Pythonman likes this. Hegeman's Ghost , Jul 27, Location: New Jersey. LesPaul , Jul 27, Location: USA. One part of a Ten years After song comes to mind when speaking of deep bass, following the end of "As the Sun still burns away" Cricklewood Green there is a bass effect where the bottom end just slows down while at the same time goes way deep.
If you have that LP, give it a spin. It will shake the pictures on the wall, guaranteed if your speakers can move air, or better yet, if you have a sub. Vinyl-Addict , Jul 27, Location: Indeed it does go deeper on CD. All the way into subsonic frequencies. But for music the LP as a medium does pretty well. More on Mic Placement Unlike electric guitar amps, that can sound good with a mic almost touching the speaker, bass cabs benefit from further distance between the speaker and mic.
Around 5 inches is the minimum distance to achieve a decent tone, but longer distances can give excellent results if the recording situation permits. However, bass DI alone lacks the body and drive produced by a decent amplifier. You will then have two channels of clean bass with no spill from drums or other instruments. These work like a DI box in reverse, matching the recorded DI bass signal to a level that is suitable for the amplifier. Indeed, a passive DI box can be used in reverse, however a re-amping box will offer a more flexible and hassle-free approach to matching both impedance and signal-levels.
The sound of the amplified bass can now be overdubbed onto a separate track. Of course, if you are using plug-in amplifier mods instead of the real thing, the DI sound can be treated in the box without the need for a re-amping box or bass amplifier. As the signal from the mic enters the recorder a couple of milliseconds later than the DI signal, the sound may become vague when combined due to phase issues. Dial in the delay around 2ms is usually about right until the bass sound snaps into focus.
A continuously variable delay is best for this job so that you can hear precisely when the sound becomes solid and punchy. Alternatively, simply move the DI signal within your digital recorder so that the waveforms match and are not out of phase. We provide insight and opinion on the gear, tools, software and services to enhance and expand the minds of music makers and listeners.
Sign in. Log into your account. Forgot your password? Again, unless your bass starts out life as a pro-level axe from John Suhr, Mike Pedulla or Stuart Spector, chances are new pickups will be a major improvement. Do you have a P-Bass? If you have never experienced flatwound strings, you may never have heard the classic low-end sounds of the 50s and 60s. Put on some James Jamerson tracks from Motown which you should be doing everyday, regardless.
Put on some country recorded prior to Now do you get it? Ie taking the bass guitar out and saving it as a seperate file. If the file of the song you want to extract from consists of a single track then you can't do it.
The only thing you can do is put the track into some music editting software, duplicate it so you have a track for each instrument, then play around with the EQ settings of each track so that you isolate the instrument on each track.
For example, if you want to extract the bass, you would generally use the EQ to reduce the high end noise and raise the low end. If you don't want to try finding a good program and messing with the EQ, then you can try purchasing or pirating Guitar Pro, a tablature program. Keep the track lenght reasonable.
The shorter the track, the louder it can be pressed and the better it will sound. Make the bass mono when mixing for vinyl. Always and absolutely.
I mean all low frequencies — the bassline, the low end of your drums, percussion, any bassy effects, etc. No panning, no stereo effects. Make it mono. With stereo bass content the needle has to do big vertical movements which easily results in skips. Also the record will have to be cut quieter. Put special attention to any percussive sounds, bass stabs, bass guitar and such. Arrangement wise, the place where a record is most likely to skip is the drop. The needle is put to a test as the record quickly switches from a soft part to full mayhem.
Watch out for any stereo percussions and such in the drop. Making everything under Hz mono should be pretty safe. There is not much to lose anyway in doing this — our ears are very poor in picking up directional information from low frequency sounds. Everything below of about 70Hz is completely non-directional to us. So there you have it… Mixing for vinyl in a nutshell. With these points in mind you should be able to roll out good mixdowns and make your tunes translate well to vinyl.
Hi, thanks for the tips, i have a question. If you have a bass sound for example that has sub-bass i. Would you split the sound into two separate channels, one for sub and one for mids?Jul 28, · I think this type of argument comes from the fact that on vinyl one is limited by the physical limitations of the medium. On a reasonably long side one can't add all the bass that you can add on a CD, or the LP won't track.