimally over periods of at least tens of milliseconds: If you try to make a compressor respond faster than this by using very short attack and release times (in an attempt to capture the initial transient hit of the bass note), the compressor begins to respond to individual waveform cycles rather than the greater overall shape of the signal, and you start getting distorted lower frequencies definitely not a desirable side-affect for bass processing! The answer can be to use a compressor together with a limiter, in series. Limiters work in microseconds, which can make all the difference, and the nice soft clipping type of harmonic distortion generated by valve designs (and valve-emulating plugins) rounds rather than hard clips the peaks which conveniently increases perceived loudness. A limiter will only introduce soft clipping on high-level signals, so the idea is that by using a compressor followed by a limiter, you can allow each of them to play to their time-based and amplitude strengths. The compressor evens out the overall level of the signal, not clipping the peaks but bringing them to a more uniform level (you dont have to worry about compressing the peaks anyway, as any that do spill through will be reined in by the limiter thats next in the signal chain). This is then just the sort of raw-but-optimized audio a limiter likes it simply has more signal to work its soft clipping magic on, for achieving maximum overall loudness gains without unwanted compression artefacts.
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Bass EQ
With a suitably loud and consistent bass sound playing back in your mix, the next step will naturally be to refine the way it slots into the frequency spectrum under and around the other instruments. This is the primary role of EQ, and while its difficult to offer universal rules for EQing any sound every situation will have its own problems and solutions there are a few bass-specific EQ tips that are always worth bearing in mind:
When selecting and setting up an EQ plugin for bass, its generally better to start with shelv-
ing EQ rather than introducing bell-shaped EQ curves. This is because its very easy to start boosting or dropping particular frequencies that will make individual notes stick our or disappear undoing the work of your compression processing to keep things nice and even. Shelving EQ will keep any boosts you add suitably broad and non-lumpy. presence that will allow the bass to come through on smaller speakers and to make it feel more smooth and warm; and around 700Hz to bring out any aggressive bite inherent in the bass sound. To really make the bass sound poke out, you can boost a little at around 3kHz. characterising ranges: this applies equally to bass. You might be surprised to find just how much relatively inaudible stuff is going on in the mid and high frequencies of your bass sound, and by cutting these away with EQ or a low-pass filter you can free up this space for the instruments that actually sit primarily in those ranges. However, be careful not to overdo the filtering: sometimes, there are odd bits of pluck noise, string squeak or almost unnoticeable fizz or vibe in the higher frequencies of a bass track that you dont want to necessarily lose completely. Try starting with a low-pass filter at 10kHz, sweep it up and down the frequency range a little as you listen back to the mix, and check its not boxing in the bass sound in any way. If you have a good spread of higher-frequency instruments playing with the bass, this should add a little extra clarity. bass parts as you go through the stages of processing, EQing and sculpting. Each change you make you want to be strengthening the way the two work together: if you find that a significant change to one hurts the way it interacts with the other, its probably better to rethink the new change than potentially be undoing the interaction youve created so far. Always think of any mix change in the context of the full mix this is the only way anyone else is going to hear it, after all.
For specific frequency ranges to boost, try starting at 300Hz or 400Hz for added low-mid
Its generally a good idea to cut high frequencies on any instrument above their particular or
Its a good idea to pay particular attention to the evolving relationship between the kick and
As mentioned in the Ultimate Guides to Compression and EQ, there are decisions to be made about the order in which you apply processing and EQ to your bass sound. There are several
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Sometimes youll find that no matter how much EQ tweaking and adjustment you make, the bass just wont cut through the mix like you want. In these cases, a very simple but effective trick is to just duplicate the bass track and have it playing back on two identical tracks. Here youll simply get more gain to play with and avoid the scenario of pushing a single tracks fader dangerously into the red. And of course from here, youre also ready to process the two tracks either identically or differently, with EQ, compression and distortion. This parallel processing provides you with yet more flexibility and opportunities to sculpt and scale up the bass sound as big as you need it in the mix.
Harmonic Enhancers
Once youve created, distorted, compressed and EQd your bass sound into the mix, you might very well still find that with all the sculpting, not to mention the processing on the other parts in the mix, the bass is not cutting through just as much as you want. Particularly if youre using a relatively clean or smooth bass sound, you might be missing some of the vital upper harmonics we discussed earlier that give the bass that extra presence. An harmonic enhancer plugin here can be more effective than EQ at this point for increasing the clarity and perceived level of the bass sound in the mix. What these processors do is read the incoming material and generate new harmonic content from it. Whats more, they allow you to adjust the balance between the fundamental frequency or root note and these new harmonics (even as far as removing the fundamental frequency completely). This works because the way our brains naturally interpret sounds and harmonics means they tend to hear any missing fundamental if the upper harmonics are present so the processor essentially creates an illusion of more bass while actually potentially reducing the level of the lowest bass frequencies. This is particularly useful for getting your mixes to sound full and bassy even when played on systems with no actual bass response, such as radio or headphones. There are enhancers designed specifically for bass, such as Maxx Bass and Renaissance Bass from Waves.
