I often parallel the bass, having one mult for subs, one for character and bite (just like you did!) and then grouping them back together and side chain compressing them from the kick so they dip a little every kick hit.
I put it through the instrument input of my dbx 386. Eq with the the 25th anniversary 8Q, I’ll cut where I boost and boost where I cut the kick. I’ll push some I think 2-4K for a little high end pick sound. Then compress with about 3-6 db of gain reduction. Throw it through GTR with a Marshall style cab and head, than sans amp. For my hard rock, post hard core, progressive rock style of music it really sounds good. You rock, dude!
It really varies from song to song. But, I recently started to track the bass guitar with the limiter on the way in so the transients don't poke out making the signal easier to mix.
Make it sound right, summed to the 5" mono speaker first, and keep that low-end clean no matter what is my view. Then go crazy in stereo with the bass. I want to achieve that skin tickling bass above anything, even it takes me years to learn.I love electronic tracks re-amped to taste....in search for that 'tickle' in the re-amping/ or mic-ing stage so to speak. I was listening to Polyphia's G.O.A.T. just an hour ago, there are some excellent bass fx in there, and they really land. Stuff that makes you think.
I would really love to see more 'electronic productions' in general on the channel. I think a lot of people watching the videos are producers that are trying to up their mixing skills and not necessarily mixing engineers. Mixing videos of like 'spotify top 10' type songs would be great. I'm talkings programmed drums, synth bass & 808s, synth chords, etc. Other than that i do really love the videos but i feel like they are not quite down the alley of at least some of the viewers
Working on a mix today, took a lunch break and watched the first bit of this video. Came back to the mix and used your High Pass/Low Pass DI/Amp technique, sounding great! Really helps to control the low end and dial in the tone!
warren, dave pensado once remarked that when you hire a mixer you buy their preferences. i think that one of the biggest hurdles to clear is to trust ones judgement. you must compare obviously, but eventually you have to trust yourself. this offering was a perfect example of preference purchasing....thank you
Warren, another fantastic video. I continue to learn more from your channel than I did in recording arts school in the early 1990's back at Fanshawe College in London, Ontario. Thanks for passing your knowledge and insights along and keep up the great work!
hp filter until 48 hz (and boost 48 hz ) Lp filter until 3.5 khz (boost 3.5 khz ) .Boost 500 hz for bass guitar and cut 500 hz for kick. (to achieve more kick and bass seperation and to eliminate unwanted kick-bass interfere .)
Produce Like A Pro ... could you please do a section on fixing instruments/bad sounds. We don’t all have access to instruments or players and have to work with what we have.... thank you so much
When Ulrich solo'd the bass and drums together, they sounded incredible. I use that same Darkglass plugin frequently. Sometimes I'll double the track and use a separate Darkglass setting on each -- one clean and one distorted. I also like Plugin Alliance's Ampeg plugins, and the Cerberus Bass Amp plugin by Kuassa. I wouldn't say there's any one technique I use for bass, though I do have certain go-tos for certain sounds. The big thing is figuring out what type of sound you want. Sometimes I have something specific in mind, and sometimes I stumble onto something unexpected because nothing else is working. I really related to what Ulrich was saying about mixing being "discovery." I spend more time picking out the right sounds that I do on levels or EQ.
So much good information in this video. I am a fan of the blending thing. Extreme and consistent distortion on a duplicated track with no low end gives me an aggressive bass that provides energy to the mix and glues it together.
Super wonderful video! Thank you so much Warren, please do more of videos like this! And special thanks for inviting other great producers so people can see how to mix bass from different perspectives!
LOVING the use of stock Logic plugins here :) Love being reminded that all have the tools with a basic DAW setup and don’t need to own the latest expensive plugins to get great sounds.
Seeing Warren in headphones makes me think of another important thing to consider when you are mixing in general but especially with bass. Your listening environment matters (and if you have been watching Warren’s phenomenal content for any meaningful amount of time you have probably heard Warren say this too). When you are using headphones, one thing that often gets overlooked is the headphone amp. Having a good headphone amp can often make a huge difference in your ability to hear the bass. Lots of audio interfaces, even good ones, don’t have great headphone amps. My go to choice is Cranborne Audio’s new headphone amp since it is really good and it is sub-$200 but there are many good choices
This video has made me appreciate your teaching style much more. You have a way of teaching. These guys are all great but playing through and bypassing and enabling really gives us the ears to learn, we didn't get that from most of the guest mixers as much. Very valuable info in all though
Absolutely superlative. Really inspiring and insightful video- I know there's a lot of retreading old ground, but it means my DAW's open on an evening it might not have been. Thanks Warren and all the Pros!
