We're going to toss to amps up at the same time which air two mikes up at the same time and hope that we can start phase alignment in real time by looking at something and this is worth doing I think so what I've done what I was doing before and I think everybody gets this is putting that snare signal on ah a track on my base out track the best you can use a sign wave which is better because it's smoother but I always have a snare drum in the session so that's why I do that that might be lazy or wrong but it's always proved easiest for me issue this is this's outputting that is going through turn that down a bit as well but let me move get both mice in place and finn on this one since we're talking about I'm going to go dead center on the cone and it will probably sound kind of harshing growth but that will hopefully it sounds harsh and gross and kind of proves the point that's gonna be really loud cool and I'm going to let this whole song play through so I can kind of start to tweet m...
ore coming through friend I'm turning this down they're not going to be able to get the audio what it's actively reporting but because the ants a little louder I don't want to start to get feedback issues oh that I don't have to listen to it have a question real quick when you're when you're tracking that so the bass players in the studio plane he's not going to probably like just the sound of a clean diet is he's tracking this s o that's why we'd usually monitor with like that am simulator ok and you'd send that just to him yeah you usually have a bass player sitting next to me and then he's just plugged into the diet for using a live and we would be monitoring that which is it kind of depends on what kind of band like if it's a banned words like we're not going to want a ton of editing we just want like a really intense recording that's kind of natural field which is something that gets thrown around a lot when people don't really want it but if that's what they really want thank you it's a punk fan or a hard core man we're going to just set that up we're going to have a d I running but just for the low end and we're just going to record through that and that's going to be what we get because we know we're not going to go and tune the base we're not going to super edit, so but if it's something where it's like the band needs to be perfect and we're doing like rift building and we're editing we'll track the die and then we'll put just some sort of am simulator on it because even though like, I wouldn't want to keep it on a record it's better like sometimes they want to listen to that extra great and stuff on top of what they're actually playing if hopefully that I think that was what your question was right? Can I ask another question? Yes, you made this from stephen t would you change your mic choice based on clean base versus dirty, distorted base? I would use the u eighty seven no matter what I think I kind of showed with the s m fifty seven for the clean base, we really didn't need it, drew heard a difference, and I everybody heard a difference, but it wasn't like one of those nobody's ears perked up. It wasn't something where you thought that's going to make her break the record, so with the more clean base, I would feel less of a need to use extra stuff. I would just stick with the u eighty seven or whatever kind of condenser mike I was dealing with at the time. Question from any vh fifty one fifty again regarding aligning all your tracks looking for phase issues, do you align them by ear? I know you used your eyes a little bit, but I look at the wave and then I I tell myself if I was in a real situation I'd be more much more critical but I do the snare thing which I think I actually forgot to do on these as faras making it record oh no they're this um I do the snare or a sign wave or whatever and then I look at the waves and make sure that they look in face and then obviously your ears or the final test um it's a lot easier though in a treated control room and headphones to start figuring out what your problem might be what is here I'm not as adapted to the room to really pick that out so now I'm just showing the way of phrasing lining by eye but obviously your ears or your most important asset in recording so for checking for phase with base you never use you don't you don't usually use like in phase or any of the other phase checking plug ins I never mess with in face girl no I've heard good things I've heard the radio box is supposed to be the coolest so they make I'm not sure what it's called but it's a four channel box forgetting four different mikes and phase with each other no you it's you plug all out of your prams into the thing and it's got one hundred eighty degrees of polarity and you can just turn the knobs until the mic sir and phase with each other and that's cool because it's the same thing like I don't want to run a bunch of extra plug ins that I have to think about baby sitting so that's why I would rather if I'm doing face I'd rather get it like this we're not dead on, but we're pretty close right now so the old rather I check in and near track it then do anything else personally