Bass can be one of the most difficult parts of a mix to get right.” This is because there is no right way to mix the instrument. Your bass needs will likely change drastically from song to song. You'll need a clean, punchy bass sound on one track, while on another you may need a completely different warm and wide bass sound.
Through all of the desired sounds, you've also got to make sure the sound is not too boomy, but you also don't want it to sound too round. As you can see, it gets complicated.
And while there's no master tip that will automatically make your bass sound great every time, here are three tips that you may want to add to your arsenal of bass mixing techniques.
Again, don't be afraid to experiment with all aspects of your bass signal chain until you get the sound you want.
1. Don't Get Predictable with Your EQ Settings
Certainly EQ is one of your best friends when it comes to recording, but using the tool on bass can (and should) get a little complicated. Some instruments have pretty predictable EQ settings. For example, if you put a high-pass filter on an acoustic guitar and then add a slight boost to the high-mids, you'll probably have at least an acceptable sound (though you'll certainly want to tweak for each track).
That predictability is often thrown out the window on bass tracks. The EQ you will use depends not only on how you want the bass to sound, but how you want it to sit in the mix. This often depends on what frequencies other instruments are using. Don't be afraid to try EQ settings you wouldn't think to attempt on other instruments.
2. Double the Bass Track
There are great ways to improve your bass sound by doubling the track and adding different EQ settings and effects to the duplicated track. For example, after getting your original bass track sounding the way you want it, add slight distortion and a high-pass filter to the second track, and mix it low in relation to the first track to give you a wider” bass sound that will also bring a warmth to the lows on your track.
This is just one example, but having the second track allows you to do extreme things to your bass track that will bring surprisingly effective results when mixed with a traditional” bass track. Keep in mind that you'll almost always want to make sure the second track is mixed in very subtly with the original track.
3. Use your EQ to Take Away
Often, you'll get a bass sound that sounds great when the bass track is solo'd, but then never sits right in the mix. Many times this is because the frequencies of another instrument are covering the frequencies you want to hear from the bass track.
Instead of continuing to adjust the EQ of the bass in situations like this, it is often helpful to find the offending instrument (which is often a guitar) and cut the frequencies covering the frequencies you want to hear from the bass. This will allow the bass to shine through the mix the way you want it to.
Showing posts with label Recording Bass Techniques. Show all posts
Showing posts with label Recording Bass Techniques. Show all posts
Wednesday, 16 November 2016
Friday, 11 November 2016
10 Quick Tips & Techniques For Capturing
1. Tune up!
Slightly out-of-tune strings on a bass may not jump out as much as on guitar (especially in chords), but when that bass line is sitting under other parts in the mix, even slightly off-pitch notes will make their presence known, and sometimes be harder to track down (why does this song sound a little off”?). I'd use a tuner (h/w or s/w), but I'd also always verify by ear, before hitting record, and I'd check tuning periodically as the session progresses—just as with drums, hard players can easily put the instrument out after a few energetic takes.
2. Break in new strings ahead of time
Aside from tuning issues, new bass strings, especially roundwounds, can be very bright, and this may result in a lot of finger noise and fret buzz. If they're changed a day or two before the session, and the bass is played a bit to break them in, there may be less likelihood of problematic noise. In fact, while many players think of them as old-school, flatwounds can sometimes be the best choice, when a fat deep bass sound is called for—it's worth a thought.
3. Record Amp and DI
The easiest way to record bass is to just plug it straight into the console/interface—of course, using the correct instrument-level input or dedicated DI box, and not a standard line input. This will provide a nice, clean, deep tone, but it will likely lack the growl and grit that's often desired—for that, you'll want the sound of an amp. While you can always use a bass amp sim plug-in later, in the mix (see below), there's nothing like the pants-flapping wall of low-end sound coming out of a real bass amp, if one is available. But most engineers will record both—a DI'd signal, and a miked-up amp. They can be combined later on, for the best of both worlds—the clean, round, depth from the DI, with the edge and midrange punch of the amp (but see below, for a caveat).
4. Use an appropriate mic for bass.
If you are recording the output of a bass amp, try to use a mic that will capture more of the low-end than a typical stage mic. An SM57/58 will work, but a mic with a more extended low-frequency response would be a better choice. The Sennheiser 421 is often used, as is the classic kick drum mic, the AKG D112, which has a bumped-up response tuned specifically for low-pitched instruments. I prefer the Electro-Voice RE-20 (you know, the announcer's mic”)—it's more neutral, and it has an extended low-end response, so you'll get not just boom, but real depth.
5. Adjust phase of combined DI and miked-up bass tracks
If you do record the bass both via a DI and a miked-up cab, and combine them later, as suggested above, you'll want to pay attention to the relative phase of the two tracks. Even if the mic is placed very close (an inch or so) to the amp's speaker, that track will still be slightly delayed (on the order of milliseconds), due to that small distance, relative to the DI track.
Small delays like this can cause comb-filtering when the tracks are combined (at close to equal levels), which produces cancellations and reinforcements in the frequency spectrum that can impart a nasal, hollow, or slightly flangey” sound, weakening the tone. You can see the time difference if you line up the waves in the DAW and zoom way in. You can either advance the amp track (via editing) or delay the DI track (via editing or a plug-in) until the two line up—the resulting tone should be fuller, and ultimately sit better, with a more solid low end, in the mix.
6. Limit and/or compress
If ever there was a candidate for compression, bass is it. This instrument has a wide dynamic range (even more so when slap techniques are employed), but it usually needs to sit at a very steady level in the mix. But should compression be applied during recording, to control the levels going down, or later, during the mix, to insure the best blend in the track? Well, the answer is probably both, but with potentially different approaches to squashing the signal. During recording, a Limiter might be the ticket, to control transient peaks that might overload ADCs, producing pops and spikes that can ruin a take. A classic fast VCA compressor/limiter (like the dbx 160) could be employed to handle peaks, without really reducing the player's dynamics at this early stage. Then when mixdown rolls around, more gentle compression can be introduced (like the smooth squash of an optical compressor like the LA-2A), to tighten up the dynamics, as needed for that particular mix. Applying the right kind, and amount, of compression/limiting at all stages will assure you get nice clean recordings, that can be properly squeezed into the mix when the time comes.
7. Don't over-compress/limit
On the same topic, if you do apply some compression during recording, be careful not to overdo it. At this stage, you don't need to hear any effect, it should just transparently control peaks. If you apply the amount of squeeze that may be needed for the mix as the part is going down, it might cramp the player's style—better to leave that for later. Plus, if the signal is over-compressed here, it may bring out the normal squeaks and finger & fret noises so much that it becomes difficult to eliminate them later—this is especially true if the player is really a guitarist who also moonlights on bass. Guitarists who try their hand at bass parts often haven't mastered an experienced bassist's technique for damping the strings, and the little playing noises I referred to, as well as distracting undamped harmonics, can end up overpowering the recording if heavy limiting/compression brings them up (I recently struggled mightily to deal with a bass track that suffered from this flaw).
8. Don't Print effects without a dry version as well
This is sort of a corollary to the DI+Amp suggestion. While effects on bass aren't as common as with guitar parts, some bassists will come in with these big rigs of effect boxes, and want to record their sound”, which often is clearly overprocessed for the song. Rather than argue the point, let the player hear the sound he's used to during tracking, but be sure to also grab a nice clean signal, prior to all the effects, usually straight off the bass via a DI. That way, if your concerns prove all too true come mixdown, you can turn to the dry track, and recreate those favored effects to a more appropriate degree, with studio tools. Even if the effected bass sounds good to you, many pedals and MI effect boxes are noisy, and you might have to recreate the sound anyway, to avoid problematic buzz or hiss from the player's cool-but-dirty toys.
9. Use Plug-Ins to Enhance Recording
Even when the bass track(s) are well-recorded, and sound good, you may want to enhance the bass tone for mixdown with your favorite bass-friendly plug-in processors. Besides the obvious EQs and compressors, there are many distortion processors and amp sims out there suitable for bass. Sometimes a simple tube-warming effect is all you need to add a little subtle fatness, like the many plug-ins that simulate slight tube drive or tape saturation. I always liked the Tech 21 SansAmp on bass, and Pro Tools includes a well-modeled plug-in version of that unit. Most of the popular guitar amp modelers also include options that can add some nice grit & girth to clean bass tracks, including Softube's Bass Amp Room and Logic's built-in B.A.D.—Bass Amp Designer—which, like most bass amp sims, includes models of classic bass amps like the Ampeg SVT and Fliptop, along with modern bass amp & cabinet emulations. Any of these can add that finishing touch to a good bass part, and there are many freeware options as well, for those on a tight budget.
10. Don't Fear the Upright
For the last tip/technique, I'm going to shift gears and talk about recording acoustic—upright—bass. This may seem more daunting, but many of the same techniques apply—I'll mention a few quick items that would be specific to the big box. While the dynamic mics I mentioned above might work fine (especially on stage), a good large-diaphragm condenser would be appropriate in the studio, to capture the high end and air of the acoustic instrument as well as the lows. On stage, the relatively low acoustic volume of the instrument may preclude more distant mic positioning, but you can wedge a small (pencil-type) mic into the bridge, with appropriate foam padding, and this, surprisingly, can often provide excellent sound and much better isolation.
Most upright players (at least the ones who gig regularly) will also have a pickup installed, and once, again, the combination of mic (depth, air) and pickup (midrange punch and growl) can be a winning combination.
And on that (low) note, I'll wrap up. While many bass parts nowadays are probably laid down with samples and synths, by keyboard players and guitarists, what you'll get from a real bassist is more than just his sound, it's the magic in his fingers, and his bass-players' sense of just what to play to perfectly complement the song—it's certainly worth a little extra effect to take advantage of what the true masters of the low-end have to offer.
Slightly out-of-tune strings on a bass may not jump out as much as on guitar (especially in chords), but when that bass line is sitting under other parts in the mix, even slightly off-pitch notes will make their presence known, and sometimes be harder to track down (why does this song sound a little off”?). I'd use a tuner (h/w or s/w), but I'd also always verify by ear, before hitting record, and I'd check tuning periodically as the session progresses—just as with drums, hard players can easily put the instrument out after a few energetic takes.
2. Break in new strings ahead of time
Aside from tuning issues, new bass strings, especially roundwounds, can be very bright, and this may result in a lot of finger noise and fret buzz. If they're changed a day or two before the session, and the bass is played a bit to break them in, there may be less likelihood of problematic noise. In fact, while many players think of them as old-school, flatwounds can sometimes be the best choice, when a fat deep bass sound is called for—it's worth a thought.
3. Record Amp and DI
The easiest way to record bass is to just plug it straight into the console/interface—of course, using the correct instrument-level input or dedicated DI box, and not a standard line input. This will provide a nice, clean, deep tone, but it will likely lack the growl and grit that's often desired—for that, you'll want the sound of an amp. While you can always use a bass amp sim plug-in later, in the mix (see below), there's nothing like the pants-flapping wall of low-end sound coming out of a real bass amp, if one is available. But most engineers will record both—a DI'd signal, and a miked-up amp. They can be combined later on, for the best of both worlds—the clean, round, depth from the DI, with the edge and midrange punch of the amp (but see below, for a caveat).
4. Use an appropriate mic for bass.
If you are recording the output of a bass amp, try to use a mic that will capture more of the low-end than a typical stage mic. An SM57/58 will work, but a mic with a more extended low-frequency response would be a better choice. The Sennheiser 421 is often used, as is the classic kick drum mic, the AKG D112, which has a bumped-up response tuned specifically for low-pitched instruments. I prefer the Electro-Voice RE-20 (you know, the announcer's mic”)—it's more neutral, and it has an extended low-end response, so you'll get not just boom, but real depth.