Hello Warren, became a new subscriber recently. The learning here is beyond enlightening and this particular presentation was/is fantastic! Old school hard headed hardware musician deep diving in the digital domain. Absolutely loving the mixture and expansive possibilities combining the two.
I guess I've found after 6 years of active producing the fundamental truth of which I was not aware of and always failed with bass part - I was not aware of distortion and saturation. I always applied amps, compressors and EQ adjustment, but never pure distortion or saturation, because I thought I was doing something wrong, it starts sounding more like heavily driven guitar if you know what I mean, and yeah, by solo playing - you don't need any of that, but that thing really helps bass cut through the mix when you add all other instruments that cover the stereo spectrum. And you don't necessarily hear distortion of the bass in the mix, but you can hear the bass more clearly in the mix, not just a muddy low-end frequencies build up that muds up all the mix.
Hi. This might be an obvious question, but I am new to recording. To get a direct input track and a microphone track, do you record the bass line twice (once for di, once for mic) or do you split the signal? Awesome video, by the way.
Willie, Nick and Warren were the most useful bits of info for me. Nick's credits include YYY's almost had me cracking up since they didnt have bass on most of their stuff, and none of their early songs. Now I'm starting to wonder if he's the reason they started to add bass to their songs cause his ideas are pretty cool!
Is everyone tuning bass to the attack, sustain or flat? Just wondering I saw warren talk about it but can't find what video that was. I'm tuning to attack depending on how fast the bass parts are and how hard the picking or RH part is going to be played. Same with guitar. Using A-440
Great information. and perspectives, I am still a newbie to mixing my own odd compositions, some work better than others but some youtuber recently introduced me to transient shaping and a decent free dynamic eq that can also act like a compressor Its only recently Ive found these tools to be helpful, right out of the box.
Hi Warren, another great video and I hope that You're doing marvelously well. I've got off-topic question cause You are the only high class mixer guy who responds to most questions. If You could buy a new console to mix a rock/heavy music, then what would that be? 1. Neve 88RS 2. SSL Duality Fusion 3. Rupert Neve 5088 4. Other Thanks and Cheers from Poland!
@@Producelikeapro I'm a fan of Chris Lord-Alge and Randy Staub so You know ... SSL. But As U know even better than Me, used one can maintain even more money as a time goes by to service them and stuff like that. I saw that Capitol and Abbey Road bought 88RS and La Fabrice (Mix With The Masters) also had one so I was wondering is in Your opinion (experience maybe working with them) to chose between Duality Fusion and 88RS. Or maybe I'm wrong and it's still the best to get a good old SSL 4000 and thank's for Anwser!
@@gutekzpoligonu it does sound like an SSL 4000 is the sound you love! If it's JUST for mixing, then that's pretty unbeatable. However, the newer consoles will give a better feature set for tracking, monitor mixes etc.
@@Producelikeapro Thank U and as always You didn't "disappoint" people who watch this channel. It's good to know that having a career doesn't mean to be a jerk. Once Again THANK YOU!
Freaking awesome bass tutorial for recording Warren! I'm a guitar player and I understand most of everything you're doing but I never knew you could do so much of that and mix everything into one thing one track it's amazing! question.... I'm not going to understand the mv2? You didn't really explain that. it sounds like an overdrive is that what it is or is it eq ? Thanks man keep on making them videos! PS I really enjoyed the Bob Clear mountain video! He's a monster in my favorite in a super humble nice guy.
bass-challenged listening environments have been a bane to many a bassist... I remember in 2010 when I recorded a bass playalong to a song with a powerful bottom end, and everyone I sent it to said he/she doesn't hear the bass. What they were listening it on? On laptop speakers. People are really dumb sometimes.
Hello, there! Don't know if Warren has alread answered this in a different video. But I can't remember seeing him gain stage his plugins. I always assume it is for time's sake, because doing it properly and editing this for the video would take much longer. Or does he also not care about it on his real mixes? I usually care about this a lot, and reducing unwanted artifacts makes a hearable difference to me. I don't mean to criticise l! I am only interested in his approach!
