The first tip "Using the Same cab or Impulse" is such a obvious thing to do when trying to make bass and guitars glue together. BUT WHY THE F HAVEN'T I EVER THOUGHT ABOUT IT!? Very good tip guys! Keep up the good work!
I’m a desperately broke touring musician that only has a Kiesel, an iRig, and an iPad for my studio, and these videos are invaluable. Thank you for all you’ve done.
Thanks so much, I just tried the "same IR tip" and this absolutely makes a difference. Since two years I was haunting for "my" bass tone, I was never happy with. I am still confused about it, because I was so used to this problem, that it feels kinda like something is missing in my life now 😀. Alright, another problem solved. Thanks again
The results are similar to the glue between bass and guitars that Andy Wallace get in Linkin Park's "Dont's Stay". I'm study his mixing techniques and came to a similar conclusion on how he get the results, i was thinking that he group both instrument and apply some kind of compression but the limiter trick have more sense now. Grat content!!!!
One amazing thing I've started doing is using Smooth Operator on the highs and lower mid range of the bus. Everyone knows you can do the multiband on palm mutes but on the bus it just really helps to keep the mud and the scratchy stuff under control for both and it sounds massive.
@@midlifeadventures3138 no, by baby audio. Its basically a multiband compressor but it smoothes out harsh frequencies, a bit like Soothe but more extreme
@@Jazzguitar00 cheers, I might have to pick that up. Soothe is so expensive. Smooth Operator is more like a specific dynamic eq than soothe really but it's great
You know that the amount of info in this video is heavy when Miami is sitting down for this one 🤣. Jokes aside. That split bass technique has helped me a lot. I'll definitely try the same IR trick for sure now!
@@joeymusic hey Joey, this video is essential, and I wanna see other pair-ups. voice and guitar, voice and drums, percussion, etc. Thanks for asking! I always need to improve my production and these videos make each new song better. 🥳
Hey Miami, really enjoy the channel! Can you please do a video on how you process a guitar that is using a stereo setup? I am familiar with recording two different performances and panning those, but what do you do when the guitar is giving you a mono signal but stereo FX from, say a modeler during tracking?
Another great video, thanks! I have a question, I've seen some producers duplicate the exact same guitar DI take and process each duplicate through separate amps with amp sims in the box. Are there any drawbacks to doing this? I think Joey mentioned doing this in the episode of Nail The Mix where he covered Oceano, and I believe I saw Meshuggah had done something similar on Future Breed Machine. I've always been hesitant to use the same DI take more than once (e.g. how it sounds worse to duplicate the same track and pan one left and the other right, creating that 'big mono' sound rather than having separate DI takes for the left and right channel). Is there a particular approach to this that should be done? Is it the fact that they're processed through different amps (and cabs?) that makes it less problematic? Is it better to use a separate DI take for the left and right channels but using the same amp model on both channels, or to use the same DI track but duplicated so it has one copy going to the left channel and the duplicate going to the right channel but using different amp models? Or is it best to try separate DI's for left and right as well as separate amp models for the left and right channel? I'm expecting this last option to be the most ideal but would love your input. Cheers!
what about bass with acoustic guitar, and the different types of acoustic guitars there are from Parlor to dreadndnaught? I can't find anything on how to mix electric bass with acoustic
Hey Miami, great video as always! May I ask how you quantize bass in Reaper? I do the „set stretch markers + adjust transient sensitivity + set sm to grid“ method. Just wondering if there is a quick and dirty method just like in Logic or Studio One (or even PT) as those are way faster. Thanks so much for the high quality content! Best, Andy
That was amazing man! Just one quick question, what did you use to lock the bass to the grid? Beat Detective? I'm asking cus I usually have a hard time using beat detective on instruments.
Hey Miami! Great video as always. Are any of these steps doable in reverse? For example, I was wondering, if you had a solid bass tone and were trying to get the guitars to gel, would it make sense to match the cab of the guitar with the bass. Some bass cabs won’t work for this, but I wondered if you had tried that and if it yielded good results. I am particularly thinking of the JST matched cab from bassforge Hellraiser. That thing is a monster!
I wouldn’t try this simply because that extended low end from a bass cab isn’t going to work well on the guitar, and it isn’t going to get the high end right -Miami
Would you recommend just programming the bass to get it tight from the get go? I'm currently trying to decide if I should get a bass guitar, which I'm more comfortable with, or to get a sample bass vst, which would be more convenient.