5. Adjust phase of combined DI and miked-up bass tracks
If you do record the bass both via a DI and a miked-up cab, and combine them later, as suggested above, you'll want to pay attention to the relative phase of the two tracks. Even if the mic is placed very close (an inch or so) to the amp's speaker, that track will still be slightly delayed (on the order of milliseconds), due to that small distance, relative to the DI track.
Small delays like this can cause comb-filtering when the tracks are combined (at close to equal levels), which produces cancellations and reinforcements in the frequency spectrum that can impart a nasal, hollow, or slightly flangey” sound, weakening the tone. You can see the time difference if you line up the waves in the DAW and zoom way in. You can either advance the amp track (via editing) or delay the DI track (via editing or a plug-in) until the two line up—the resulting tone should be fuller, and ultimately sit better, with a more solid low end, in the mix.
6. Limit and/or compress
If ever there was a candidate for compression, bass is it. This instrument has a wide dynamic range (even more so when slap techniques are employed), but it usually needs to sit at a very steady level in the mix. But should compression be applied during recording, to control the levels going down, or later, during the mix, to insure the best blend in the track? Well, the answer is probably both, but with potentially different approaches to squashing the signal. During recording, a Limiter might be the ticket, to control transient peaks that might overload ADCs, producing pops and spikes that can ruin a take. A classic fast VCA compressor/limiter (like the dbx 160) could be employed to handle peaks, without really reducing the player's dynamics at this early stage. Then when mixdown rolls around, more gentle compression can be introduced (like the smooth squash of an optical compressor like the LA-2A), to tighten up the dynamics, as needed for that particular mix. Applying the right kind, and amount, of compression/limiting at all stages will assure you get nice clean recordings, that can be properly squeezed into the mix when the time comes.
7. Don't over-compress/limit
On the same topic, if you do apply some compression during recording, be careful not to overdo it. At this stage, you don't need to hear any effect, it should just transparently control peaks. If you apply the amount of squeeze that may be needed for the mix as the part is going down, it might cramp the player's style—better to leave that for later. Plus, if the signal is over-compressed here, it may bring out the normal squeaks and finger & fret noises so much that it becomes difficult to eliminate them later—this is especially true if the player is really a guitarist who also moonlights on bass. Guitarists who try their hand at bass parts often haven't mastered an experienced bassist's technique for damping the strings, and the little playing noises I referred to, as well as distracting undamped harmonics, can end up overpowering the recording if heavy limiting/compression brings them up (I recently struggled mightily to deal with a bass track that suffered from this flaw).
8. Don't Print effects without a dry version as well
This is sort of a corollary to the DI+Amp suggestion. While effects on bass aren't as common as with guitar parts, some bassists will come in with these big rigs of effect boxes, and want to record their sound”, which often is clearly overprocessed for the song. Rather than argue the point, let the player hear the sound he's used to during tracking, but be sure to also grab a nice clean signal, prior to all the effects, usually straight off the bass via a DI. That way, if your concerns prove all too true come mixdown, you can turn to the dry track, and recreate those favored effects to a more appropriate degree, with studio tools. Even if the effected bass sounds good to you, many pedals and MI effect boxes are noisy, and you might have to recreate the sound anyway, to avoid problematic buzz or hiss from the player's cool-but-dirty toys.
9. Use Plug-Ins to Enhance Recording
Even when the bass track(s) are well-recorded, and sound good, you may want to enhance the bass tone for mixdown with your favorite bass-friendly plug-in processors. Besides the obvious EQs and compressors, there are many distortion processors and amp sims out there suitable for bass. Sometimes a simple tube-warming effect is all you need to add a little subtle fatness, like the many plug-ins that simulate slight tube drive or tape saturation. I always liked the Tech 21 SansAmp on bass, and Pro Tools includes a well-modeled plug-in version of that unit. Most of the popular guitar amp modelers also include options that can add some nice grit & girth to clean bass tracks, including Softube's Bass Amp Room and Logic's built-in B.A.D.—Bass Amp Designer—which, like most bass amp sims, includes models of classic bass amps like the Ampeg SVT and Fliptop, along with modern bass amp & cabinet emulations. Any of these can add that finishing touch to a good bass part, and there are many freeware options as well, for those on a tight budget.
10. Don't Fear the Upright
For the last tip/technique, I'm going to shift gears and talk about recording acoustic—upright—bass. This may seem more daunting, but many of the same techniques apply—I'll mention a few quick items that would be specific to the big box. While the dynamic mics I mentioned above might work fine (especially on stage), a good large-diaphragm condenser would be appropriate in the studio, to capture the high end and air of the acoustic instrument as well as the lows. On stage, the relatively low acoustic volume of the instrument may preclude more distant mic positioning, but you can wedge a small (pencil-type) mic into the bridge, with appropriate foam padding, and this, surprisingly, can often provide excellent sound and much better isolation.
Most upright players (at least the ones who gig regularly) will also have a pickup installed, and once, again, the combination of mic (depth, air) and pickup (midrange punch and growl) can be a winning combination.
And on that (low) note, I'll wrap up. While many bass parts nowadays are probably laid down with samples and synths, by keyboard players and guitarists, what you'll get from a real bassist is more than just his sound, it's the magic in his fingers, and his bass-players' sense of just what to play to perfectly complement the song—it's certainly worth a little extra effect to take advantage of what the true masters of the low-end have to offer.
Saturday, 5 November 2016
How to Get That Low End to Sing
When we were kids, we didn't have bass amp simulator plug-ins - we had bass amps and expensive microphones and we liked it! Today we are fortunate to have better options to record bass guitar.
One thing we should point out right away when it comes to recording bass in the studio is that we usually record bass at the same time as the other rhythm instruments (drums, guitars and keys) to capture the energy of live performance. This presents a challenge because bass players, as we know, usually like to let loose at very loud levels. In our studio, we often have the bass player perform in the same iso room with the drummer. They are still wearing headphones with individual monitor mixes but we have found that being in the same space magically” brings out tighter performances.
DI, Close Miking & Plug-ins
A common technique for recording bass in the past was to split the signal, recording both a direct out and close miking the bass amp. This technique used to be the only way to have more options later in the mix between the dry and amped sound. This technique has its drawbacks if the bass player and drummer share the same room because miking the bass amp would cause two leakage problems: 1) bass leaking into the drum mics and 2) drums leaking into the bass mic. Luckily things have changed for the better.
With the invention of amp simulator plug-ins, we now have the best of both worlds. We often record the bass directly and feed it back into the bands' headphones during tracking. For some bassists, this form of monitoring takes some getting used to because they are used to feeling” booming vibrations when they play. But usually after a few minutes of warm up and some mix adjustment, they are good to go (and the rest of the band often appreciates that they can now control just how much bass they are getting in their headphone mix).
Direct Recording Impedance
If we do record the bass direct, there are some things to keep in mind and we have to get into a quick nano” discussion about impedance. Instruments like bass guitars are high impedance (Hi-Z) and many older recording mixers and interfaces only have low impedance (Lo-Z) inputs. In this case, we need to use a direct box to change the impedance if we are recording directly from the bass guitar or from the pedal board.
Because direct boxes are designed for many situations, we like to use ones designed specifically for bass guitars, like SansAmp Bass Driver DI by Tech21. Nowadays things have changed and most recording gear has both Lo-Z and Hi-Z, so you can just plug into the appropriate input. We like when bassists come into the studio with bass heads that have pre-amp outputs (like the GK MB line or Ampeg SVT series) so that we can just plug in an XLR cable direct to the board and we're good to go. This saves the hassle of lugging a heavy bass cabinet into the studio and we still capture the bass player's unique sound.
EQ and Compression
We usually record the bass with no EQ on the board and just a bit of compression limiting so that a performance that gets louder than expected will not be ruined by digital distortion.
Once we have recorded the performance using this direct technique, we have a completely isolated bass track with no leakage from other instruments. At this point, if the band is happy with the recorded rhythm track, we will dim-solo (bring up the volume in the mix of the selected track) the bass track and listen for any bass flubs that need to be overdubbed. It is best to do this now before any settings get changed on the pedal board or amp. Once everyone is happy with the bass performance, we often use amp simulators (like Guitar Rig 4 by Native Instruments or Amplitube by IK Multimedia), compressors and EQ plug-ins to change the overall bass sound. It is important to mention that it is easier to give the bass more character (growl, warmth, punch) than it is to remove it after tracking - so if possible have the bass player back off a bit on a real nasty or distinct sounds unless you are sure you will want it in the final mix.
Mic Selection and Placement
When we do decide to mic the bass amp, there are a couple of things to consider: mic selection and placement. There are no right” answers to either. We often close mic the cabinet with mics like the AKG D112 and Sennheiser MD421, which work great. But the best way is to do a little experimenting. If we have the luxury of time, we like to have the bassist start playing to the track and have an assistant move the mic to different locations on the speaker cone and different distances from the cabinet for about 10 seconds at a time, while we take notes on each location. Then we'll play back the track with the rest of the mix and see which location gave us the sound we wanted. If nothing quite works, then we change the mic and do it again until everyone's happy (or we get a new bass player, just kidding).
One thing we should point out right away when it comes to recording bass in the studio is that we usually record bass at the same time as the other rhythm instruments (drums, guitars and keys) to capture the energy of live performance. This presents a challenge because bass players, as we know, usually like to let loose at very loud levels. In our studio, we often have the bass player perform in the same iso room with the drummer. They are still wearing headphones with individual monitor mixes but we have found that being in the same space magically” brings out tighter performances.
DI, Close Miking & Plug-ins
A common technique for recording bass in the past was to split the signal, recording both a direct out and close miking the bass amp. This technique used to be the only way to have more options later in the mix between the dry and amped sound. This technique has its drawbacks if the bass player and drummer share the same room because miking the bass amp would cause two leakage problems: 1) bass leaking into the drum mics and 2) drums leaking into the bass mic. Luckily things have changed for the better.
With the invention of amp simulator plug-ins, we now have the best of both worlds. We often record the bass directly and feed it back into the bands' headphones during tracking. For some bassists, this form of monitoring takes some getting used to because they are used to feeling” booming vibrations when they play. But usually after a few minutes of warm up and some mix adjustment, they are good to go (and the rest of the band often appreciates that they can now control just how much bass they are getting in their headphone mix).
Direct Recording Impedance
If we do record the bass direct, there are some things to keep in mind and we have to get into a quick nano” discussion about impedance. Instruments like bass guitars are high impedance (Hi-Z) and many older recording mixers and interfaces only have low impedance (Lo-Z) inputs. In this case, we need to use a direct box to change the impedance if we are recording directly from the bass guitar or from the pedal board.
Because direct boxes are designed for many situations, we like to use ones designed specifically for bass guitars, like SansAmp Bass Driver DI by Tech21. Nowadays things have changed and most recording gear has both Lo-Z and Hi-Z, so you can just plug into the appropriate input. We like when bassists come into the studio with bass heads that have pre-amp outputs (like the GK MB line or Ampeg SVT series) so that we can just plug in an XLR cable direct to the board and we're good to go. This saves the hassle of lugging a heavy bass cabinet into the studio and we still capture the bass player's unique sound.
EQ and Compression
We usually record the bass with no EQ on the board and just a bit of compression limiting so that a performance that gets louder than expected will not be ruined by digital distortion.
Once we have recorded the performance using this direct technique, we have a completely isolated bass track with no leakage from other instruments. At this point, if the band is happy with the recorded rhythm track, we will dim-solo (bring up the volume in the mix of the selected track) the bass track and listen for any bass flubs that need to be overdubbed. It is best to do this now before any settings get changed on the pedal board or amp. Once everyone is happy with the bass performance, we often use amp simulators (like Guitar Rig 4 by Native Instruments or Amplitube by IK Multimedia), compressors and EQ plug-ins to change the overall bass sound. It is important to mention that it is easier to give the bass more character (growl, warmth, punch) than it is to remove it after tracking - so if possible have the bass player back off a bit on a real nasty or distinct sounds unless you are sure you will want it in the final mix.
