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The guitar/s, bass and kick drum need to be one (Spectrum analyzers, EQ, create pockets, kill annoying frequencies, compress where your ears tell you there is a need for that sort of thing)
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I'll say that again so it gets engrained into your hippocampus The bass and the guitars should be extensions of one another I'd love to hear some EDM tricks as well but, dude, I'm hearing too much sidechain on the bass track already )įeel the grain of salt mushing inside your mouth as you read these humble lines.
#WAVES VOCAL RIDER SIDECHAIN SONAR X3 HOW TO#
Divulge your secrets! In particular I want to know how to get the really spacious but heavy Andy Sneap metal drum sound. Make sure to reference your mix in mono to make sure you aren't f'ing the whole bass phase up, though, and don't overdo it.īasically for the first time I understand why the 1176 and its offspring are such rock icons. It gives the distorted bass that "flying apart sound" that can enhance the guitars. I've actually been enjoying adding an 85ms stereo delay to the bass and easing that into the mix. the bass is mostly there to lock the guitars to the drums. compress the bass considerably and add a hair of EQ post-compression at 3-5k to get the distortion to open up again from the darkening effects of the eq.ĭon't be afraid to get weird with the bass. this could be done by saturating an analog eq, compressor, an actual distortion pedal/effect, or by re-amping the signal with a nice amp. when smashing you may have some luck retaining depth by doing parallel compression alongside the uncompressed guitars, depending on the tones end effects involved.ĭon't be afraid to distort the bass. compress with 1176 style compression and don't be afraid to smash them. Low-pass guitars before compressing them - often in the 7-10k range. I'll go first with what I've learned recently: What are your tricks for getting great heavy mixes (assuming the underlying tracks are well-recorded?) While it would be true for an RnB record, it's not true for alternative rock, punk rock, metal, DnB, breaks, etc. Whenever I brought up heavier sounds I usually got the response "that's too compressed" and the like. My mentors were seasoned RnB engineers whose objectives were first and foremost depth, space, and balance.