So this is interesting... I know it's a matter of taste but figured I'd ask here. I've seen videos where people low pass the guitars (just like in the example) and cut frequencies above 10k. I've also seen tutorials where they only high pass, leaving space for the kick and bass. Is it typical to low pass rhythm guitars above say 10k? I've tried it before and feel like it neutered the guitar tones. Curious on others thoughts!
In my experience it really depends on the tone and the sound you’re going for, more aggressive higher gain tones typically have pretty much just white noise past 8k (ish) so that tends to be cut, but it very much depends on the guitar sound!
It totally depends but in general you can totally save some frequency space by filtering the highest and lowest frequencies ranges. Those areas aren’t that important for guitars.
@@LIFEAFTEREVERYTHING distorted guitars generally go up to 6khz (in case of V30 speaker, other speakers may vary) so anything above that is basically just noise.
I'm glad this one didn't come across as an informative ad for once. Been feeling less informative and more like an ad. Granted I haven't watched all recent vids.
Thanks for the video. You’re not suppose to track guitars in stereo. Mono, then if you need it fatter, or getting that wall of sound, you do multiple trackings and panning.
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The first tip "Using the Same cab or Impulse" is such a obvious thing to do when trying to make bass and guitars glue together. BUT WHY THE F HAVEN'T I EVER THOUGHT ABOUT IT!? Very good tip guys! Keep up the good work!
Dude I was thinking the SAME fakkin' thing!
I’m a desperately broke touring musician that only has a Kiesel, an iRig, and an iPad for my studio, and these videos are invaluable. Thank you for all you’ve done.
Fair play dude keep at it!
This is the best mixing example I’ve ever seen on TH-cam. Fantastic video!
Thanks so much, I just tried the "same IR tip" and this absolutely makes a difference. Since two years I was haunting for "my" bass tone, I was never happy with. I am still confused about it, because I was so used to this problem, that it feels kinda like something is missing in my life now 😀. Alright, another problem solved. Thanks again
Glad to be of service my friend!
-Miami
The results are similar to the glue between bass and guitars that Andy Wallace get in Linkin Park's "Dont's Stay". I'm study his mixing techniques and came to a similar conclusion on how he get the results, i was thinking that he group both instrument and apply some kind of compression but the limiter trick have more sense now. Grat content!!!!
Thank you!!
Thanks bro for getting to this video!!
It had to be done! Lol
-Miami
Another video mixing gem from the legendary Miami. Thank you sir!!
One amazing thing I've started doing is using Smooth Operator on the highs and lower mid range of the bus. Everyone knows you can do the multiband on palm mutes but on the bus it just really helps to keep the mud and the scratchy stuff under control for both and it sounds massive.
Is that like the maximizer or a special setting?
@@midlifeadventures3138 no, by baby audio. Its basically a multiband compressor but it smoothes out harsh frequencies, a bit like Soothe but more extreme
@@BrofUJu DSEQ 3 is also good for this...I'm not sure why it doesn't get mentioned along with Soothe (it's not as expensive either).
@@Jazzguitar00 cheers, I might have to pick that up. Soothe is so expensive. Smooth Operator is more like a specific dynamic eq than soothe really but it's great
You know that the amount of info in this video is heavy when Miami is sitting down for this one 🤣. Jokes aside. That split bass technique has helped me a lot. I'll definitely try the same IR trick for sure now!
I was actually just asking a friend this same question yesterday so fantastic timing with this video release
Much enjoyed here in Vermont green mountains 🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄
“Process my subs” got em lol
Thank you Miami. This was a great help.
Fantastic tips. Thanks
What would you like to see next?
@@joeymusic hey Joey, this video is essential, and I wanna see other pair-ups. voice and guitar, voice and drums, percussion, etc. Thanks for asking! I always need to improve my production and these videos make each new song better. 🥳
Hey Miami, really enjoy the channel! Can you please do a video on how you process a guitar that is using a stereo setup? I am familiar with recording two different performances and panning those, but what do you do when the guitar is giving you a mono signal but stereo FX from, say a modeler during tracking?
That sounds a lot like Un Dia Mas Sin Ti by Insite... great song btw
Another great video, thanks! I have a question, I've seen some producers duplicate the exact same guitar DI take and process each duplicate through separate amps with amp sims in the box. Are there any drawbacks to doing this? I think Joey mentioned doing this in the episode of Nail The Mix where he covered Oceano, and I believe I saw Meshuggah had done something similar on Future Breed Machine. I've always been hesitant to use the same DI take more than once (e.g. how it sounds worse to duplicate the same track and pan one left and the other right, creating that 'big mono' sound rather than having separate DI takes for the left and right channel).