Mic Selection and Placement
When we do decide to mic the bass amp, there are a couple of things to consider: mic selection and placement. There are no right” answers to either. We often close mic the cabinet with mics like the AKG D112 and Sennheiser MD421, which work great. But the best way is to do a little experimenting. If we have the luxury of time, we like to have the bassist start playing to the track and have an assistant move the mic to different locations on the speaker cone and different distances from the cabinet for about 10 seconds at a time, while we take notes on each location. Then we'll play back the track with the rest of the mix and see which location gave us the sound we wanted. If nothing quite works, then we change the mic and do it again until everyone's happy (or we get a new bass player, just kidding).
Thursday, 3 November 2016
Techniques For Recording Bass
In this tutorial we'll talk a little bit about some techniques for recording bass instruments like bass guitar and upright bass. While it is one of the more simple things to record, there are still a lot of different techniques and ideas that come along with recording the bass of a song, as it is quite important to get a full tone to hold down a mix.
Step 1
First off, like recording everything, the most important part about recording bass is to make sure that you are happy with the tone before you go to record. This means dialing in the settings on both your guitar and your amp, or in the case of a stand up bass making sure that everything is working properly and that your technique is spot on. Also falling under this category is making sure that you have the right type of bass for the song, as a Fender Jazz Bass can sound quite different from a Precision Bass and so on...
Step 2
After you are happy with the sound coming from your instrument, its time to record. Pretty much all engineers, myself included, will always get a direct input signal from the bass guitar. I always do and sometimes it is the only thing that I record, but often times I will use a amplifier and blend the two. As far as choices for a DI box, almost anything will work but I usually use a Countryman Type 85 DI box as these are my favorite to use. While I can understand if you just want to get an amp sound, it never hurts to get the DI signal as well, and vise versa.
Step 3
Next we'll talk a bit about recording your direct input signal while using some compression. While this step (like all of the others) isn't necessary, I always try to record my direct signal with some compression as it can help to keep the level in line and give you a tighter overall sound. While most compressors will do, I find that the Summit TLA100 is a great compressor for bass guitar and is what I will usually use. I can understand if you want to record dry and add compression later, but for me I always like to get a tighter direct sound from the start by using compression during tracking.
Step 4
While getting a direct signal is often times enough for bass, I generally like to try to get an amplifier sound as well. I have used both bass guitar and standard guitar amps for this and both will really give you different tones so you need to know when to use them. Most of the time I will use a bass guitar amp if I am going for a traditional thick and fat bass tone, but on occasion I will add a guitar amp into the mix, which I find gives you more slap and punch. However, I would only recommend trying it out with a guitar amp if you are also getting a direct input signal and blending the two, as the guitar amp on its own doesn't have enough low end presence. Also, be careful to keep the volume relatively low so you don't blow out the speaker!
Step 5
Lastly, I'll talk a little bit about recording an upright bass, as this can be a completely different challenge. Generally what I do is place a large diaphragm tube condenser microphone (like a Neumann M 149) by the bridge of the instrument about a few inches away from it as I find that this will give you a pretty accurate and tight sound. While it never hurts to put up another microphone further back, I generally try to keep my bass sounds as tight as possible..
Conclusion
While these tips can be helpful please keep in mind that these are only guidelines and that you should definitely be experimenting and trying things out to try to get your own methods and techniques down that will work for you and your sound. Remember to have fun and always try out new things!
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Step 1
First off, like recording everything, the most important part about recording bass is to make sure that you are happy with the tone before you go to record. This means dialing in the settings on both your guitar and your amp, or in the case of a stand up bass making sure that everything is working properly and that your technique is spot on. Also falling under this category is making sure that you have the right type of bass for the song, as a Fender Jazz Bass can sound quite different from a Precision Bass and so on...
Step 2
After you are happy with the sound coming from your instrument, its time to record. Pretty much all engineers, myself included, will always get a direct input signal from the bass guitar. I always do and sometimes it is the only thing that I record, but often times I will use a amplifier and blend the two. As far as choices for a DI box, almost anything will work but I usually use a Countryman Type 85 DI box as these are my favorite to use. While I can understand if you just want to get an amp sound, it never hurts to get the DI signal as well, and vise versa.
Step 3
Next we'll talk a bit about recording your direct input signal while using some compression. While this step (like all of the others) isn't necessary, I always try to record my direct signal with some compression as it can help to keep the level in line and give you a tighter overall sound. While most compressors will do, I find that the Summit TLA100 is a great compressor for bass guitar and is what I will usually use. I can understand if you want to record dry and add compression later, but for me I always like to get a tighter direct sound from the start by using compression during tracking.
Step 4
While getting a direct signal is often times enough for bass, I generally like to try to get an amplifier sound as well. I have used both bass guitar and standard guitar amps for this and both will really give you different tones so you need to know when to use them. Most of the time I will use a bass guitar amp if I am going for a traditional thick and fat bass tone, but on occasion I will add a guitar amp into the mix, which I find gives you more slap and punch. However, I would only recommend trying it out with a guitar amp if you are also getting a direct input signal and blending the two, as the guitar amp on its own doesn't have enough low end presence. Also, be careful to keep the volume relatively low so you don't blow out the speaker!
Step 5
Lastly, I'll talk a little bit about recording an upright bass, as this can be a completely different challenge. Generally what I do is place a large diaphragm tube condenser microphone (like a Neumann M 149) by the bridge of the instrument about a few inches away from it as I find that this will give you a pretty accurate and tight sound. While it never hurts to put up another microphone further back, I generally try to keep my bass sounds as tight as possible..
Conclusion
While these tips can be helpful please keep in mind that these are only guidelines and that you should definitely be experimenting and trying things out to try to get your own methods and techniques down that will work for you and your sound. Remember to have fun and always try out new things!
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Thursday, 20 October 2016
Recording & Mixing Bass Guitar
Bass is the backbone of your music, and in many cases - particularly with more modern styles - the whole metaphorical house would collapse without it. Lou Reed once put the importance of bass across rather well. I wouldn't want to hear Beethoven without beautiful bass, the cellos, the tuba. It's very important. Hip-hop has thunderous bass. And so does Beethoven. If you don't have the bass, it's like being amputated. It's like you have no legs.”
Just like building a house, it's essential to build on solid foundations. When done correctly, your bass should work with the rest of the band to provide a punchy and tight solid backbone to your music. Unfortunately for the beginner, recording great bass can seem like a dark art, with many results sounding muddy or unbalanced. Thankfully, like most things, it's easy when you know how. In this article, we'll get you up and running with great results, fast.
Setting Up
It goes without saying that you need a great bass player to get professional results, but it's equally important to set up your instrument first. As described in our post about recording acoustic guitars , we highly recommend you invest in setting your instrument up properly before doing anything else. As an absolute minimum, you should check the instrument action, its intonation, and consider a string change. Finally, and most importantly, always tune the bass before and between takes.
Bass Recording Methods
There are 3 main methods for recording bass guitar: 1. Recording direct using a DI box, 2. Using a Microphone, 3. Using a combination of direct and microphone techniques.
The method you choose depends on a number of factors. Below we'll consider each option in more detail.
Should I DI My Bass Guitar?
Unlike electric guitars, it is common to use a DI to record bass. Although this technique delivers a good solid clean sound, it can also lack life. If you want to capture a more ‘real' sound, there's nothing quite like micing up a bass cabinet. DI's, however, do have other distinct advantages.
They offer a back-up, allowing you to re-amp the signal should you decide to later.
When blended with a microphone signal, DI's can be used to help reinforce any frequencies not produced by the amp.
If you do decide for practical or budgetary reasons to use a DI on it's own, the result can be greatly improved by processing the signal using amp simulation software. Amplifier and Cabinet modelling software has come in leaps and bounds over recent years, to the point where even the stock options with programs like Garage band can reproduce very convincing results.
Recording Bass with a Microphone
For those that have the luxury of a great sounding bass amplifier, the best and most characterful results can be achieved using a microphone. The most important factors when choosing a mic for bass guitar are: (a) frequency response and (b) how well the mic handles high sound pressure levels (SPL). (a) It is desirable to have a frequency response shaped specifically for bass instruments, meaning it has a strong low-frequency response, with a scooped mid and a presence peak around 3-5KHz. (b) When it comes to high SPL levels, dynamic microphones will typically perform best; however, this does not rule out condenser mics entirely…
Can I Use a Condenser Mic on Bass?
As determined above, dynamic mics work great for bass guitars. On the flip-side, they also impart their own particular sound on the recording thanks to their strong, tailored frequency response. For those who prefer a more natural sound, it's worth considering a condenser mic; just make sure you keep the bass amp to a sensible level and consider using a pad if the signal is too hot. A pad can be enabled at the pre-amp or even at the mic if your model has this feature. Pads will typically allow you to attenuate the signal by 10 - 15dB.
Mic Positioning
There is no one size fits all solution here, so it's essential to experiment with position and distance. Listen carefully to determine what sounds best for your application.
First up, try experimenting with mic position relative to the speaker cone. Just like electric guitars, you can easily achieve a bright or warm tone depending on where you place the mic. As a general rule, positioning the mic toward the speaker cone edge will produce a warm tone while pointing it directly at the centre will give you more ‘bite'.
Secondly, microphone distance from the grill will also affect the tone. All microphones are different, so listen carefully for changes using a pair of good quality headphones. As you move the mic further away from the grill, the tone changes from a very dry, focused and non-reverberant tone, to a more natural and ambient sound. The other consideration here is proximity effect, whereby the bass frequencies become more accentuated as a directional mic moves closer to the sound source. Engineers will often exploit the proximity effect to thicken up guitars, but you might find that bass guitars benefit from a little breathing room; somewhere between 4 - 18 inches will usually work depending on preference.
Often overlooked is the floor surface. For example, if you place the amp on a solid floor, the reflections will result in a brighter tone than that of an amp placed on a carpet. Keep in mind that the further your mic is from the amp, the more significant floor and room reflections become. Generally speaking, a microphone placed further away from the speaker grill will be more representative of the overall amp and room sound. In other words, it will sound more natural. Depending on the style of music you're recording, this may, or may not be desirable.
A little info on Polar Patterns
By far the most commonly used polar pattern for recording bass is cardioid. In short, their directional pickup allows for greater rejection of room reflections or other instrument sounds. On the other hand, they also colour the sound more - most notably through the proximity effect described above.
If you want to avoid the proximity effect and capture a more natural tone, consider using an omni-directional polar pattern. As we described in our Recording & Mixing Vocals article, omni directional microphones will produce a more ‘natural' or ‘open' sound, but they will also capture more reflections. If you have a great sounding room, some natural reverb can be desirable; however, for most home or project studios, it is far safer to tame room reflections and add reverb during mixdown.
Recording a Blend of DI and Microphone Signals
Many engineers will insist on using a combination of mic and DI techniques to record bass. A blend of the two allows you to get the best of both worlds. In fact, some engineers will even record up to 3 or 4 tracks for the bass, usually featuring 1 DI track and multiple mics. For example, you could use a specialised kick/bass dynamic mic up close alongside a condenser mic placed further away and then combine this with a DI signal. When mixed together, it can be possible to arrive at a more diverse range of sounds suitable for many styles of music - just make sure you check the phase relationships between these different channels. The key here is to be patient and don't be afraid to experiment. Different bass guitars, amps and the room itself all call for a different approach. The import thing is to trust your ears, and remember that if it sounds good, it is good.