let's hear how these sand oddly enough on this base weaker the sm seven is picking up a lesson before fifty seven's picking up less of a focus sound so that's interesting to show how the speaker's voice versus a normal gets our speaker in the eighty seven kind of has the more harsher field too but let's change yourself with the master obviously and I think that this is right now for just be kind of a simple throw up job of base mikes and amps really a testament to least for me I don't even have my amps him still pulled up but comparatively to have the base sounded this morning when it was just a die and an amp sin um pull up what I was doing earlier what did I even have on this? So what we can get, um, really shows I to me I don't know if two people at home they're like oh dependent on what I heard it eight eight nine a m this morning versus now but just really shows like there's no replacement for riel head and real mikes for base and that's at the point of this class is definitely finding ways for people to save money and show that there are alternate avenues and that's what kind of dive into that tomorrow but there's yet nam fee if you get a decent amp decent cab good base good playing wolf in my case okay, flying on this if you don't have a u eighty seven if you don't have an ax effects you know you can still do this, right? Yeah, work through this and you could get you don't need the u eighty seven because what are we were using the sands amp the fender power amp and the ah fender cabin you could get away with that you could definitely score similar sounds using something like a, uh god forbid I say a barren jer power amp with the sands amp I think is really the big thing and this is the same after the base in the plane is the sands and then he could take a barrister power amp and ah, heart key cab like we talked about that earlier, I've had great luck with their aluminum cabs in there budget friendly think they're like a five hundred dollars cab and ifyou're not if you're producing and only producing, I can see where that gets expensive, but it'll pay for itself eventually and it's something with, like, if you're actually playing like you can get cheap stuff, that sounds good, you can get cheap stuff that sounds almost great, but it's that last ten percent, but I'm sure you doing a budget version of this with a road mike and a heart key cabinet, barrenger power infinite sands and is going to cost you a thousand dollars ish and it's going to sound way better than if you bought every amps him out there and tried toe put it together, at least in my experience. I would rather have a thousand dollars of ok, decent kind of crappy gear than a thousand dollars of amp sins if base was my only goal, I just don't want people to walk away from this going well, that's, great, mr, you know, fancy you eighty seven guy, I can't do that, but, you know you can cheap a consumer level stuff and I mean guitar center is a great plate that used guitar center site you construe it's about the techniques that you're using at a specific pieces of gear. And I appreciate you pointing that out because I don't want it to be like the only way you're going to get this sound is if you use this this this this this it's all about using your ears and I think the most valuable technique that aiken teaches with the miking like the omni thing it's, not the mike that matters. The polar pattern matters a lot, the knowing where you want to put it, getting an amp sounding good in the room, but if you get there, you could do the same things with a bunch of used gear that you bought it at a garage sale or whatever it's there's, no single piece that's, magic it's just knowing how to use it together and get learning how you want to use it that's really going to get you there so that's our rio base running through re lamps and then here's where we were at this morning that was based on this morning. Ah, a lot more body, a lot more blunt like it's just blending better with the guitars and I think that's what like I don't even I could do be fine with the base tone that we use that easy mix like I said, a great product, but I would always choose to use the real stuff. Ahead of it on even if you are working with simms, you know it's what I do, but I've applied all these same techniques that people like you and they'll and stuff have taught me, you know, with simms and it still makes like the layering and how you know larry and that's crucial and it's yeah, you can do the same things and you can work with what you have to take, you know, the way you have and being able, like knowing your end goal is just a cz important of knowing every little technique. So if you think what's the base need to do it needs toe provide powerful lowland and it needs to blend with the guitar so you know that it's like okay, well, I'm gonna low pass the d I so that I get that powerful controlled lowland and then I'm going to run using the easy mix. What did I use here? The andy sneak base? How cool is anti steve? Um, use that base him and you're getting a very similar idea and it's can deliver you for what the price of easy mixing that path is two hundred