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Subharmonic Synths/Generators
These work in a similar way to harmonic enhancers, but here youre adding lower frequency harmonics rather than higher. This can be used to add extra weight and sub-bass frequencies that just werent present in the original sound. Some producers also use pitch shifters at this stage for similar effect, pitching a copy of the bass part (and often kick drum too) down by an octave and mixing this with the original. In a sense, this works in the same way as layering different components for the ultimate bass sound that we discussed in Section 1.
frequency they get. This is one technique to help create a really big, epic-sounding synth bass that still keeps the fundamental bass energy front and centre.
Bass Panning
Its generally accepted that the main bass and kick drum parts should always be kept panned to the centre, for a couple of reasons. First is that this shares the high-level bass energy equally between the two stereo speakers, so you maintain maximum impact overall. Another reason is that it maximizes the chances that listeners will always be able to hear the bass properly, even when theyre not positioned directly between the two speakers (moving around or sitting to one side of a large room, for example). However, remember that if youre building your bass sound from multiple layers at different frequencies, and youre working in a genre where the bass is a key melodic or hook feature of the track, consider using separate panning and effects treatments on the layers that dont occupy the lowest frequency regions. For example, youll want to keep sub-bass and any deep layers central, but any mid- or higher-frequency elements of the bass sound some fizzy distortion or filter swooshes on a Dubstep sound, for example could be panned progressively wider the higher in
Related to the above trick, its best to leave the primary, low frequencies of your bass sound clean and powerful, but with the higher layers or frequencies additional effects processing can bring movement and variation to the sound. Therefore, the best sorts of effects for bass, apart from the now familiar distortion, are those that incorporate some kind of sweep or modulation effect: flangers, phasers, and any of the new breed of auto-filters and LFO-shaper plugins are worth a try. Typically bass and delay or reverb are a tricky combination to make work: these effects easily mask and obscure the original sound with their washes of extra sound, which is usually the opposite to what we want when working to create a punchy bass sound. However, there are times when a whole-note delay line could be used to create a sort of arpeggiated variation on your original bass riff, or a bit of pre-delay (and short or non-existent decay time) from a slapback-style reverb can help place the bass in a characterful space. Whichever effects you end up using on your bass sound, be sure to set up a filter after the effect to filter out all the low-frequency return, particularly from a delay or reverb. This way youll get to keep the tight low end of the original untreated bass in place.
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Here, at the end of the production process, youll want to come back to the question of what kind of listening environment youre primarily catering for. Is your music destined for radio play, or are you mainly interested in making club bangers that are optimized for a large and powerful soundsystem? These choices have big implications for the bass element of your mixes: for radio and home listening, for example, its almost pointless creating a monster sub-bass whose fundamental frequency at 50Hz will just disappear on a small speaker system. Here you might want to use an
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Conclusion
Throughout this guide weve covered everything from sourcing and shaping your initial raw bass sounds, to fitting them into full mixes, to applying the full gamut of mix tricks, techniques, processing and effects to make the bass component deliver exactly what you want in the context of your own music productions.
You might find that having worked your way through the different sections, once you get to the final part about mastering and testing your particular tracks, youll have a better understanding of the importance of the discussion at the very beginning: the idea that you can know all the production techniques and have decent equipment, but the bottom line is that you must be able to hear accurately what youre doing - or at least what is going on down in the low frequencies - in order to make bass work well for you.
In this sense, dont worry if your bass doesnt come up to scratch on initial testing on different systems as mentioned: just return to the earlier pages and see if there are any acoustic treatment tips or sound-shaping techniques that you can apply to solve the problem. Most of all, I hope this ebook will be helpful in your next sonic adventures - let me know how you get on at george@getthatprosound.com, and dont forget to check out the GetThatProSound blog regularly for new posts, more tips and more ebooks coming soon.. Best of luck, George Robinson Get That Pro Sound
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These ebooks are designed to be definitive resources on some of the most fundamental principles and practices in modern music and audio production.
Each guide follows a clear structure: Quickly get a solid understanding of the principles behind the tools and processes Apply the techniques and processes in a mix context, with a clear overall strategy save time and mix tail-chasing More advanced Pro techniques, and finishing with a list of additional Pro Tips BUY NOW!