Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

Thanks a bunch, -Mick

--
Lose the "antispam_" from my email address to reply
Mick F. Cantarella / Grampa Studios NYC
www.grampastudios.com

"Mick F. Cantarella" wrote in message
...
Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

Thanks a bunch, -Mick

--
Lose the "antispam_" from my email address to reply
Mick F. Cantarella / Grampa Studios NYC
www.grampastudios.com

Roll the lows off of the kick and give your bass room to breathe. Maybe add
a little 3k to 5k to let the kick punch through. You will only have one note
with it compared to all of the notes a bass will be playing.
--
Mitchell Benson
OKC Backup
405.728.7005

On Wed, 29 Oct 2003 22:40:36 -0500, "Mick F. Cantarella"
wrote:

Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

Thanks a bunch, -Mick



I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

I **** you not, it saves me almost weekly.




Kurt Riemann

"Mick F. Cantarella" wrote in message
...
Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

It depends on the song and what part the bass drum and bass guitar are
playing and what their overall tone is. I usually decide which way to go by
looking at the bass guitar first. If it's playing a higher "walking" type
part or where it's more melodic I'll rolloff the low end and boost the
higher frequencies to emphasize the pluck and the general overtones. And in
that same instance if there's a lot of "click" from the bass drum's beater
I'll dip it a little and boost the lower end (around the fundamental of the
bass drum). Sometimes it's vice versa. I have some songs where the bass is
almost like a low tone (almost a pad) with no definition or hard attack to
speak of. You just sense the power is there kind of underlying everything
else. In that case I'll roll the lower end off the bass drum and do
something to enhance it's attack. All of this of course is what they call
"complimentary" EQ and it works extremely well for getting good definition
and keeping things from stepping on each other.

mbenson wrote:
"Mick F. Cantarella" wrote in message
...

Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

Thanks a bunch, -Mick

--
Lose the "antispam_" from my email address to reply
Mick F. Cantarella / Grampa Studios NYC
www.grampastudios.com


Roll the lows off of the kick and give your bass room to breathe. Maybe add
a little 3k to 5k to let the kick punch through. You will only have one note
with it compared to all of the notes a bass will be playing.

I think that's a bit over simplified. There is no one way of doing it.
Sometimes you may want to roll off the bass to let the kick low
frequencies through. It's context dependent. If you are doing a KORN mix
the extreme low end of the bass isn't a big concern because it's not his
sound. If you are mixing a band that plays 7 string or detuned guitars
you have that to contend with as well. You just have to make it all fit.

In my home studio, paint flaking off the ceiling is a warning sign. Plaster
dust wafting downward is definite trouble...

....Paul

--
************************************************** ********
"In the analog realm, it ain't "OVER" 'til it's over."


Kurt Riemann wrote in message
...
On Wed, 29 Oct 2003 22:40:36 -0500, "Mick F. Cantarella"
wrote:

Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

Thanks a bunch, -Mick



I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

I **** you not, it saves me almost weekly.




Kurt Riemann

I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

I **** you not, it saves me almost weekly.

Kurt Riemann

---

Kurt,

JPG Please!

Thanks a bunch, -Mick

--
Lose the "antispam_" from my email address to reply
Mick F. Cantarella / Grampa Studios NYC
www.grampastudios.com

Kurt Riemann wrote in message...
I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

I **** you not, it saves me almost weekly.

8^O
Where can I get one, & what is the best lobster under $200?
--
Winter
www.EMBStudios.com
A World of Good Music
(510)325-1029

I find that if you keep too much sublows on the bass, your track gets too
boomy. I roll down bass at like 70 or 80 with a low octave filter, and I add
some kick thump down there. Kick hits at like 80-100, bass around 120 but not
too overbearing. I hear this in a lot of rock records out there.

Does any one roll off the low end on the bass or the kick drum during a
mix.

This going to depend on so many factors, I'm not sure how anyone can answer.

You would certainly treat a kick drum differently that was recorded through a
Mackie 8 bus and a 57 then a kick recorded with a 421 and a fet47 through an
API console. That doesn't even take in to account the drum, the EQ the
tracking engineer did the room etc.

Your going to fins all sorts of differences in the way bass is dealt with as
well on top of the way it fits in with the kick drum.