bucks and and it comes with the really I think the cool thing, what I really like about am sins is especially with this pac there's, so many great guitar sims, so it's and obviously the two play such a role with each other like and I know that tune track designed this so that they can work together and you can get a good based on that sounds good with your guitar tone and that's very kind of sketch things out and see what I want to go and I think I did definitely wanted impulse this cab because I think that can be not the final frontier but that can save the price of money in a cab and help our people at home that want to purchase the class it's a lot cheaper for eighty dollars to buy the thing have some sessions in an impulse than it is to go buy a cab your parents probably won't be is mad at you either. So first question from a j t d wants to know he said did you mention where that heavy track is from is that the new sleeping giant it is not the new sleeping giant is j t g jeff dunn no date eighty I had a j t d engineer producer that I worked with named jeffrey done all right well let's act is not the new ah sleeping giant no, I did not bring those tracks with me we'll have to see what it is or no that this song that I've been playing is a band that myself casey stop ridge formally of the ghost inside have started it's called dead signal we uh I don't know there's a couple of people were talking to about playing in it I don't know how serious it will become I think the song really rips so I called that ripper I don't know if that shows up on this rain it it's just that it's my band with casey and we're looking for a vocalist right now so that's really it it is jeff by the way it is jeff done no but I think that's funny no it's not the new sleeping giant okay a question on the question from mark zero how do you deal with room modes in the low end when making a base cabinet or do you prefer just to die for the low end most my loan comes from the dea my room's also pretty heavily treated with base trapping and I do a lot of baffling around it and go bows to control that okay do you ever ah used like a room might because base frequency develops overs space right and like as far as I'll go with the room is I'll put like that condenser two feet back that says hey that's if the amps really blasting yeah I never you I'm not doing room likes twelve feet away or anything from out from middle no so one last question should because actually really good one you you've talked a lot about some microphones he like where's cem preempts that you like specifically for base ah specifically for base neave, cell prince. I have, ah, seven circle audio and seventy two, just based off of ah neave ten seventy three I like that. I, uh, if I'm putting on my kind of cab that's, probably my go to I have some ss cells that are a little less creamy sounding, so to speak a lot more dry, that if I'm using multiple mike's, those will get used. Uh, I have a universal audio l a six ten that I'll use for die. A lotta used it for a lot of these dies as well. Assume chameleon labs ten, seventy three clones that I'll use. So I guess I don't have a real preference in need. Style is definitely my go to for anything. The transient responses and is good but it's, a very soothing sound to me overall.
Andrew Glover is the owner of Soundtemple Studios in Los Angeles, CA and bassist for Winds Of Plague.In its three year lifespan, Soundtemple has already worked with bands like Impending Doom, The Ghost Inside, and Sleeping Giant, and labels like
Overall the course is nice. Andrew is good at explaining things, and covers various aspects of bass tracking and mixing. I would not say that I found too many things I didn't know before, but I definitely reconfirmed some of the knowledge I got from Eyal Levi's courses and others', and grasped a few more new techniques, especially on using hardware (SVT, Sansamp, etc.). On the negative side, I would state that the demo tracks used for mixing had too dry and thin sounding drums: they were claimed as mixed, but they obviously were not, or mixed poorly; mixing bass when you drums are not ready is not good, as drums-bass interactions is essential for bass mixing. Another problem during the mixing sessions is that the bass was way too loud! Probably, Andrew was focused on tweaking the bass sound or maybe monitoring situation in CreativeLive studio was not that good, but in the mix context it was just dominating over everything else, which is not helping to get the full picture.
Other than that the course is nice and is worth watching.
Things I found lacking, and which I would prefer to get covered in the course are as follows:
- Using loadboxes and IRs for bass reamping and creating tones (it was promised to be covered during the mixing session, but it was not)
- Slightly deeper coverage on differences between basses (e.g. Fender P & J, Musicman Stinger, Warwics, etc.), passive and active, how to pick the proper bass for different styles of music
- Quick overview of other popular equipment, like DarkGlass B7K and etc., which is super popular this days: it was not even mentioned during the course