Work­ing with gui­tar and bass parts in Cubase

Joshua sprin­kled some of his dance magic on the indie rock­ers’ gui­tar and bass grooves

Future Music - - THE TRACK -

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The Mys­tery Jets recorded the gui­tar/bass parts, then de­liv­ered them to Joshua. “For the in­tro I’ve edited the bass un­der­pin­ning the gui­tar to help create an­tic­i­pa­tion, and avoid tir­ing out the riff. I cut them by hand where I felt the notes have suited the groove.”

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A re­versed bass note leads up to the first drums; then, Josh turns down the gui­tar be­fore the beat drops: “Just so that the gui­tars spring up when the drums start, cre­at­ing a bit of en­ergy where ev­ery­thing can jump in.”

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In the verse, he re­moves most of the gui­tar riff, and uses spar­ing snatches ev­ery two bars. “As with the bass, I’ve just cut in the bits that push the verse for­ward. A good way of keep­ing the gui­tar in, with­out it get­ting tire­some.”

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The gui­tar ed­its are on their own chan­nel and EQed dif­fer­ently to the first chan­nel. First they’re dou­bled with Waves Dou­bler, then de­layed with Cubase’s own Stere­oDe­lay. “It’s just set to 1/8 and 1/4 notes, noth­ing too com­plex, but it cre­ates an in­ter­est­ing lit­tle ef­fect,” Joshua ob­serves.


The bass also needs ex­tra pro­cess­ing to sit well, as Joshua ex­plains: “It’s got a bit of com­pres­sion and a lot of EQ – it was tak­ing up too much of the mid­dle and tops, so that came off. When you bang it all in, it fits right.”

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