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

In article ,
Mick F. Cantarella wrote:
Does any one roll off the low end on the bass or the kick drum during a
mix. I'm talking about a shelfed roll off maybe around 25 Hz and below.
I want a deep low end (and who doesn't), but not muck that no one will
hear anyway. I'm recording it all; rock, jazz, R and B, etc.

I usually highpass the kick around 20-30Hz if it's going to be
prominent in the mix (i.e. a typical rock mix). For jazz, where the
kick is just a little thump, I usually leave the kick alone.

Digital recording allows you to store extremely low frequency energy
but few people can play it back properly, so it's best to ditch it
IMHO. It just messes with limiters and takes up a lot of space. A
shelf is a little too gentle and it affects too much of the range that
most people can actually play back, so I prefer a true highpass
filter.

If you're recording analog, the natural highpass effect of the
playback head usually solves this problem automatically, but with
digital, it'll get into the mix and usually just cause problems.

I never do this with bass guitar, but as always, it depends on what
you're going for. There's usually little energy way way down there,
so there's not such a problem as there is with a digitally recorded
closemiked kick. Traditional peaking EQ cuts and boosts are usually
much more appropriate.


Regards,

Monte McGuire

I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

That is freakin hysterical. Yes, I scuba.

MC

I'm talking about a shelfed roll off maybe around 25 Hz and below.


I routinely do this in mastering ..most multitrack mixes are full of subsonic
"junk" that only takes up a lot of power to reproduce and wreaks havoc with any
limiting.


John A. Chiara
SOS Recording Studio
Live Sound Inc.
Albany, NY
www.sosrecording.net
518-449-1637

"Winter" wrote in message link.net...
Kurt Riemann wrote in message...
I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

I **** you not, it saves me almost weekly.

8^O
Where can I get one, & what is the best lobster under $200?

are the new crop of Shanghai lobsters any good or should i save up for a Maine?

"Blind Joni" wrote in message
...
I'm talking about a shelfed roll off maybe around 25 Hz and below.


I routinely do this in mastering ..most multitrack mixes are full of
subsonic
"junk" that only takes up a lot of power to reproduce and wreaks havoc
with any
limiting.


Is it OK to use something like a FFT to just "chop it off" at 20Hz? I've
done this before and it does actually seem to clean up the recording (but of
course looks odd on an analyzer).

I have a rubber lobster in the bass port of my left nearfield. When he
crawls out, I have too much low on the kick.

Wriggling antennae are okay, crawling is not.

I **** you not, it saves me almost weekly.

8^O
Where can I get one, & what is the best lobster under $200?

are the new crop of Shanghai lobsters any good or should i save up for a
Maine?

Silly, you would never want to confuse your nearfields with Maines....

Kendall

As others have said it all depends on how that kick or bass sounds. Also
what the song needs. As a rule no. Todd F.

Todd Fitzgerald
Chief Engineer
OarFin Studios Minneapolis
www.oarfinrecords.com

Is it OK to use something like a FFT to just "chop it off" at 20Hz? I've
done this before and it does actually seem to clean up the recording (but of
course looks odd on an analyzer

I do exactly that in Samplitude..you can chop segments as small as 1.5hz.


John A. Chiara
SOS Recording Studio
Live Sound Inc.
Albany, NY
www.sosrecording.net
518-449-1637

"Blind Joni" wrote in message
...
Is it OK to use something like a FFT to just "chop it off" at 20Hz? I've
done this before and it does actually seem to clean up the recording (but
of
course looks odd on an analyzer

I do exactly that in Samplitude..you can chop segments as small as 1.5hz.


What are the pros/cons of doing it that versus a traditional EQ? Less phase
shift? More musical? Less musical?

What are the pros/cons of doing it that versus a traditional EQ? Less phase
shift? More musical? Less musical?


The FFT in samplitude is phase coherent I believe. Surgical is the effect
you're after here. You are removing stuff you don't really hear but that has a
real effect on the mastering process because of all the energy required to
reproduce the ultralow frequencies. If you have program down to 30hz..10 hz in
the mix isn't helping..so removing up to say..25hz..does help.




John A. Chiara
SOS Recording Studio
Live Sound Inc.
Albany, NY
www.sosrecording.net
518-449-1637