2002年4月30日 · Mixing bass is HARD. The room messes up the mix big time. Stage bleed is a problem. I also think a big part of the trend of marshmallow bass (all lows, no clarity - felt, not heard) is due to the wide practice of DI straight from the bass.

2010年2月6日 · 1) Kick, snare and bass should always remain in center. 2) If you have more than one guitar track, hard-pan them left/right, and high-pass them at around 80-100Hz. 3) High-pass the bass at around 45-60Hz, and boost it around 100-180Hz. Scoop the kick drum at whatever freq. you boosted the bass at, and boost the 45-60Hz of the kick.

2017年1月7日 · The bass and kick sound like one instrument and never get clouded by any other instrument in the mix. At about 2:22, when they take it to the bridge, you can hear the two separate bass tracks overlapping a bit more.

2008年8月3日 · The problem is that most musicians want a "full-bodied" sound, which typically means lots of bottom end. Problem is, if everyone on stage has loads of bottom end, then you have mush and the bass will have a hard time getting on top of all that. The musicians need to realize that you can't treat a full-band mix the same as a "solo artist" mix.

2006年1月20日 · It might sound counterintuitive, but: 1. Actually cut your "low" eq a bit - especially if you have a pass filter - even if you have a low B-string, rolloff the bass frequencies below 40 hz.

2006年5月4日 · I use the _Mix to play with and mix. I also had an issue with the kick and the bass fighting for the same space. Learning to add effects in the mix process helped a lot. EQ and especially learning to duck the bass and kick using bus compression really really helped. All the information is in the Reaper manual and on you tube.

2011年5月16日 · I've been mix-and-matching the low B on my two 5-string Yamahas with good success. One is currently wearing Rotosound Ultramag 40-100 with the GHS Progressive 130B (exposed core). And the other will soon wear DR Nickel Lo-Riders 40-100 and SIT Power Wound Nickel 125B (exposed core).

2005年11月29日 · The pre really dovetails the bass right into the mix where it needs to be. I usually don't have to do much to a Sadowsky after the performance is captured except a little compression. As far as cuts, my Modulus 5 and MTD 5 (poplar, wenge) really stand out without question. It's really easy to hear the bass using either one of these.

2012年7月30日 · I like a scooped sound, and I have no problem being heard in the mix. I believe the most important part of being heard in the mix is articulation. If your bass and amp produce a clear articulate sound, you will be heard just fine. I use a TC BH-250 head through a Phil Jones neo 6x5 cab, and I have roundwound string on my bass.

2008年10月1日 · The most important focus of a mix should always be balance. Whether you're mixing for 2 speakers or 7, you want the sound to feel cohesive and natural. Due to their size, bass frequencies carry more weight in the frequency spectrum than mids and highs and therefore can create a mix with a feeling of lopsidedness if not panned near the center.