Love this video Warren, really cool idea to get 7 different versions/approaches to bass. If you have time (or anyone in the PLAP community) could you let me know your thoughts on how you would approach using only a Sansapp Bass Driver DI as my Bass sound. I use this pedal to record my bass, as I don't have an amp. When I use the pedal I dial in the tone I like, including saturation. Would you simply compress the recording after or are their other approaches you would use when only using the sansamp DI pedal? I have seen your videos where you duplicate the DI and make one clean and one saturated, and eq them differently, but in this case I already add saturation and eq on the pedal when plugging in a recording. Thanks so much for your time.
@@Producelikeapro I just found an SOS article talking about this and they say it's caused by phase differences. So in the bass case, maybe using 2 pickups causes some out of phase additions and subtractions that are making the signal bias in a particular direction. Just a guess. Maybe I'll test with 1 pu vs 2 and see if the results show a difference.
Anyone think that visual EQ's, especially ones that suggest "problem areas" like what's featured in Ariel Chobaz's section, might be a large reason why much of modern music sounds boring and interchangeable? Instead of crafting sounds based on one's ears, perhaps people are automatically cutting and boosting with copy-paste settings and relying too much on their eyes.
There EQ he used showed him the build between the two sources, however he’s obviously skilled enough to have heard that as well. However, for those people who know there’s an issue but don’t know how to find it then I’m sure it is a useful tool. I agree, I don’t go detaching for problems, I hear them and then try to figure where they are.
Just a general question about tracking preferences :noise issues on an old P or J bass as opposed to a more modern active bass that can reproduce the sound of a vintage P or J bass? Your thoughts please. Thanx 😊
Warren, what do you do if you record into the box with no microphones or amps? Do you duplicate the bass track and apply a amp simulator to one of them? You have a recent video of Marc Daniel Nelson saying the Ampeg B-15N amp sim is so good he's stopped re-amping basses. Hence, in the box.
I was just thinking.. I wonder if Warren has a video on 'where the kick is meant to be' I struggle with the kick.. I've had a couple of mastering engineers send the mix back saying the kick is 6dB too loud 🤔 .. but I've got no yard stick on this
Is / was it a technique to hard pan basses? Fretless in the left, P in the right, synth bass heavy left but the tail is on the right?? Or are my ears just fried?
Cool video Warren! I think most amateurs struggle with this. One thing I know that got me really hung up was seeing people filtering bass anywhere from as far up to 60-90 hz in metal music… I’m not sure where that originated. But it creates some pretty boring metal mixes to me. Sounds really sterile and not big in the slightest. I stopped doing that and trusted my ears and let the bass be a bass and it changed my mixes. What are your thoughts on that?
You didn't said "au revoir" in the end, unsubscribe ! Just kidding 😁 Very great stuff, I didn't know that the the 1/3k area in the bass was a thing, definitely going to try that ! My favorite was the Static-X bass tone, amazing ! I remember when I heard Static-X for the first time in Street Skater 2 when I was a kid growing up with skate and punk rock, I've always though that the sound of the band was so special even I didn't know anything about mixing. And what you said about "it's an ugly bass tone that fits in the mix" is what I say to my friends each time I see them mixing in solo, instead of shaping in solo/mixing with drums like you do here. Thanks again for all the work you put in this channel, cheers from France ! (Pardon if my English is not very bien)
You usually duplicate bass tracks. How about sending the signal to a bus before the plugins in the signal flow? What are the advantages and disadvantages of working this way? Why do you prefer your way?
Not entirely sure what you mean? High and Low passing each element away from each other creates much better phase. Maybe I'm confused with what you're saying?
@@crawfordmerk the DI is a much cleaner sounding Low End and with the low end removed from the Amp you don't get any phase issues between the two sources as the low end is only coming one source, the DI.
Sorry, let me clarify. I could have worded it better. What if you dont high pass or low pass the DI, but you high pass the amp track. This way you can get/blend the character and articulation from both tracks and only get the low end from the DI
The part with F. Reid Shippen, was wayyy to much processing. Sure the bass sounded great afterwards. But it could have still been done with way less in my opinion.