Mixing
In the vast majority of cases, getting a great mix starts with the relationship between your drum tracks and the bass. It's essential to get a good groove between the kick, snare and bass to build the foundations we talked about at the beginning of this article. Before you start any mixing, listen carefully to the groove and timing between the drums and bass. In many cases, the performance can benefit from a little tightening up. This process typically involves cutting, moving, and in some cases, time stretching some notes. Modern recording software has come a long way toward assisting or even automating this process; however, I find that some of this automation can remove the feel of your performance altogether. If you want to preserve the human element of your performance, try and keep editing to a minimum. Sometimes, the best way is to manually locate and edit the offending notes. If you find yourself having to make a lot of changes, it might be better to consider re-recording.
The key point to remember here is that something has to be the main reference point for timing. In the vast majority of cases, the reference point is almost certainly the drums. Listen carefully and assess the relationship between the kick, snare, and the bass; they should work very closely together to form the backbone of your track. If they don't, everything else you do after will be in vein.
Once you are happy with the final performance, you can begin considering how the bass sits within the overall context of your mix. The following are typical processes to consider:
EQ
Where you choose to boost or cut EQ on a bass guitar is essential to producing a controlled and clean low-end within the context of your overall mix. The best results are usually achieved by NOT boosting at the same frequency as your kick drum track. For example, if you applied a boost around 80Hz on the kick drum, try cutting a small amount from the bass at the same frequency and boost further up between 100 - 150Hz instead. It then also makes sense to cut the kick drum track at the boosted bass frequency. This approach will help to control and tighten up the low end.
Some bass tracks can benefit from a small high-frequency boost. If you decide to do this, listen carefully with a good set of reference headphones to determine which frequency gives it some presence or attack without clashing with other percussion tracks. Once again, it doesn't make sense to boost your kick drum attack at the same frequency as your bass; you need to give each track its individual space within the frequency spectrum.
Finally, if you haven't gathered already, making EQ decisions when the track is soloed is like stabbing in the dark. You need to hear the relationship between each instrument to make informed choices. Make sure you regularly reference your EQ settings against the drums and the entire mix.
Note: Check your Mix on Different Systems
With bass frequencies, it is particularly important to check your mix on a range of audio systems. A deep low-frequency bass guitar sound might sound great on a high-quality studio monitor system, but it could be completely inaudible on many consumer audio systems - particularly cheaper earphones. A bass sound with a good balance between low and low-mid frequencies will usually transfer better.
Also, remember that bass frequencies can determine the master fader volume as bass frequencies contain more energy than high frequencies. If you're having trouble getting the bass to sound audible in context with the entire track, try rolling off some low-end, which should then allow you to turn the whole track up without it peaking.
Compression
Compression is typically applied to bass as it helps to maintain consistency. How much you add will likely depend on how the track was recorded. For example, it is common to compress a DI bass track more heavily than one recorded with an amp and microphone. This is because the amplifier imposes a certain amount of natural compression - particularly if you have a valve/tube amp. Any amount of compression added should be enough to smooth out the performance and maintain a solid groove. Be careful not to set your attack too fast, or you will squash precious transients. Equally, make sure the attack is not so slow that it ruins the groove entirely. The release time will also need careful consideration to ensure you maintain dynamic range and groove. Set the release too low, and the compression will be released almost immediately after the signal drops below your threshold. Set this too high, and the compressor will be almost always compressing and could ruin the groove and strip the performance of any dynamic range. If your compressor has an auto attack and release function, you might want to consider using this if you don't feel confident. In any case, the attack and release settings will depend on playing style and the desired sound; trust your ears on this one.
Compression can be difficult to understand, and if you're new to the basic controls, it's well worth researching and fully understanding these before you apply anything. The video below goes a long way to explaining compression fundamentals for beginners - albeit from a drums perspective - but the controls and purpose remain valid.
Reverb
Last but not least, too much reverb on the bottom end can really muddy up a mix. The trick here is to use short reverbs with a little pre-delay to separate the bass from the reverb sound. Any reverb should be just enough to help blend the track in without sounding overpowering. As described in our recording vocals article, you can help to avoid muddy sounding reverb and retain focus by applying a little EQ to the return signal of your reverb.
Conclusion
There are no right or wrongs in most recording applications; there are, however, guidelines that usually yield good results. By following the fundamentals in this guide, you should be well on your way to building a solid base for your track - pun wholeheartedly intended.
Just like building a house, it's essential to build on solid foundations. When done correctly, your bass should work with the rest of the band to provide a punchy and tight solid backbone to your music. Unfortunately for the beginner, recording great bass can seem like a dark art, with many results sounding muddy or unbalanced. Thankfully, like most things, it's easy when you know how. In this article, we'll get you up and running with great results, fast.
Setting Up
It goes without saying that you need a great bass player to get professional results, but it's equally important to set up your instrument first. As described in our post about recording acoustic guitars , we highly recommend you invest in setting your instrument up properly before doing anything else. As an absolute minimum, you should check the instrument action, its intonation, and consider a string change. Finally, and most importantly, always tune the bass before and between takes.
Bass Recording Methods
There are 3 main methods for recording bass guitar: 1. Recording direct using a DI box, 2. Using a Microphone, 3. Using a combination of direct and microphone techniques.
The method you choose depends on a number of factors. Below we'll consider each option in more detail.
Should I DI My Bass Guitar?
Unlike electric guitars, it is common to use a DI to record bass. Although this technique delivers a good solid clean sound, it can also lack life. If you want to capture a more ‘real' sound, there's nothing quite like micing up a bass cabinet. DI's, however, do have other distinct advantages.
They offer a back-up, allowing you to re-amp the signal should you decide to later.
When blended with a microphone signal, DI's can be used to help reinforce any frequencies not produced by the amp.
If you do decide for practical or budgetary reasons to use a DI on it's own, the result can be greatly improved by processing the signal using amp simulation software. Amplifier and Cabinet modelling software has come in leaps and bounds over recent years, to the point where even the stock options with programs like Garage band can reproduce very convincing results.
Recording Bass with a Microphone
For those that have the luxury of a great sounding bass amplifier, the best and most characterful results can be achieved using a microphone. The most important factors when choosing a mic for bass guitar are: (a) frequency response and (b) how well the mic handles high sound pressure levels (SPL). (a) It is desirable to have a frequency response shaped specifically for bass instruments, meaning it has a strong low-frequency response, with a scooped mid and a presence peak around 3-5KHz. (b) When it comes to high SPL levels, dynamic microphones will typically perform best; however, this does not rule out condenser mics entirely…
Can I Use a Condenser Mic on Bass?
As determined above, dynamic mics work great for bass guitars. On the flip-side, they also impart their own particular sound on the recording thanks to their strong, tailored frequency response. For those who prefer a more natural sound, it's worth considering a condenser mic; just make sure you keep the bass amp to a sensible level and consider using a pad if the signal is too hot. A pad can be enabled at the pre-amp or even at the mic if your model has this feature. Pads will typically allow you to attenuate the signal by 10 - 15dB.
Mic Positioning
There is no one size fits all solution here, so it's essential to experiment with position and distance. Listen carefully to determine what sounds best for your application.
First up, try experimenting with mic position relative to the speaker cone. Just like electric guitars, you can easily achieve a bright or warm tone depending on where you place the mic. As a general rule, positioning the mic toward the speaker cone edge will produce a warm tone while pointing it directly at the centre will give you more ‘bite'.
Secondly, microphone distance from the grill will also affect the tone. All microphones are different, so listen carefully for changes using a pair of good quality headphones. As you move the mic further away from the grill, the tone changes from a very dry, focused and non-reverberant tone, to a more natural and ambient sound. The other consideration here is proximity effect, whereby the bass frequencies become more accentuated as a directional mic moves closer to the sound source. Engineers will often exploit the proximity effect to thicken up guitars, but you might find that bass guitars benefit from a little breathing room; somewhere between 4 - 18 inches will usually work depending on preference.
Often overlooked is the floor surface. For example, if you place the amp on a solid floor, the reflections will result in a brighter tone than that of an amp placed on a carpet. Keep in mind that the further your mic is from the amp, the more significant floor and room reflections become. Generally speaking, a microphone placed further away from the speaker grill will be more representative of the overall amp and room sound. In other words, it will sound more natural. Depending on the style of music you're recording, this may, or may not be desirable.
A little info on Polar Patterns
By far the most commonly used polar pattern for recording bass is cardioid. In short, their directional pickup allows for greater rejection of room reflections or other instrument sounds. On the other hand, they also colour the sound more - most notably through the proximity effect described above.
If you want to avoid the proximity effect and capture a more natural tone, consider using an omni-directional polar pattern. As we described in our Recording & Mixing Vocals article, omni directional microphones will produce a more ‘natural' or ‘open' sound, but they will also capture more reflections. If you have a great sounding room, some natural reverb can be desirable; however, for most home or project studios, it is far safer to tame room reflections and add reverb during mixdown.
Recording a Blend of DI and Microphone Signals
Many engineers will insist on using a combination of mic and DI techniques to record bass. A blend of the two allows you to get the best of both worlds. In fact, some engineers will even record up to 3 or 4 tracks for the bass, usually featuring 1 DI track and multiple mics. For example, you could use a specialised kick/bass dynamic mic up close alongside a condenser mic placed further away and then combine this with a DI signal. When mixed together, it can be possible to arrive at a more diverse range of sounds suitable for many styles of music - just make sure you check the phase relationships between these different channels. The key here is to be patient and don't be afraid to experiment. Different bass guitars, amps and the room itself all call for a different approach. The import thing is to trust your ears, and remember that if it sounds good, it is good.
Mixing
In the vast majority of cases, getting a great mix starts with the relationship between your drum tracks and the bass. It's essential to get a good groove between the kick, snare and bass to build the foundations we talked about at the beginning of this article. Before you start any mixing, listen carefully to the groove and timing between the drums and bass. In many cases, the performance can benefit from a little tightening up. This process typically involves cutting, moving, and in some cases, time stretching some notes. Modern recording software has come a long way toward assisting or even automating this process; however, I find that some of this automation can remove the feel of your performance altogether. If you want to preserve the human element of your performance, try and keep editing to a minimum. Sometimes, the best way is to manually locate and edit the offending notes. If you find yourself having to make a lot of changes, it might be better to consider re-recording.
The key point to remember here is that something has to be the main reference point for timing. In the vast majority of cases, the reference point is almost certainly the drums. Listen carefully and assess the relationship between the kick, snare, and the bass; they should work very closely together to form the backbone of your track. If they don't, everything else you do after will be in vein.
Once you are happy with the final performance, you can begin considering how the bass sits within the overall context of your mix. The following are typical processes to consider:
EQ
Where you choose to boost or cut EQ on a bass guitar is essential to producing a controlled and clean low-end within the context of your overall mix. The best results are usually achieved by NOT boosting at the same frequency as your kick drum track. For example, if you applied a boost around 80Hz on the kick drum, try cutting a small amount from the bass at the same frequency and boost further up between 100 - 150Hz instead. It then also makes sense to cut the kick drum track at the boosted bass frequency. This approach will help to control and tighten up the low end.
Some bass tracks can benefit from a small high-frequency boost. If you decide to do this, listen carefully with a good set of reference headphones to determine which frequency gives it some presence or attack without clashing with other percussion tracks. Once again, it doesn't make sense to boost your kick drum attack at the same frequency as your bass; you need to give each track its individual space within the frequency spectrum.
Finally, if you haven't gathered already, making EQ decisions when the track is soloed is like stabbing in the dark. You need to hear the relationship between each instrument to make informed choices. Make sure you regularly reference your EQ settings against the drums and the entire mix.
