Mod­ern plug­ins for lead­ing-edge bass gui­tar

Computer Music - - Make Music Now -

2. Stacks of tone

One par­tic­u­larly ef­fec­tive bass pro­duc­tion tech­nique is to run the in­stru­ment through a gui­tar amp to cre­ate a bright, over­driven tone that’s free of any real bass weight – then stack that up with a fat, rounded bass amp tone.

The thing is, this is re­ally just an old-school equiv­a­lent of what we’d to­day term multiband dis­tor­tion – so why not use ac­tual multiband dis­tor­tion and side­step all the rout­ing headaches?

Fab Fil­ter Saturn is one of our favourites for this, as it has some great amp-like dis­tor­tions. First dial in your bass amp sim for a typ­i­cal clean but rounded bass gui­tar tone, then place Saturn after it. One band cov­er­ing 300Hz up­wards is a good start­ing point, ex­clud­ing the fun­da­men­tal fre­quen­cies that can oth­er­wise dominate the dis­tor­tion, mak­ing it fuzzy. Pick a dis­tor­tion style – they’re all fair game – then set the Drive as re­quired. Use the Mix con­trol to blend the dry and dirty sig­nals to­gether. Heavy dis­tor­tion mixed in qui­etly some­times works bet­ter than 100% light dis­tor­tion. Ad­just the band con­trols to re­fine the ef­fect – try pulling the top cross­over down for smoother tre­ble.

3. Char­ac­ter­build­ing EQ

With the fun­da­men­tal fre­quency of the bass gui­tar’s low E ly­ing at 41Hz, boost­ing this should make it su­per-beefy, right? Well, yes – but only for that note. As you play fur­ther up the neck, the fun­da­men­tal will sound rel­a­tively weaker. D’oh! But how about an EQ that fol­lows the pitch of the note be­ing played? That’s Sound Radix’s Surfer EQ 2, which is an ex­tremely use­ful tool on bass gui­tar, an in­stru­ment which ben­e­fits greatly from note-to-note con­sis­tency.

4. Buzz cut

Ob­nox­ious tre­ble con­tent in bass gui­tar can cause harsh­ness and un­pleas­ant metal­lic arte­facts. If we ap­ply EQ to at­ten­u­ate those sounds, the tre­ble bite can be lost, too.

Multiband tran­sient shap­ing can over­come this. Ac­ti­vate one band, then solo it and ad­just the crossovers to fo­cus on the arte­facts. Pull Sus­tain/Re­lease down to min­i­mum and ad­just any Sen­si­tiv­ity con­trols un­til the at­tack of each note sounds as usual, but the body of the note is qui­etened. Turn off solo and ad­just Sus­tain/Re­lease to re­duce the harsh­ness.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.