@@ProducelikeaproThat's how i approach any mix, from composing to mastering it. I often find the result to be better when doing as little as possible. Less is more 😀
I just keep thinking how fake music has become with digital plugins and then of course modelers for live. The old guy in me is thinking what would these musicians be doing if it were the 70s and they just needed to create a raw good sound to reproduce live without producer magic.
I've made many albums with Jack Douglas, who produced Aerpsmith Rocks, Toys In The Attic and many more, plus Shelly Yakus, who did Damn The Torpedoes, Don't Fear The Reaper and many, many more and lot's of other 60/70s Engineers and Producers and the amount of compression they used, plus hitting tape is dramatically more than I naturally use, Jack iOS always asking me to add more!
@@Producelikeapro Sorry yes it was. I feel like I've been told off slightly lol!! It would be really great if you could do some things Reggae-orientated Warren, thank you.
What do you do to your bass when mixing? Let me know your thoughts on the video by commenting below!
I often parallel the bass, having one mult for subs, one for character and bite (just like you did!) and then grouping them back together and side chain compressing them from the kick so they dip a little every kick hit.
I put it through the instrument input of my dbx 386. Eq with the the 25th anniversary 8Q, I’ll cut where I boost and boost where I cut the kick. I’ll push some I think 2-4K for a little high end pick sound. Then compress with about 3-6 db of gain reduction. Throw it through GTR with a Marshall style cab and head, than sans amp. For my hard rock, post hard core, progressive rock style of music it really sounds good. You rock, dude!
It really varies from song to song. But, I recently started to track the bass guitar with the limiter on the way in so the transients don't poke out making the signal easier to mix.
Make it sound right, summed to the 5" mono speaker first, and keep that low-end clean no matter what is my view. Then go crazy in stereo with the bass. I want to achieve that skin tickling bass above anything, even it takes me years to learn.I love electronic tracks re-amped to taste....in search for that 'tickle' in the re-amping/ or mic-ing stage so to speak. I was listening to Polyphia's G.O.A.T. just an hour ago, there are some excellent bass fx in there, and they really land. Stuff that makes you think.
I would really love to see more 'electronic productions' in general on the channel. I think a lot of people watching the videos are producers that are trying to up their mixing skills and not necessarily mixing engineers. Mixing videos of like 'spotify top 10' type songs would be great. I'm talkings programmed drums, synth bass & 808s, synth chords, etc. Other than that i do really love the videos but i feel like they are not quite down the alley of at least some of the viewers
Working on a mix today, took a lunch break and watched the first bit of this video. Came back to the mix and used your High Pass/Low Pass DI/Amp technique, sounding great! Really helps to control the low end and dial in the tone!
That's great to hear! Glad to be able to help!
warren, dave pensado once remarked that when you hire a mixer you buy their preferences. i think that one of the biggest hurdles to clear is to trust ones judgement. you must compare obviously, but eventually you have to trust yourself. this offering was a perfect example of preference purchasing....thank you
Thanks Warren, that was really useful. Quite a collection of buddies you have there.
Infiniy EQ is such a great EQ, the only thing it "lacks" is dynamic processing
Wonderful techniques for me to absorb and practice.
Thanks ever so much
I love seeing different approaches to the same topic. Very helpful with some great ideas. Great Job @warren and guests
Thanks ever so much Paul!
Warren, another fantastic video. I continue to learn more from your channel than I did in recording arts school in the early 1990's back at Fanshawe College in London, Ontario. Thanks for passing your knowledge and insights along and keep up the great work!
Wow! Thanks ever so much Chris! You Rock!
hp filter until 48 hz (and boost 48 hz ) Lp filter until 3.5 khz (boost 3.5 khz ) .Boost 500 hz for bass guitar and cut 500 hz for kick. (to achieve more kick and bass seperation and to eliminate unwanted kick-bass interfere .)
Thanks for sharing!
Fantastic video! This is very helpful.
You're very welcome Eric!
More bass guitar recording and mixing videos please
Always!
Produce Like A Pro ... could you please do a section on fixing instruments/bad sounds. We don’t all have access to instruments or players and have to work with what we have.... thank you so much
@@one2micreview846 marvellous idea!
When Ulrich solo'd the bass and drums together, they sounded incredible. I use that same Darkglass plugin frequently. Sometimes I'll double the track and use a separate Darkglass setting on each -- one clean and one distorted.