Note: Check your Mix on Different Systems
With bass frequencies, it is particularly important to check your mix on a range of audio systems. A deep low-frequency bass guitar sound might sound great on a high-quality studio monitor system, but it could be completely inaudible on many consumer audio systems - particularly cheaper earphones. A bass sound with a good balance between low and low-mid frequencies will usually transfer better.
Also, remember that bass frequencies can determine the master fader volume as bass frequencies contain more energy than high frequencies. If you're having trouble getting the bass to sound audible in context with the entire track, try rolling off some low-end, which should then allow you to turn the whole track up without it peaking.
Compression
Compression is typically applied to bass as it helps to maintain consistency. How much you add will likely depend on how the track was recorded. For example, it is common to compress a DI bass track more heavily than one recorded with an amp and microphone. This is because the amplifier imposes a certain amount of natural compression - particularly if you have a valve/tube amp. Any amount of compression added should be enough to smooth out the performance and maintain a solid groove. Be careful not to set your attack too fast, or you will squash precious transients. Equally, make sure the attack is not so slow that it ruins the groove entirely. The release time will also need careful consideration to ensure you maintain dynamic range and groove. Set the release too low, and the compression will be released almost immediately after the signal drops below your threshold. Set this too high, and the compressor will be almost always compressing and could ruin the groove and strip the performance of any dynamic range. If your compressor has an auto attack and release function, you might want to consider using this if you don't feel confident. In any case, the attack and release settings will depend on playing style and the desired sound; trust your ears on this one.
Compression can be difficult to understand, and if you're new to the basic controls, it's well worth researching and fully understanding these before you apply anything. The video below goes a long way to explaining compression fundamentals for beginners - albeit from a drums perspective - but the controls and purpose remain valid.
Reverb
Last but not least, too much reverb on the bottom end can really muddy up a mix. The trick here is to use short reverbs with a little pre-delay to separate the bass from the reverb sound. Any reverb should be just enough to help blend the track in without sounding overpowering. As described in our recording vocals article, you can help to avoid muddy sounding reverb and retain focus by applying a little EQ to the return signal of your reverb.
Conclusion
There are no right or wrongs in most recording applications; there are, however, guidelines that usually yield good results. By following the fundamentals in this guide, you should be well on your way to building a solid base for your track - pun wholeheartedly intended.
Monday, 17 October 2016
Recording Bass Guitar for a Great Home Studio Sound
Recording bass guitar is very similar to capturing the sound of the electric guitar. Along with the drums, the bass forms the backbone of most songs and productions, so getting your bass sound right is a vital part of producing good music.
Combined with the kick drum, when it's used the bass guitar creates most of a song's low-frequency content. The bass is a powerful instrument, and the general aim when recording it is to capture the full weight and body of the instrument's low frequencies, along with the mid-frequencies that give the notes their attack and definition.
There are a few different bass guitar recording techniques to think about:
Directly
A combination of the two
How to Record Bass Directly
Capturing the direct signal of the instrument is important when recording bass guitar. Having to use a DI-box depends on whether the instrument you're using has passive or active pickups.
Active: the bass can be connected directly into your audio interface or mixing console
Passive: the bass must first be connected to a DI box (helping to match impedance levels)
Recording direct helps to capture the low end and the note definition of the bass guitar. But it doesn't really catch the sound's body - this requires an amp.
Bass Amplifiers
Bass amps and cabinets will have better low-end response compared to normal guitar amps, to cope with the low notes of the bass guitar and to give the instrument it's punch. Buying separate amps and cabinets can be expensive though, and isn't usually near the top of essential items for a home studio.
A lower-budget option is the combo amp, which combines the amplifier and the cabinet speakers inside one unit. These days you can find small practice combo amps for bass guitars starting around the $70 mark.
But these amps won't be very powerful and so are best recorded at a lower volume. If you're looking for an amp that you can crank up and record at high volume, amps of at least 50 Watts are recommended.
The other option for recording bass guitar is to use a guitar amp. But caution has to be taken when doing this - if the amp is driven at high volumes, the low frequencies can damage the speaker. The best way forward is to record the DI signal for the low-end, and the amp (at a low volume) for the body of the sound.
Microphones for Recording Bass Guitar at Home
Dynamic mics are definitely the best option, as they can handle the loud volumes of a guitar or bass amp. A dynamic mic I always recommend to have in the home studio is the Shure SM58 , and you can get pretty good results using it on a bass amp.
There are mics out there that are specially designed for recording low-frequencies, with kick drums and bass amplifiers being the main two sources.
The AKG D112 is probably the most popular of these mics - it's a large-diaphragm cardioid mic that can handle very high sound pressure levels, and it's frequency response is geared towards capturing these low frequency sounds.
Microphone Placement
When recording bass guitar with an amp, the best place for the microphone is between 1-3 feet away from the amp's grill. This will give you a solid tone with plenty of body, as well as nice definition of the notes played. Moving the mic further away will give you more body and less definition.
You can get good recordings with both cardioid and omnidirectional polar patterns. Directing the mic towards the centre of the cone will emphasize the higher frequencies and give you a more aggressive sound. Moving the mic towards the speaker's edge gives a softer sound.
The Bass Guitar
The way the bass is set up and played can have a big impact on the sound produced. The range of tone that can be generated can vary between the sharp, aggressive style of rock and metal all the way to the softer, gentler tone of reggae and dub.
If you're after a bright, aggressive tone with more note definition, try these tips:
Use newer strings
Play the bass with a pick
Play the strings nearer the bridge
But if you're after a rounder, more mellow tone try these tips:
Use older strings
Play the bass with your fingers
Play the strings nearer the neck
You'll be able to produce a whole spectrum of different bass tones by mixing and matching the setup and the style of playing. Choosing how you want your bass recording to sound is a creative decision - it depends on the direction that you want to take your production in.
Final Thoughts
Recording bass guitar can be easy when you follow a few simple guidelines. Whether recording directly, through an amp, or a combination of the two, capturing a great bass sound can give you a truly solid foundation for you to build your music and your productions on.
Combined with the kick drum, when it's used the bass guitar creates most of a song's low-frequency content. The bass is a powerful instrument, and the general aim when recording it is to capture the full weight and body of the instrument's low frequencies, along with the mid-frequencies that give the notes their attack and definition.
There are a few different bass guitar recording techniques to think about:
Directly
A combination of the two
How to Record Bass Directly
Capturing the direct signal of the instrument is important when recording bass guitar. Having to use a DI-box depends on whether the instrument you're using has passive or active pickups.
Active: the bass can be connected directly into your audio interface or mixing console
Passive: the bass must first be connected to a DI box (helping to match impedance levels)
Recording direct helps to capture the low end and the note definition of the bass guitar. But it doesn't really catch the sound's body - this requires an amp.
Bass Amplifiers
Bass amps and cabinets will have better low-end response compared to normal guitar amps, to cope with the low notes of the bass guitar and to give the instrument it's punch. Buying separate amps and cabinets can be expensive though, and isn't usually near the top of essential items for a home studio.
A lower-budget option is the combo amp, which combines the amplifier and the cabinet speakers inside one unit. These days you can find small practice combo amps for bass guitars starting around the $70 mark.
But these amps won't be very powerful and so are best recorded at a lower volume. If you're looking for an amp that you can crank up and record at high volume, amps of at least 50 Watts are recommended.
The other option for recording bass guitar is to use a guitar amp. But caution has to be taken when doing this - if the amp is driven at high volumes, the low frequencies can damage the speaker. The best way forward is to record the DI signal for the low-end, and the amp (at a low volume) for the body of the sound.
Microphones for Recording Bass Guitar at Home
Dynamic mics are definitely the best option, as they can handle the loud volumes of a guitar or bass amp. A dynamic mic I always recommend to have in the home studio is the Shure SM58 , and you can get pretty good results using it on a bass amp.
There are mics out there that are specially designed for recording low-frequencies, with kick drums and bass amplifiers being the main two sources.
The AKG D112 is probably the most popular of these mics - it's a large-diaphragm cardioid mic that can handle very high sound pressure levels, and it's frequency response is geared towards capturing these low frequency sounds.
Microphone Placement
When recording bass guitar with an amp, the best place for the microphone is between 1-3 feet away from the amp's grill. This will give you a solid tone with plenty of body, as well as nice definition of the notes played. Moving the mic further away will give you more body and less definition.
You can get good recordings with both cardioid and omnidirectional polar patterns. Directing the mic towards the centre of the cone will emphasize the higher frequencies and give you a more aggressive sound. Moving the mic towards the speaker's edge gives a softer sound.
The Bass Guitar
The way the bass is set up and played can have a big impact on the sound produced. The range of tone that can be generated can vary between the sharp, aggressive style of rock and metal all the way to the softer, gentler tone of reggae and dub.
If you're after a bright, aggressive tone with more note definition, try these tips:
Use newer strings
Play the bass with a pick
Play the strings nearer the bridge
But if you're after a rounder, more mellow tone try these tips:
Use older strings
Play the bass with your fingers
Play the strings nearer the neck
You'll be able to produce a whole spectrum of different bass tones by mixing and matching the setup and the style of playing. Choosing how you want your bass recording to sound is a creative decision - it depends on the direction that you want to take your production in.
Final Thoughts
Recording bass guitar can be easy when you follow a few simple guidelines. Whether recording directly, through an amp, or a combination of the two, capturing a great bass sound can give you a truly solid foundation for you to build your music and your productions on.
Friday, 30 September 2016
8 Tips For Getting A Great Bass Guitar Sound — Pro Tools Expert
It's one of the things we get asked a more than anything else when it comes to recording instruments, how do you get a great bass guitar sound?
If you are a veteran to recording then this list should come as no surprise, but if you are new then try these and see how much difference they can make to getting the right bass sound on your tracks.
Quality Counts
They say that a bad workman blames his tools, that's partly true, give a great bass player even a cheap instrument and they will do amazing things. However it's not just about the playing but it's also the sound of the instrument. Get a great bass guitar - bass is one of those instruments that shows when the money has been spent. That's got a lot to do with the wood and the quality of the instrument - with bass you can hear it!
String Theory
Try Different strings; they all have different sounds. A decent bass player will already know this, but if you are new to bass then take a trip to a decent music store and get some advice on the different types of strings and their different weights, you'll be surprised by how much they can affect both sound and performance.
Tone Bank
Experiment with the tone before you record, most basses have a huge variety of sound just built into the pickup pots and switches. Some tracks lend themselves to nice low non-descript brooding bass sounds, other tracks work better with a more punch mid tone. If you have a good amp then use it and use the tone built in; again there's a vast amount of variety with a good bass amp. Spending some time before you hit record can make a heck of a difference.
Style Council
Experiment with the playing style - some songs need hard finger style playing and other songs need a pick style - it can make all the difference. Try a few takes with a few different styles then listen back. A pro bass player will also use several different styles in one song to help differentiate between sections.
Mic Check
Try different mics on the bass cab; ask 10 engineers which mic to use and you'll get 10 different answers, but some favourites are Sennheiser 421, EV RE20, Shure SM57, AKG D12 or 414. Experiment with mic positioning on the cab and distance too, both have a bearing on the final result.
Tracks DI And Amp
Try and get a track of both the amp and the DI sound by using a splitter before the bass hits the amp and then try them both in the mix afterwards. Often the final bass sound in a mix will be a combination of both DI and amp.
In The Mix
Once you have your bass tracked then try adding a boost at around 80-100Hz, be bold and then add a compression to keep it all under control. If you have a DI and a cab take then use one to accentuate the bottom end and the other to give some detail, for me that's normally the mic take. Transient shapers are a great tool when mixing bass, they allow you to add punch, reduce it, extend sustain or even pull the bass forward or push it back.
