I am currently mixing an independent CD project, somewhere between
Norah Jones and Carole King type artist. I'm project studio level.
Alesis HD-24, Spirit 24/8 Studio. The mixes are sounding very good but
I wish I could get a little more distinction out of the bass guitar
in the mixes. It's warm but I can't really hear the upper tonality of
the instrument. It was recorded well. Great sounding bass and pre
played by a great bassist. Sounds great soloed but I just lose some of
it when I mix. I am re-compressing it through a Peavey VCL-2 about 3-5
db max. Also have it in a graphic but can't seem to find any
frequencies that really get me that distinction I hear from more
expensive studios.

By the way, Dave Martin, your opinion is welcome.

Any ideas?

Perhaps try cutting some frequencies in the 200Hz - 300Hz-ish range. I've
found that with my bass playing, a subtle reduction of around 200 to 300 by
2-3 db gets rid of some strong sometimes muddy frequencies allowing me to
turn up the bass by a touch in the mix. That way i'm boosting all of the
great sounding harmonics, and keeping the fundamental frequencies where they
are. Clears it up.

With the bass i've learned that shaving away at some of the strong
frequencies leaves more room for the subtlties to be heard.

Hope this helps a little.

Mike

"Andy Peake" wrote in message
om...
I am currently mixing an independent CD project, somewhere between
Norah Jones and Carole King type artist. I'm project studio level.
Alesis HD-24, Spirit 24/8 Studio. The mixes are sounding very good but
I wish I could get a little more distinction out of the bass guitar
in the mixes. It's warm but I can't really hear the upper tonality of
the instrument. It was recorded well. Great sounding bass and pre
played by a great bassist. Sounds great soloed but I just lose some of
it when I mix. I am re-compressing it through a Peavey VCL-2 about 3-5
db max. Also have it in a graphic but can't seem to find any
frequencies that really get me that distinction I hear from more
expensive studios.

By the way, Dave Martin, your opinion is welcome.

Any ideas?

In article writes:

I wish I could get a little more distinction out of the bass guitar
in the mixes. It's warm but I can't really hear the upper tonality of
the instrument.

"warm" and "upper tonality" are at odds here. Try un-warming it a bit
by dipping out a few dB in the 150-300 Hz range. And listen to that
before you start compressing.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

As Mike said, get the sound you want before slapping the compressor
on it. Plus, if distinction is what you're after, the Peavey may be
more for tube smush, though I've heard good things about them. I would
think putting it through a more transparent (and perhaps solid state)
one would help on this issue. Also, try it in limiter mode, so that it
only knocks down the peaks and doesn't constantly compress the bass.
Since it was compressed going in this may be all it needs. Many
compressor/limiters lose less detail when used as a limiter, and even if
the levels aren't as completely tamed it might be a worthwhile
compromise.

D

--
remove 555 from address to reply

Andy,

I wish I could get a little more distinction out of the bass guitar in
the mixes.

How does the mix sound in your car if you don't mess with the bass at all?
And how does it sound through headphones? Lack of clarity on low frequency
instruments often indicates a problem with the room or some other aspect of
monitoring.

--Ethan

Andy Peake wrote:
I am currently mixing an independent CD project, somewhere between
Norah Jones and Carole King type artist. I'm project studio level.
Alesis HD-24, Spirit 24/8 Studio. The mixes are sounding very good but
I wish I could get a little more distinction out of the bass guitar
in the mixes. It's warm but I can't really hear the upper tonality of
the instrument. It was recorded well. Great sounding bass and pre
played by a great bassist. Sounds great soloed but I just lose some of
it when I mix. I am re-compressing it through a Peavey VCL-2 about 3-5
db max. Also have it in a graphic but can't seem to find any
frequencies that really get me that distinction I hear from more
expensive studios.

How was it tracked?

If you have a DI feed, you might consider re-amping it. You may actually
benefit from dirtying it up a bit.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"Roach" spewed forth in message
t.cable.rogers.com...
Perhaps try cutting some frequencies in the 200Hz - 300Hz-ish range

This will also keep the bass from stepping on your kick drum...

"Scott Dorsey" wrote in message
...

How was it tracked?

If you have a DI feed, you might consider re-amping it. You may actually
benefit from dirtying it up a bit.
--scott

I know how it was tracked - Evil Twin into a mono Manley Vari-Mu. less than
2dB of gain reduction. Most likely a Modulus 6 string or a Jazz with active
pickups...

It wasn't meant to be pristine...

--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com

What others have said - roll off a little low end to make room for the kick
(which may be pretty 'roomy'), and also carve a little out of the piano and
the electric rhythm to make room for the bass.

That guy is one of my favorite bassists - I record him a lot...

--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com

"Andy Peake" wrote in message
om...
I am currently mixing an independent CD project, somewhere between
Norah Jones and Carole King type artist. I'm project studio level.
Alesis HD-24, Spirit 24/8 Studio. The mixes are sounding very good but
I wish I could get a little more distinction out of the bass guitar
in the mixes. It's warm but I can't really hear the upper tonality of
the instrument. It was recorded well. Great sounding bass and pre
played by a great bassist. Sounds great soloed but I just lose some of
it when I mix. I am re-compressing it through a Peavey VCL-2 about 3-5
db max. Also have it in a graphic but can't seem to find any
frequencies that really get me that distinction I hear from more
expensive studios.

By the way, Dave Martin, your opinion is welcome.

Any ideas?

Dave Martin wrote:
"Scott Dorsey" wrote in message
...

How was it tracked?

If you have a DI feed, you might consider re-amping it. You may actually
benefit from dirtying it up a bit.

I know how it was tracked - Evil Twin into a mono Manley Vari-Mu. less than
2dB of gain reduction. Most likely a Modulus 6 string or a Jazz with active
pickups...

It wasn't meant to be pristine...

That should be grubby enough, then. If you do a shelf at 50 Hz, there
should be plenty of stuff left.

Hmm... maybe just a teeny bit of distortion pedal might make it pop out
a bit?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Any ideas?

Could it be that something else in the mix is too big or in the way? Kick
sound, low end of the piano? some ringing on the floor tom?

I agree with what Scott said as well. Take a tad off on a shelf @ 50hz and see
if that opens it up.





---------------------------------------
"I know enough to know I don't know enough"

(EggHd) wrote in message ...
Any ideas?

Could it be that something else in the mix is too big or in the way? Kick
sound, low end of the piano? some ringing on the floor tom?

I agree with what Scott said as well. Take a tad off on a shelf @ 50hz and see
if that opens it up.





---------------------------------------
"I know enough to know I don't know enough"
Good suggestions. Thanks
peakester

Most likely a Modulus 6 string or a Jazz with active pickups..

Is that a graphite neck model? Graphite
neck basses rarely sound good. Generally,
they lack something that you can't put
your finger on.

Chris P

In article writes:

Is that a graphite neck model? Graphite
neck basses rarely sound good. Generally,
they lack something that you can't put
your finger on.

Like ... a wooden fingerboard, maybe?


--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

"BASSMANCP" wrote in message
...
Most likely a Modulus 6 string or a Jazz with active pickups..

Is that a graphite neck model? Graphite
neck basses rarely sound good. Generally,
they lack something that you can't put
your finger on.

Chris P

Man, I hate to hear that - especially considering all of the recordings I've
done with it. Maybe I should return the money...
--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com