I also like Plugin Alliance's Ampeg plugins, and the Cerberus Bass Amp plugin by Kuassa. I wouldn't say there's any one technique I use for bass, though I do have certain go-tos for certain sounds. The big thing is figuring out what type of sound you want. Sometimes I have something specific in mind, and sometimes I stumble onto something unexpected because nothing else is working. I really related to what Ulrich was saying about mixing being "discovery." I spend more time picking out the right sounds that I do on levels or EQ.
Another Killer on time tutorial Warren, and yeah, I joined!!! Thanks and Keep em coming!!
Fantastic! Look forward to seeing you in there Bradley!
Thanks for video and tips
You’re very welcome
So much good information in this video. I am a fan of the blending thing. Extreme and consistent distortion on a duplicated track with no low end gives me an aggressive bass that provides energy to the mix and glues it together.
Sound Toys Radiator works well with SansAmp on gritty bass. I'll throw a noise gate on after to get rid of excessive string noise, etc.
Thanks ever so much for sharing
What’s up, Warren! Love the channel, I’ve learned a ton!
Thanks ever so much!!
Super wonderful video! Thank you so much Warren, please do more of videos like this! And special thanks for inviting other great producers so people can see how to mix bass from different perspectives!
Love that Nick wasn´t afraid of panning the bass to the right!!
If it works! Haha
LOVING the use of stock Logic plugins here :) Love being reminded that all have the tools with a basic DAW setup and don’t need to own the latest expensive plugins to get great sounds.
Fantastic! Thanks ever so much!
I love the sound of a clean bass guitar.
Seeing Warren in headphones makes me think of another important thing to consider when you are mixing in general but especially with bass. Your listening environment matters (and if you have been watching Warren’s phenomenal content for any meaningful amount of time you have probably heard Warren say this too).
When you are using headphones, one thing that often gets overlooked is the headphone amp. Having a good headphone amp can often make a huge difference in your ability to hear the bass. Lots of audio interfaces, even good ones, don’t have great headphone amps. My go to choice is Cranborne Audio’s new headphone amp since it is really good and it is sub-$200 but there are many good choices
Thanks ever so much Jared!! You Rock!
That was great, myriad low end types, and bass sounds across the board. All useful, all mamoth, and some superb teeth shakers. Thank you
You’re very welcome!!
Much appreciated once again Warren 🙌🏽
Thanks ever so much Lamell!
This was cool. Thanks Warren.
Thanks ever so much
This video has made me appreciate your teaching style much more. You have a way of teaching. These guys are all great but playing through and bypassing and enabling really gives us the ears to learn, we didn't get that from most of the guest mixers as much. Very valuable info in all though
Thanks ever so much Matthew!
Great concept! Love it!
Thanks ever so much!
Nick's was just Badass!
Thanks ever so much
Absolutely superlative. Really inspiring and insightful video- I know there's a lot of retreading old ground, but it means my DAW's open on an evening it might not have been. Thanks Warren and all the Pros!
Thanks ever so much
Awesome! Thanks for doing that. Gave me lots of ideas and a new perspective.
Always invaluable information from you man. Cheers!
Thanks ever so much!
@@Producelikeapro My pleasure!
@@RC32Smiths01 always great to read your comments!
@@Producelikeapro why thank you!
@@RC32Smiths01 you're most welcome!
This was awesome. Thanks Warren!
Great video! I love the distortion tips for getting the bass to speak on small speakers
Great video. I really got something out of all sections.
Thanks ever so much Pat!
Thank you so very much! This was a big help!
You're very welcome!
What a gem. Amazing video
Thanks ever so much
Hello Warren, became a new subscriber recently. The learning here is beyond enlightening and this particular presentation was/is fantastic! Old school hard headed hardware musician deep diving in the digital domain. Absolutely loving the mixture and expansive possibilities combining the two.
Very useful, thank you!
Glad to be able to help
I guess I've found after 6 years of active producing the fundamental truth of which I was not aware of and always failed with bass part - I was not aware of distortion and saturation. I always applied amps, compressors and EQ adjustment, but never pure distortion or saturation, because I thought I was doing something wrong, it starts sounding more like heavily driven guitar if you know what I mean, and yeah, by solo playing - you don't need any of that, but that thing really helps bass cut through the mix when you add all other instruments that cover the stereo spectrum. And you don't necessarily hear distortion of the bass in the mix, but you can hear the bass more clearly in the mix, not just a muddy low-end frequencies build up that muds up all the mix.
great Video !!! My old fender bassman 2x15" cabinet is Amp and Di in one
Thanks ever so much for sharing André!