Experiment With Augmentation
Try adding in a synth bass line with the original, this trick has been used a lot on some top tracks over the years. Another nice trick is to copy the bass part with an identical guitar part and mix them together. Or try adding in a kick drum sample to add and edgy punch to the bass line - you'd be surprised at the results.
These are some of our favourite tricks and tips, what are yours?
If you are a veteran to recording then this list should come as no surprise, but if you are new then try these and see how much difference they can make to getting the right bass sound on your tracks.
Quality Counts
They say that a bad workman blames his tools, that's partly true, give a great bass player even a cheap instrument and they will do amazing things. However it's not just about the playing but it's also the sound of the instrument. Get a great bass guitar - bass is one of those instruments that shows when the money has been spent. That's got a lot to do with the wood and the quality of the instrument - with bass you can hear it!
String Theory
Try Different strings; they all have different sounds. A decent bass player will already know this, but if you are new to bass then take a trip to a decent music store and get some advice on the different types of strings and their different weights, you'll be surprised by how much they can affect both sound and performance.
Tone Bank
Experiment with the tone before you record, most basses have a huge variety of sound just built into the pickup pots and switches. Some tracks lend themselves to nice low non-descript brooding bass sounds, other tracks work better with a more punch mid tone. If you have a good amp then use it and use the tone built in; again there's a vast amount of variety with a good bass amp. Spending some time before you hit record can make a heck of a difference.
Style Council
Experiment with the playing style - some songs need hard finger style playing and other songs need a pick style - it can make all the difference. Try a few takes with a few different styles then listen back. A pro bass player will also use several different styles in one song to help differentiate between sections.
Mic Check
Try different mics on the bass cab; ask 10 engineers which mic to use and you'll get 10 different answers, but some favourites are Sennheiser 421, EV RE20, Shure SM57, AKG D12 or 414. Experiment with mic positioning on the cab and distance too, both have a bearing on the final result.
Tracks DI And Amp
Try and get a track of both the amp and the DI sound by using a splitter before the bass hits the amp and then try them both in the mix afterwards. Often the final bass sound in a mix will be a combination of both DI and amp.
In The Mix
Once you have your bass tracked then try adding a boost at around 80-100Hz, be bold and then add a compression to keep it all under control. If you have a DI and a cab take then use one to accentuate the bottom end and the other to give some detail, for me that's normally the mic take. Transient shapers are a great tool when mixing bass, they allow you to add punch, reduce it, extend sustain or even pull the bass forward or push it back.
Experiment With Augmentation
Try adding in a synth bass line with the original, this trick has been used a lot on some top tracks over the years. Another nice trick is to copy the bass part with an identical guitar part and mix them together. Or try adding in a kick drum sample to add and edgy punch to the bass line - you'd be surprised at the results.
These are some of our favourite tricks and tips, what are yours?
Monday, 26 September 2016
Learn How To EQ A Bass Drum
Although the sound engineer is the main force behind a fruitful EQuing stage, you as the drummer, have an important role in it as well - one that will actually influence and dictate how successful and fast the EQuing will be. Fortunately for you, in this free drum lesson you'll be taught important EQuing concepts in a step-by-step approach by sound engineer Victor Guidera, and tips on how you can help the sound engineer get the best sound out of the bass drum by poster boy Jared Falk
It's important that you take the time to learn how to mic a bass drum properly, and learn about common technical terms and theory behind drum set miking for both live and studio settings, before you watch this free video drum lesson on bass drum EQuing. You can educate yourself about these subjects by watching the free video drum lessons How To Mic A Bass Drum ” and Drum Set Mic Technique Overview The knowledge you'll acquire from those free drum lessons will prove to be invaluable as you learn how to EQ a bass drum.
The sound engineer is as important to the sound of a band in a live concert or record, as the members of the band themselves. So while sound checking, be patient, respect the sound engineer and try to work with him, so that you can get the best sound as possible out of your drums. This goes for your band mates as well.
As soon as you're done with this free drum lesson on EQuing a bass drum, pick and choose between the free drum lessons How To EQ A Snare Drum , How To EQ Toms , and How To EQ Overheads And Cymbals ” to learn how to EQ the other instruments on your drum set.
It's important that you take the time to learn how to mic a bass drum properly, and learn about common technical terms and theory behind drum set miking for both live and studio settings, before you watch this free video drum lesson on bass drum EQuing. You can educate yourself about these subjects by watching the free video drum lessons How To Mic A Bass Drum ” and Drum Set Mic Technique Overview The knowledge you'll acquire from those free drum lessons will prove to be invaluable as you learn how to EQ a bass drum.
The sound engineer is as important to the sound of a band in a live concert or record, as the members of the band themselves. So while sound checking, be patient, respect the sound engineer and try to work with him, so that you can get the best sound as possible out of your drums. This goes for your band mates as well.
As soon as you're done with this free drum lesson on EQuing a bass drum, pick and choose between the free drum lessons How To EQ A Snare Drum , How To EQ Toms , and How To EQ Overheads And Cymbals ” to learn how to EQ the other instruments on your drum set.
Monday, 19 September 2016
5 Tips To Getting The Kick And Bass To Work Well Together
First and Foremost
The two main things I look for when getting the Kick and Bass to work well together are: Timing (are they playing at the same time?). Frequency (are they competing for the same low frequencies?).
Usually for the Kick and Bass to play nice together they CANNOT both be playing at the same time and competing for the same frequencies (playing the same note). If they are, here are a couple things you can try.
1. Opposite EQ
Use the EQ to carve out spaces for the opposite instrument. Example: Find the fundamental frequency (note) of the Kick, use and EQ to slightly boost that frequency, then use an EQ on the Bass to dip that frequency. How much you boost or cut depends on the instruments and the song. You can also cut other freqs on the kick and boost the same ones on the bass.
2. Mute or lower the volume of either the Kick or Bass when they play at the same time
This one can be a little more tricky and it depends on who needs to be heard more. A common way is to put a compressor on the Bass and use the Kick track to trigger the compressor. Essentially side-chaining the Bass with the Kick so every time the Kick plays, the compressor on the Bass turns it down. Again, how much depends on the instruments and the song.
3. Replace the Kick Drum
Use a program (there are many out there) to either completely replace or mix in with your Kick.
4. Re-tune the Kick - If your Kick is already a sample (not a live recording of your song no bleed from other instruments) you can us a pitch shifting plug-in to shift it out of the way of the Bass.
5. Re-amp the Bass
If you have a direct recording of the Bass (and a bass amp) you can re-amp the bass to better fit with the kick.
Important
These are common remedies for helping the Kick and Bass play nice together. However, the best way is to have an arrangement/parts that naturally work together or address the frequency issue during the recording process by tuning the Kick so it compliments the Bass or using a Bass amp setting that makes room for the Kick.
Over the last 10 years I've had the opportunity to record and mix some great bands and artists, including The Neighbourhood feat. Danny Brown, T-Pain, +44, Fallout Boy and Frankie J just to name a few. With the recent launch of my website iSound Audio Engineering I'm busier than ever but still enjoy helping new engineers and musicians learn the craft of recording and mixing.
The two main things I look for when getting the Kick and Bass to work well together are: Timing (are they playing at the same time?). Frequency (are they competing for the same low frequencies?).
Usually for the Kick and Bass to play nice together they CANNOT both be playing at the same time and competing for the same frequencies (playing the same note). If they are, here are a couple things you can try.
1. Opposite EQ
Use the EQ to carve out spaces for the opposite instrument. Example: Find the fundamental frequency (note) of the Kick, use and EQ to slightly boost that frequency, then use an EQ on the Bass to dip that frequency. How much you boost or cut depends on the instruments and the song. You can also cut other freqs on the kick and boost the same ones on the bass.
2. Mute or lower the volume of either the Kick or Bass when they play at the same time
This one can be a little more tricky and it depends on who needs to be heard more. A common way is to put a compressor on the Bass and use the Kick track to trigger the compressor. Essentially side-chaining the Bass with the Kick so every time the Kick plays, the compressor on the Bass turns it down. Again, how much depends on the instruments and the song.
3. Replace the Kick Drum
Use a program (there are many out there) to either completely replace or mix in with your Kick.
4. Re-tune the Kick - If your Kick is already a sample (not a live recording of your song no bleed from other instruments) you can us a pitch shifting plug-in to shift it out of the way of the Bass.
5. Re-amp the Bass
If you have a direct recording of the Bass (and a bass amp) you can re-amp the bass to better fit with the kick.
Important
These are common remedies for helping the Kick and Bass play nice together. However, the best way is to have an arrangement/parts that naturally work together or address the frequency issue during the recording process by tuning the Kick so it compliments the Bass or using a Bass amp setting that makes room for the Kick.
Over the last 10 years I've had the opportunity to record and mix some great bands and artists, including The Neighbourhood feat. Danny Brown, T-Pain, +44, Fallout Boy and Frankie J just to name a few. With the recent launch of my website iSound Audio Engineering I'm busier than ever but still enjoy helping new engineers and musicians learn the craft of recording and mixing.
Wednesday, 14 September 2016
Layering The Low End
Pairing an electric bass with a synth bass is an often-used technique that can yield very cool results.
Guitarists often get to layer many parts while recording. The same player may play the rhythm parts, leads, acoustic, swells, etc. We bassists, however, usually only get to play one part per song. That's because more than one bass part sounds like a bass solo, or is too muddy, or too weird to get on the radio, right?
Nope!
Modern music is filled with songs that use stacked or alternating bass parts for unique sounds that no other combination of instruments can create. In instrumental music—especially solo albums from bassists—multiple bass tracks are very common, but it's an important tool in pop music as well. This month's column covers the multi-bass approaches most commonly encountered in popular music featuring vocals. We'll try to dissect how the different parts work together.
In country music, the method of doubling bass parts has been around since the '50s. Named after the sonic effect it creates, the classic tic-tac” sound was first achieved by doubling the bass part with a 6-string bass or a baritone guitar.
Having the bass double a piano player's left hand is also very common in country music. This is a great-sounding technique that forces you to really commit to a part. Listen to the Shania Twain shuffle Whose Bed Have Your Boots Been Under?” for some excellent-sounding note-for-note doubling.
Another technique is for two basses to play opposite parts. A great example is Lou Reed's classic Walk on the Wild Side,” where bassist Herbie Flowers played the changes on an upright bass, and then overdubbed the part in 10ths using an electric bass. A similar-sounding track is I Don't Trust Myself (With Loving You)” by John Mayer. Willie Weeks handled the business end by playing a relaxed root-note pattern with upbeats emphasized, while Pino Palladino added the little pops and the 10th intervals. It's possible to achieve a similar feel using only one bass, but the song is a masterful example of bass blending and a minimalist approach.
A commonly used technique is mixing synth bass with an electric bass that is mostly popped rather than heavily slapped. This creates a natural separation between the bass sounds—one high and one low.
Another commonly used technique is mixing a synth bass with an electric bass that's mostly popped rather than heavily slapped. This creates a natural separation between the bass sounds—one high and one low. The main trick is to pop in the holes where the synth bass is silent, creating a sort of simple, in-between-the-notes solo. There are many great examples of this, though I'm a sucker for this technique on pop stuff. Swedish pop producer Max Martin has used this on countless hits, such as Oops! … I Did It Again” by Britney Spears and California Gurls” by Katy Perry, to name just a couple.
Sometimes this technique is most effective when the pops are so short that the actual pitch becomes almost indiscernible. I often find myself using such super-staccato pops to add energy, and recently used the technique while tracking pop singer Anthony Rankin's new single, Phoenix in Vegas.” In the verses I also played a P bass with a pick for a dirtier sound to blend with a round synth-bass tone—kind of a modern-pop version of the tic-tac technique. The balance between the clean, modern Marcus Miller-like tone used for the finger pops and the warmer, vintage-rock tone really gives the track its own identity.