Is there a particular approach to this that should be done? Is it the fact that they're processed through different amps (and cabs?) that makes it less problematic? Is it better to use a separate DI take for the left and right channels but using the same amp model on both channels, or to use the same DI track but duplicated so it has one copy going to the left channel and the duplicate going to the right channel but using different amp models? Or is it best to try separate DI's for left and right as well as separate amp models for the left and right channel? I'm expecting this last option to be the most ideal but would love your input.
Cheers!
You’re better off using the same di in this case because you won’t have any phase issues
-Miami
@@joeymusic Thank you!
5:07 “And now for the bass, we’re gonna cut everything below 20”.
*inserts high-pass at 73hz
I mean, you wasn’t lying..
Lol yea I start there by default and move up
-Miami
I really like that riff, a lot! Is it a finished song I can find on spotify or is it just an example?
what about bass with acoustic guitar, and the different types of acoustic guitars there are from Parlor to dreadndnaught? I can't find anything on how to mix electric bass with acoustic
Hey Miami, great video as always! May I ask how you quantize bass in Reaper? I do the „set stretch markers + adjust transient sensitivity + set sm to grid“ method. Just wondering if there is a quick and dirty method just like in Logic or Studio One (or even PT) as those are way faster. Thanks so much for the high quality content! Best, Andy
even with very consistent player, you still have to edit them in so a track works better with others so there's that.
That was amazing man! Just one quick question, what did you use to lock the bass to the grid? Beat Detective? I'm asking cus I usually have a hard time using beat detective on instruments.
where is my REAPER brothers? moved to pro tools?
had to work with multiple DAWs to accomodate more clients hehe.
Hey Miami! Great video as always. Are any of these steps doable in reverse? For example, I was wondering, if you had a solid bass tone and were trying to get the guitars to gel, would it make sense to match the cab of the guitar with the bass. Some bass cabs won’t work for this, but I wondered if you had tried that and if it yielded good results. I am particularly thinking of the JST matched cab from bassforge Hellraiser. That thing is a monster!
I wouldn’t try this simply because that extended low end from a bass cab isn’t going to work well on the guitar, and it isn’t going to get the high end right
-Miami
Would you recommend just programming the bass to get it tight from the get go?
I'm currently trying to decide if I should get a bass guitar, which I'm more comfortable with, or to get a sample bass vst, which would be more convenient.
Sample bass for the win
-Miami
Cool
What song is this?
So this is interesting... I know it's a matter of taste but figured I'd ask here. I've seen videos where people low pass the guitars (just like in the example) and cut frequencies above 10k. I've also seen tutorials where they only high pass, leaving space for the kick and bass. Is it typical to low pass rhythm guitars above say 10k? I've tried it before and feel like it neutered the guitar tones. Curious on others thoughts!
In my experience it really depends on the tone and the sound you’re going for, more aggressive higher gain tones typically have pretty much just white noise past 8k (ish) so that tends to be cut, but it very much depends on the guitar sound!
It totally depends but in general you can totally save some frequency space by filtering the highest and lowest frequencies ranges. Those areas aren’t that important for guitars.
@@LIFEAFTEREVERYTHING distorted guitars generally go up to 6khz (in case of V30 speaker, other speakers may vary) so anything above that is basically just noise.
Hey! The guitar tracks look like they’re almost clipping. Is this done as some kind of pre-production limiting?
I just like em coming in hot sometimes lol
@@joeymusic Thank you for the quick reply! Love the content - it's super helpful and informative 🙌
Ok, if i play a bass through my guitar cab so i use a bass amp, wont it mess up speakers?
Use a guitar amp with the cab
-Miami
So sending the bass/gtr to same IR? Is that the WHOLE bass sound or just the "high" part of the split bass (lows/highs)?
Preferably the high part. Makes EQing a breeze
-Miami
@@joeymusic Thanks Miami! I would have never thought of doing that! :)
👍
What room is this?!?!?!
It’s my new place lol
-Miami
I'm glad this one didn't come across as an informative ad for once. Been feeling less informative and more like an ad. Granted I haven't watched all recent vids.
Can we clone ourselves, make our clone a second account and make them subscribe too from how awesome JST is?
Thanks for the video. You’re not suppose to track guitars in stereo. Mono, then if you need it fatter, or getting that wall of sound, you do multiple trackings and panning.
Yo, who played that bass? Was that purposely awful, or is that the real track? XD
It was the real track 😬
-Miami
@@joeymusic YIKES