Beauty of a video, interesting how many of the same broad themes are shared across genre and method.
Thanks ever so much
A great selection of techniques, I noticed another feature for myself, thank you.
Thanks ever so much Serge!
Hi. This might be an obvious question, but I am new to recording. To get a direct input track and a microphone track, do you record the bass line twice (once for di, once for mic) or do you split the signal? Awesome video, by the way.
Thanks again Warren for putting together all this amazing content.
Willie, Nick and Warren were the most useful bits of info for me.
Nick's credits include YYY's almost had me cracking up since they didnt have bass on most of their stuff, and none of their early songs. Now I'm starting to wonder if he's the reason they started to add bass to their songs cause his ideas are pretty cool!
Thanks ever so much for sharing
This is a fantastic video--
Thanks ever so much
Amazing as always my friend 🤘
Thanks ever so much Ant!
You wanna learn about low end? PLAP is the place! Extensively discussed in the academy, all the time :-)
Thanks ever so much Chris!
Thank you soo much Warren!! Great video! All about that bass in one place! ☺️
Thanks ever so much!
Thank you for sharing.
Thanks ever so much!
Always like to watch Warren mix!
Thanks ever so much Joe!
Great idea to make a compilation of techniques and styles. 🙏
Thanks ever so much!
Slate is great ! Their plugins are awesome! Very nice video !!!
Absolutely! Agreed 100%!
TY 🔥🔥🔥
Thanks ever so much
Is everyone tuning bass to the attack, sustain or flat? Just wondering I saw warren talk about it but can't find what video that was. I'm tuning to attack depending on how fast the bass parts are and how hard the picking or RH part is going to be played. Same with guitar. Using A-440
I usually spend time working with the bass player on their performance so the sustain and the attack maintain consistent tuning
Amazing video. Seeing other engineers workflows and rationales is the best education you could ask for.
Thanks ever so much Malcolm!
Great information. and perspectives, I am still a newbie to mixing my own odd compositions, some work better than others but some youtuber recently introduced me to transient shaping and a decent free dynamic eq that can also act like a compressor
Its only recently Ive found these tools to be helpful, right out of the box.
Hi Warren, another great video and I hope that You're doing marvelously well. I've got off-topic question cause You are the only high class mixer guy who responds to most questions.
If You could buy a new console to mix a rock/heavy music, then what would that be?
1. Neve 88RS
2. SSL Duality Fusion
3. Rupert Neve 5088
4. Other
Thanks and Cheers from Poland!
Wow! Huge question! All of those are great options! What do you already know and love?
@@Producelikeapro I'm a fan of Chris Lord-Alge and Randy Staub so You know ... SSL. But As U know even better than Me, used one can maintain even more money as a time goes by to service them and stuff like that.
I saw that Capitol and Abbey Road bought 88RS and La Fabrice (Mix With The Masters) also had one so I was wondering is in Your opinion (experience maybe working with them) to chose between Duality Fusion and 88RS.
Or maybe I'm wrong and it's still the best to get a good old SSL 4000 and thank's for Anwser!
@@gutekzpoligonu it does sound like an SSL 4000 is the sound you love! If it's JUST for mixing, then that's pretty unbeatable. However, the newer consoles will give a better feature set for tracking, monitor mixes etc.
@@Producelikeapro Thank U and as always You didn't "disappoint" people who watch this channel. It's good to know that having a career doesn't mean to be a jerk.
Once Again THANK YOU!
@@gutekzpoligonu you're very welcome!
Excellente
Thanks ever so much!
This is awesome.
What’s the song that nick demonstrated? Thursday by ? Excellent sound but can’t find the band
It's from this course here:- promixacademy.com/course/recording-mixing-glam-punk-with-nick-launay/
super cool, there are too few bass mixing tutorial imo 🤘🤘🤘
Thanks ever so much
Bass in the place 🎉🎉
Haha yes, indeed!!