The next step from popping between the synth-bass notes is to double the actual synth-bass part with thumb slaps, while still filling with pops as described above. British pop/funk/fusion group Level 42 ruled the arenas of Europe in the '80s, thanks in part to the musicianship of Mark King. King was known for doubling sequenced synth bass with his thumb and performing almost impossible parts while effortlessly singing lead. Check out Hot Water” or the mega hit Running in the Family.”
The aforementioned methods focus on two different bass instruments combining forces to create one bass part. But even on some pop tracks, bass is occasionally used as a lead instrument on top of a bass part. To successfully achieve this effect—especially if using only one bass guitar—it's crucial to EQ the two tracks differently. This can make the melody stand out as much as if it were played on a guitar or piano. (Proper EQ is also a must in order for the whole track sound clear.) Paul Simon's Grammy-winning Graceland features Bagithi Khumalo laying down the bass lines and overdubbing melodic hooks and vocal-like phrases and fills, producing wild and fun counterpoint to many of the vocal melodies. One has to be very careful not to overplay when venturing into this approach, but using the bass as a second lead singer of sorts can yield amazing results.
Guitarists often get to layer many parts while recording. The same player may play the rhythm parts, leads, acoustic, swells, etc. We bassists, however, usually only get to play one part per song. That's because more than one bass part sounds like a bass solo, or is too muddy, or too weird to get on the radio, right?
Nope!
Modern music is filled with songs that use stacked or alternating bass parts for unique sounds that no other combination of instruments can create. In instrumental music—especially solo albums from bassists—multiple bass tracks are very common, but it's an important tool in pop music as well. This month's column covers the multi-bass approaches most commonly encountered in popular music featuring vocals. We'll try to dissect how the different parts work together.
In country music, the method of doubling bass parts has been around since the '50s. Named after the sonic effect it creates, the classic tic-tac” sound was first achieved by doubling the bass part with a 6-string bass or a baritone guitar.
Having the bass double a piano player's left hand is also very common in country music. This is a great-sounding technique that forces you to really commit to a part. Listen to the Shania Twain shuffle Whose Bed Have Your Boots Been Under?” for some excellent-sounding note-for-note doubling.
Another technique is for two basses to play opposite parts. A great example is Lou Reed's classic Walk on the Wild Side,” where bassist Herbie Flowers played the changes on an upright bass, and then overdubbed the part in 10ths using an electric bass. A similar-sounding track is I Don't Trust Myself (With Loving You)” by John Mayer. Willie Weeks handled the business end by playing a relaxed root-note pattern with upbeats emphasized, while Pino Palladino added the little pops and the 10th intervals. It's possible to achieve a similar feel using only one bass, but the song is a masterful example of bass blending and a minimalist approach.
A commonly used technique is mixing synth bass with an electric bass that is mostly popped rather than heavily slapped. This creates a natural separation between the bass sounds—one high and one low.
Another commonly used technique is mixing a synth bass with an electric bass that's mostly popped rather than heavily slapped. This creates a natural separation between the bass sounds—one high and one low. The main trick is to pop in the holes where the synth bass is silent, creating a sort of simple, in-between-the-notes solo. There are many great examples of this, though I'm a sucker for this technique on pop stuff. Swedish pop producer Max Martin has used this on countless hits, such as Oops! … I Did It Again” by Britney Spears and California Gurls” by Katy Perry, to name just a couple.
Sometimes this technique is most effective when the pops are so short that the actual pitch becomes almost indiscernible. I often find myself using such super-staccato pops to add energy, and recently used the technique while tracking pop singer Anthony Rankin's new single, Phoenix in Vegas.” In the verses I also played a P bass with a pick for a dirtier sound to blend with a round synth-bass tone—kind of a modern-pop version of the tic-tac technique. The balance between the clean, modern Marcus Miller-like tone used for the finger pops and the warmer, vintage-rock tone really gives the track its own identity.
The next step from popping between the synth-bass notes is to double the actual synth-bass part with thumb slaps, while still filling with pops as described above. British pop/funk/fusion group Level 42 ruled the arenas of Europe in the '80s, thanks in part to the musicianship of Mark King. King was known for doubling sequenced synth bass with his thumb and performing almost impossible parts while effortlessly singing lead. Check out Hot Water” or the mega hit Running in the Family.”
The aforementioned methods focus on two different bass instruments combining forces to create one bass part. But even on some pop tracks, bass is occasionally used as a lead instrument on top of a bass part. To successfully achieve this effect—especially if using only one bass guitar—it's crucial to EQ the two tracks differently. This can make the melody stand out as much as if it were played on a guitar or piano. (Proper EQ is also a must in order for the whole track sound clear.) Paul Simon's Grammy-winning Graceland features Bagithi Khumalo laying down the bass lines and overdubbing melodic hooks and vocal-like phrases and fills, producing wild and fun counterpoint to many of the vocal melodies. One has to be very careful not to overplay when venturing into this approach, but using the bass as a second lead singer of sorts can yield amazing results.
Friday, 9 September 2016
Guide To The Recording Equipment And Instruments Featured On The Beatles Sgt. Peppers Lonely Hearts
In many ways, 1966 had been a watershed for the Beatles. They had broken from the two-albums-per-year formula that had brought their record company, EMI, so much money, but which had occasionally depleted the group's well of creativity.
Revolver was the only full-length record they'd released that year, and it had been an artistically satisfying album, made at a more leisurely pace and with greater creative latitude.
Revolver was also the first time they'd worked with engineer Geoff Emerick, whose gift for creating sounds had helped them see new possibilities—and opportunities—in the recording process. Importantly, too, it was the last album for which they would tour, putting an end to the relentless performance schedule that had occupied much of their time between albums.
As 1966 came to a conclusion, the Beatles were officially a studio group, and with Sgt. Pepper's they would indulge their new-found freedom in ways that made other artists begin to think of the recording studio as a creative tool in and of itself.
Emerick would play an essential role in this, as he had on Revolver. But ironically, the 21-year-old audio engineer had not a single new idea when the sessions began. Martin and the Beatles had agreed that they wouldn't repeat techniques used in the past: no vocals through Leslie rotary cabinets, no Tomorrow Never Knows”-style tape loops and no backward vocals or guitars.
But unfortunately, I had used everything at my disposal on Revolver,” Emerick says. On Pepper, it was like starting over from scratch, getting down to the individual tonalities of the instruments and changing them. They didn't want a guitar to sound like a guitar anymore. They didn't want anything to sound like what it was.”
Emerick's situation was complicated by the fact that nothing had changed at Abbey Road in the few months since Revolver had been completed: there were no new effects or innovations for him to exploit. For that matter, apart from the Mellotron keyboard used on Strawberry Fields Forever” (the first song to be tackled at the sessions), the Beatles' gear had hardly changed from what they previously used.
On Sgt. Pepper's, as on Revolver, Lennon and Harrison played their Epiphone Casinos, Sonic Blue Fender Strats and Gibson J-160E acoustic guitars; Harrison also played his Gibson SG. McCartney's Rickenbacker 4001S was his main bass, and he used his Casino and Fender Esquire for rhythm and lead work.
As for amplification, the Beatles had at their disposal in 1967 a Fender Showman and a Bassman head with a 2x12 cabinet, a Selmer Thunderbird Twin 50 MkII, a Vox Conqueror and the Vox UL730, 7120 and 4120 bass amp used on Revolver.
And yet, despite the basic similarities in studio gear and equipment, Revolver and Sgt. Pepper's sound distinctly different. Whereas Revolver sounds like a rock and roll album, with its crunchy guitars and warm, fizzy ambience, Sgt. Pepper's is decidedly refined, lacking the low-midrange tones that gave Revolver much of its propulsive power.
Emerick puts the difference down to the choice of studio. Revolver was done in Number Three studio, which is a smaller room. It was a dirtier-sounding studio acoustically.”
Sgt. Pepper's was recorded in Abbey Road's fabled Studio Two, a large room well suited to handling the volume and frequencies produced by pop and rock bands. Number Two is a brighter studio, and you can get cleaner tones,” he says.
In addition, Emerick began refining the recording techniques he had initiated on Revolver, finding new applications for them or applying subtle twists on familiar methods. The only way to approach Sgt. Pepper's was to use some of those techniques and sounds from Revolver in a more controlled way,” he says. It wasn't as brash—more fine tuned.”
He also took advantage of an external equalization device built by Abbey Road's engineering department: the RS127 Presence Box.” We didn't have much in the way of EQ controls on the console,” he says. In the high-frequency range, you could adjust 5k, and that was it.” Built both in rack and stand-alone versions, the RS127 gave engineers control over three high frequencies—2.7kHz, 3.5kHz and 10kHz—with up to 10dB of boost or cut.
It had been used on Beatles tracks long before Emerick began engineering the group's sessions, but never in the way that he employed it. Often I'd put those in series, and I'd have like 30dBs of 2.7 on the vocals, to really screw them up,” he says. 'Cause the Beatles didn't want voices to even sound like voices. It wasn't a question of a little bit of treble; we just went overboard."
That's what it was about, especially for the guitars. I mean, with the tube equipment and those guitars, that 2.7k was just magic. Plus the Fairchild 660 limiter added so much presence to the guitar, it was unbelievable. It made it sound like a different guitar than it was.”
Much of Emerick's time was spent working on guitar tones. Because we were still mixing to mono in those days, I had to work out the details with the two guitars. It's easy to get definition in stereo, when you're putting one guitar left and one right,” he says. But when they're coming from one sound source, to actually make each one have its own spot and be able to hear every note of each guitar takes a long time.”
For that matter, the EQ controls on the Beatles' Vox amps of the period were as limited as the controls on Abbey Road's mixing consoles. So it would sometimes take an hour and a half to two hours to get that sound worked out. I would spend a lot of time moving the mics”—specifically Neumann U47 large-condense tube microphones—a short distance from the amps just to hear the slight difference in sound and get it absolutely right.”
Emerick's magic was especially evident on McCartney's bass tracks. In the months prior to making Sgt. Pepper's, McCartney had fallen under the spell of the Beach Boys' 1966 release, Pet Sounds. He was particularly enamored of Brian Wilson's melodic bass work, which is especially prominent on the album. The thing that really made me sit up and take notice was the bass lines,” McCartney says. That, I think, was probably the big influence that set me thinking when we recorded Pepper.”
On previous albums, McCartney always laid down his bass parts with the rest of the group, but on Sgt. Pepper's, Emerick gave him his own track, onto which he would record his bass parts, usually at the end of the long session day, when the others had left. We'd pull his amp out into the middle of the studio,” Emerick says. We'd put the mic about six feet away. We used to use the AKG C12 on the figure-of-eight omnidirectional setting to grab a bit of studio ambience.”
Devoting one of four available tape tracks to bass would have been an impossible luxury had Emerick and Martin not decided to bounce” tracks from one four-track machine to another. When the tracks of one tape were filled, they would be mixed and recorded—premixed” is the word typically used—onto one or two tracks of another four-track tape running on a second machine. New recordings would be added to this second tape, and if the recording required it, the process would be repeated yet again.
Since no one knew at any stage what additional instruments would be added to a song, Emerick had to use his best judgment when creating the premixes. I did it as if I was mixing the final record,” he says. Once we'd done the premix and transferred it to a new tape, that was it; there was no going back and no way to change the mix on that track. So everything we added from that point on had to complement it. The benefit to that is that we immediately knew whether an overdub fit or not, because if it didn't work with the premix, then it wasn't going on.”
Though numerous important psychedelic albums were released prior to it—including the Yardbirds' Roger the Engineer, Jefferson Airplane's Surrealistic Pillow and the Who's A Quick One—Sgt. Pepper's defined the genre and became the soundtrack to the Summer of Love.