Freaking awesome bass tutorial for recording Warren! I'm a guitar player and I understand most of everything you're doing but I never knew you could do so much of that and mix everything into one thing one track it's amazing! question.... I'm not going to understand the mv2? You didn't really explain that. it sounds like an overdrive is that what it is or is it eq ? Thanks man keep on making them videos! PS I really enjoyed the Bob Clear mountain video! He's a monster in my favorite in a super humble nice guy.
bass-challenged listening environments have been a bane to many a bassist... I remember in 2010 when I recorded a bass playalong to a song with a powerful bottom end, and everyone I sent it to said he/she doesn't hear the bass. What they were listening it on? On laptop speakers. People are really dumb sometimes.
Hello, there! Don't know if Warren has alread answered this in a different video. But I can't remember seeing him gain stage his plugins. I always assume it is for time's sake, because doing it properly and editing this for the video would take much longer.
Or does he also not care about it on his real mixes? I usually care about this a lot, and reducing unwanted artifacts makes a hearable difference to me. I don't mean to criticise l! I am only interested in his approach!
I noticed this too - pretty much none of the examples are gain matched; and like you I thought that was Interesting, rather than a criticism.
That Darkglass distortion is awesome! Is that a Spector bass? It sounds like mine 😊
i'm the like number 100!!!do i win anyhting Warren???
hahahaha another great one!!!
cheers from Rhodes Greece!!!
Thanks!! Lovely Rhodes! How I miss Rodos! Hope to be back very soon!!
Love this video Warren, really cool idea to get 7 different versions/approaches to bass. If you have time (or anyone in the PLAP community) could you let me know your thoughts on how you would approach using only a Sansapp Bass Driver DI as my Bass sound. I use this pedal to record my bass, as I don't have an amp. When I use the pedal I dial in the tone I like, including saturation. Would you simply compress the recording after or are their other approaches you would use when only using the sansamp DI pedal? I have seen your videos where you duplicate the DI and make one clean and one saturated, and eq them differently, but in this case I already add saturation and eq on the pedal when plugging in a recording. Thanks so much for your time.
hello great man. do you still using the kali audio in8 v2? i want to buy the same model. good ideia? please help me
Yes! Use them and love them in my other room!
Do you ever use bass impulse responses and virtual cabs?
In your example #7 I notice the DI track has a stronger signal down than up. I notice the same on my DI Bass tracks. What causes that?
If it really bad then it could be DC Offset from voltage going into the audio path. In this instance it isn’t though
@@Producelikeapro I just found an SOS article talking about this and they say it's caused by phase differences. So in the bass case, maybe using 2 pickups causes some out of phase additions and subtractions that are making the signal bias in a particular direction. Just a guess. Maybe I'll test with 1 pu vs 2 and see if the results show a difference.
Ultimately it really just matters how it sounds
Hi Sir could you please tell , How can Begginer Start Mixing and producing.and any Good tips
Anyone think that visual EQ's, especially ones that suggest "problem areas" like what's featured in Ariel Chobaz's section, might be a large reason why much of modern music sounds boring and interchangeable? Instead of crafting sounds based on one's ears, perhaps people are automatically cutting and boosting with copy-paste settings and relying too much on their eyes.
There EQ he used showed him the build between the two sources, however he’s obviously skilled enough to have heard that as well. However, for those people who know there’s an issue but don’t know how to find it then I’m sure it is a useful tool. I agree, I don’t go detaching for problems, I hear them and then try to figure where they are.
Just a general question about tracking preferences :noise issues on an old P or J bass as opposed to a more modern active bass that can reproduce the sound of a vintage P or J bass? Your thoughts please. Thanx 😊
Warren, what do you do if you record into the box with no microphones or amps? Do you duplicate the bass track and apply a amp simulator to one of them?
You have a recent video of Marc Daniel Nelson saying the Ampeg B-15N amp sim is so good he's stopped re-amping basses. Hence, in the box.
I was just thinking.. I wonder if Warren has a video on 'where the kick is meant to be' I struggle with the kick.. I've had a couple of mastering engineers send the mix back saying the kick is 6dB too loud 🤔 .. but I've got no yard stick on this
Bass for me is the hardest thing to mix. I like to dial in the sound on the bass preamp and be lazy! Just means I have to get it right at source!
Is / was it a technique to hard pan basses? Fretless in the left, P in the right, synth bass heavy left but the tail is on the right?? Or are my ears just fried?
Cool video Warren! I think most amateurs struggle with this. One thing I know that got me really hung up was seeing people filtering bass anywhere from as far up to 60-90 hz in metal music… I’m not sure where that originated. But it creates some pretty boring metal mixes to me. Sounds really sterile and not big in the slightest. I stopped doing that and trusted my ears and let the bass be a bass and it changed my mixes. What are your thoughts on that?
Thanks ever so much for sharing your insight
Your bass line reminded me very much of Tom Petty's Freefalling :-)
Wow! What an amazing song that is!
@@Producelikeapro It is. do you hear it too or are my ears playing tricks on me? Anyone??
Total LA song
Nice.
Old video? Cant see the new Genelecs.
Combination of old and new video content!
Time stamps anyone?
There is a link under the video in the description. Many thanks
CAN YOU PLEASE MAKE TIMESTAMPS?
There is a link under the video. Many thanks
You didn't said "au revoir" in the end, unsubscribe !
Just kidding 😁 Very great stuff, I didn't know that the the 1/3k area in the bass was a thing, definitely going to try that ! My favorite was the Static-X bass tone, amazing ! I remember when I heard Static-X for the first time in Street Skater 2 when I was a kid growing up with skate and punk rock, I've always though that the sound of the band was so special even I didn't know anything about mixing. And what you said about "it's an ugly bass tone that fits in the mix" is what I say to my friends each time I see them mixing in solo, instead of shaping in solo/mixing with drums like you do here.
Thanks again for all the work you put in this channel, cheers from France ! (Pardon if my English is not very bien)
Merci beaucoup! Je m'excuse! So glad you enjoyed the video! Your comment was tres bien mon ami! Au revoir!
@@Producelikeapro haha thanks dude ! 😄
You usually duplicate bass tracks. How about sending the signal to a bus before the plugins in the signal flow? What are the advantages and disadvantages of working this way? Why do you prefer your way?
nice
doesnt mixing with two simultaneous bass tracks create massive mud and phasing?
also in the second lesson the key strokes are heavily compressed and saturated ...chuaggahh.chugggauuh :-)
TH-cam´s compression makes this sound pretty bad :( Otherwise awesome video.
God bless youtube!
❤
Thanks ever so much!
Why didn’t you only high pass the amp track? I feel like that would give the DI more character and not have the low end phase issues
Not entirely sure what you mean? High and Low passing each element away from each other creates much better phase. Maybe I'm confused with what you're saying?
@@Producelikeapro I meant the only lows you cut from the bass is from the amp track
@@crawfordmerk the DI is a much cleaner sounding Low End and with the low end removed from the Amp you don't get any phase issues between the two sources as the low end is only coming one source, the DI.
Sorry, let me clarify. I could have worded it better. What if you dont high pass or low pass the DI, but you high pass the amp track. This way you can get/blend the character and articulation from both tracks and only get the low end from the DI
@@crawfordmerk if you like! I would suggest trying it!
the last track reminded me of ghost
The part with F. Reid Shippen, was wayyy to much processing. Sure the bass sounded great afterwards. But it could have still been done with way less in my opinion.
Cool! How everything interacts is the most important thing! Would love to hear your completed mix with much less processing!
@@ProducelikeaproThat's how i approach any mix, from composing to mastering it. I often find the result to be better when doing as little as possible. Less is more 😀
naissss
Thanks ever so much
Do not watch on a phone, you will hear nothing at certain points lol
Haha indeed!
I just keep thinking how fake music has become with digital plugins and then of course modelers for live. The old guy in me is thinking what would these musicians be doing if it were the 70s and they just needed to create a raw good sound to reproduce live without producer magic.
I've made many albums with Jack Douglas, who produced Aerpsmith Rocks, Toys In The Attic and many more, plus Shelly Yakus, who did Damn The Torpedoes, Don't Fear The Reaper and many, many more and lot's of other 60/70s Engineers and Producers and the amount of compression they used, plus hitting tape is dramatically more than I naturally use, Jack iOS always asking me to add more!
:)
Thanks ever so much Audrey
Still no Reggae...
Is that could we have some Reggae Bass mixing? I have a couple of things in the works!
@@Producelikeapro Sorry yes it was. I feel like I've been told off slightly lol!! It would be really great if you could do some things Reggae-orientated Warren, thank you.
@@patkelly8309 haha yes, it seemed a little uncharacteristic of you my friend! More to come!
@King Yellowman fantastic!!
Without the phlegm it would be so much better