Everywhere you went that summer,” Emerick recalls, you would hear it being played. It was a great time of experimentation. There were no time limits, and as far as cost—the Beatles' attitude was, ‘Sod the cost! We're making a masterpiece.' Every day was groundbreaking.”
Revolver was the only full-length record they'd released that year, and it had been an artistically satisfying album, made at a more leisurely pace and with greater creative latitude.
Revolver was also the first time they'd worked with engineer Geoff Emerick, whose gift for creating sounds had helped them see new possibilities—and opportunities—in the recording process. Importantly, too, it was the last album for which they would tour, putting an end to the relentless performance schedule that had occupied much of their time between albums.
As 1966 came to a conclusion, the Beatles were officially a studio group, and with Sgt. Pepper's they would indulge their new-found freedom in ways that made other artists begin to think of the recording studio as a creative tool in and of itself.
Emerick would play an essential role in this, as he had on Revolver. But ironically, the 21-year-old audio engineer had not a single new idea when the sessions began. Martin and the Beatles had agreed that they wouldn't repeat techniques used in the past: no vocals through Leslie rotary cabinets, no Tomorrow Never Knows”-style tape loops and no backward vocals or guitars.
But unfortunately, I had used everything at my disposal on Revolver,” Emerick says. On Pepper, it was like starting over from scratch, getting down to the individual tonalities of the instruments and changing them. They didn't want a guitar to sound like a guitar anymore. They didn't want anything to sound like what it was.”
Emerick's situation was complicated by the fact that nothing had changed at Abbey Road in the few months since Revolver had been completed: there were no new effects or innovations for him to exploit. For that matter, apart from the Mellotron keyboard used on Strawberry Fields Forever” (the first song to be tackled at the sessions), the Beatles' gear had hardly changed from what they previously used.
On Sgt. Pepper's, as on Revolver, Lennon and Harrison played their Epiphone Casinos, Sonic Blue Fender Strats and Gibson J-160E acoustic guitars; Harrison also played his Gibson SG. McCartney's Rickenbacker 4001S was his main bass, and he used his Casino and Fender Esquire for rhythm and lead work.
As for amplification, the Beatles had at their disposal in 1967 a Fender Showman and a Bassman head with a 2x12 cabinet, a Selmer Thunderbird Twin 50 MkII, a Vox Conqueror and the Vox UL730, 7120 and 4120 bass amp used on Revolver.
And yet, despite the basic similarities in studio gear and equipment, Revolver and Sgt. Pepper's sound distinctly different. Whereas Revolver sounds like a rock and roll album, with its crunchy guitars and warm, fizzy ambience, Sgt. Pepper's is decidedly refined, lacking the low-midrange tones that gave Revolver much of its propulsive power.
Emerick puts the difference down to the choice of studio. Revolver was done in Number Three studio, which is a smaller room. It was a dirtier-sounding studio acoustically.”
Sgt. Pepper's was recorded in Abbey Road's fabled Studio Two, a large room well suited to handling the volume and frequencies produced by pop and rock bands. Number Two is a brighter studio, and you can get cleaner tones,” he says.
In addition, Emerick began refining the recording techniques he had initiated on Revolver, finding new applications for them or applying subtle twists on familiar methods. The only way to approach Sgt. Pepper's was to use some of those techniques and sounds from Revolver in a more controlled way,” he says. It wasn't as brash—more fine tuned.”
He also took advantage of an external equalization device built by Abbey Road's engineering department: the RS127 Presence Box.” We didn't have much in the way of EQ controls on the console,” he says. In the high-frequency range, you could adjust 5k, and that was it.” Built both in rack and stand-alone versions, the RS127 gave engineers control over three high frequencies—2.7kHz, 3.5kHz and 10kHz—with up to 10dB of boost or cut.
It had been used on Beatles tracks long before Emerick began engineering the group's sessions, but never in the way that he employed it. Often I'd put those in series, and I'd have like 30dBs of 2.7 on the vocals, to really screw them up,” he says. 'Cause the Beatles didn't want voices to even sound like voices. It wasn't a question of a little bit of treble; we just went overboard."
That's what it was about, especially for the guitars. I mean, with the tube equipment and those guitars, that 2.7k was just magic. Plus the Fairchild 660 limiter added so much presence to the guitar, it was unbelievable. It made it sound like a different guitar than it was.”
Much of Emerick's time was spent working on guitar tones. Because we were still mixing to mono in those days, I had to work out the details with the two guitars. It's easy to get definition in stereo, when you're putting one guitar left and one right,” he says. But when they're coming from one sound source, to actually make each one have its own spot and be able to hear every note of each guitar takes a long time.”
For that matter, the EQ controls on the Beatles' Vox amps of the period were as limited as the controls on Abbey Road's mixing consoles. So it would sometimes take an hour and a half to two hours to get that sound worked out. I would spend a lot of time moving the mics”—specifically Neumann U47 large-condense tube microphones—a short distance from the amps just to hear the slight difference in sound and get it absolutely right.”
Emerick's magic was especially evident on McCartney's bass tracks. In the months prior to making Sgt. Pepper's, McCartney had fallen under the spell of the Beach Boys' 1966 release, Pet Sounds. He was particularly enamored of Brian Wilson's melodic bass work, which is especially prominent on the album. The thing that really made me sit up and take notice was the bass lines,” McCartney says. That, I think, was probably the big influence that set me thinking when we recorded Pepper.”
On previous albums, McCartney always laid down his bass parts with the rest of the group, but on Sgt. Pepper's, Emerick gave him his own track, onto which he would record his bass parts, usually at the end of the long session day, when the others had left. We'd pull his amp out into the middle of the studio,” Emerick says. We'd put the mic about six feet away. We used to use the AKG C12 on the figure-of-eight omnidirectional setting to grab a bit of studio ambience.”
Devoting one of four available tape tracks to bass would have been an impossible luxury had Emerick and Martin not decided to bounce” tracks from one four-track machine to another. When the tracks of one tape were filled, they would be mixed and recorded—premixed” is the word typically used—onto one or two tracks of another four-track tape running on a second machine. New recordings would be added to this second tape, and if the recording required it, the process would be repeated yet again.
Since no one knew at any stage what additional instruments would be added to a song, Emerick had to use his best judgment when creating the premixes. I did it as if I was mixing the final record,” he says. Once we'd done the premix and transferred it to a new tape, that was it; there was no going back and no way to change the mix on that track. So everything we added from that point on had to complement it. The benefit to that is that we immediately knew whether an overdub fit or not, because if it didn't work with the premix, then it wasn't going on.”
Though numerous important psychedelic albums were released prior to it—including the Yardbirds' Roger the Engineer, Jefferson Airplane's Surrealistic Pillow and the Who's A Quick One—Sgt. Pepper's defined the genre and became the soundtrack to the Summer of Love.
Everywhere you went that summer,” Emerick recalls, you would hear it being played. It was a great time of experimentation. There were no time limits, and as far as cost—the Beatles' attitude was, ‘Sod the cost! We're making a masterpiece.' Every day was groundbreaking.”
Tuesday, 30 August 2016
10 Expert Tips For Rocking The Bass Guitar
Anne Erickson
Having an appreciation for the bass guitar, I understand that a having bass player that knows how to move and groove is critical to the sound of any band. Having also served as a bass player, I know that the lower end sometimes gets the shaft when it comes to media coverage. Well, not at !
Below, check out 10 Tips for Those Rocking the Bass Guitar from a collection of noteworthy players. Who's your favorite bass slinger? Add to the conversation below!
Duff McKagan from Guns N' Roses, Velvet Revolver and Jane's Addiction on recording, as told to Bass Player:
I try not to get caught up in Pro Tools; I'd rather play a song all the way through than sit there and edit parts together. We tracked Velvet Revolver's Libertad as a live band, and on most of the tunes, we didn't use a click track. Sure, some of the tracks speed up at the end, but they do so for a reason: because the music and the feeling are getting more intense. I think the listener wants to hear that, too. Most important for me is being in that deep pocket with the drums. To do that, you have to empty your mind. Especially when we're recording, I empty my mind completely and picture myself literally inside the bass drum. Whenever that thumper hits, I'm just a little behind to create the groove.”
Jaco Pastorius on getting his stage sound via :
I turn the bass on the amp all the way up because I only use the back pick-up on the bass. I never use the bass pick-up on the front so I have to compensate quite a bit with the amp. I have a sound that's like an R&B-type sound which is real punchy and hits.”
Victor Wooten on getting his bass to sound like a guitar on his album Words and Tones, as told to Premier Guitar :
I'm always looking for new tricks and techniques. I always use a ponytail holder hair band on the neck of my bass, and I found that if I moved it to the 17th or 18th fret, I could make sounds like a guitar player using pinched harmonics. So I put distortion on the instrument and, just like a guitarist, I took a solo on ‘Sword and Stone' that sounded just like a guitarist would. It was definitely something new for me.”
Ozzy Osbourne bass player Blasko on using the overdrive pedal, as told to Bass Player:
I'm not a fan of distortion, because I think it causes you to lose a lot of the roundness of the tone. But I love overdrive. In the way I play, it helps the notes connect to one another. It's hard for me to get excited when the bass tone is completely dry. I also like to have a lot of bottom end; our stage volume is sometimes so high that I can't hear myself, so I like to know that I can still feel myself by moving lot of air.”
Primus' Les Claypool on tips for young bass players, as told to Alter the Press :
Play as much as you can and play with as many people as you can. People who just sit in a room and play, are only going to get so good. Playing music is like having a conversation, if you have conversations with the same people over and over again, you're not going to be as loquacious as someone who speaks to different people, from different backgrounds, all the time. Play with as many people as you possibly can, even if they aren't any good.”
Red Hot Chili Peppers bass player Flea on how studying music theory can help your playing, as told to Bass Player Magazine :
I took theory, composition and jazz trumpet at the University of Southern California. The main thing I got out of that experience was my theory class, and the big thing was Bach, who blew my mind in a way that Hendrix did to me when I was a kid, or Charlie Parker. I always appreciated classical music, but not to the point where I really delved into it. I took classes with a theory professor, Professor Neal Desby, and I also studied with him privately. I was really getting into Bach…. It's something to aspire to. It's just amazing.”
Rush's Geddy Lee on getting the perfect bass sound” as told to Bass Player:
I've always liked my tone to have an edge, but over the years, I've been moving the edge higher and I've brought in more warmth. When I got my first Wal, it blew me away—the lower mids are so constant and the tone fits so easily into the context of our band on record. I don't need to use a lot of fancy EQ; the bass just naturally bounces and hangs there. That's what I'm really after; the bounce of the sound. If I'm playing a lot of notes, I don't like the tone to get twangy; I like there to be a bit of depth to it…”
Nikki Sixx on using the Gibson Thunderbird to get his trademark sound, as told to Guitar Center :
I've played Gibson Thunderbirds for my whole career. The Thunderbird is me. It's become such a part of me that I don't even look right holding another bass anymore. The Blackbird is my version of the Thunderbird. It's like a race car. Both of the pickups are wired together, and there are no tone or volume controls. The only control is a toggle switch that turns the pickups on or off. The word ‘finesse' should never come into play when you're talking about rock bass. It's like sex. You've just got to do the job. Playing bass isn't about making love. It's brutal, nasty, dirty, and raw. That's what the Blackbird is. There are other basses for other styles of music with volume and tone controls, but I just want to go. It's not like I'm going to turn the tone control back 25 percent and the volume back 10 percent to play the bridge of ‘Home Sweet Home' on stage.”
Jason Newsted on creating rhythms, as told to Bass Player:
A lot of people who aren't necessarily musicians visit the studio, and I keep various noise-making devices around—drums, knockers, nose flutes—so they can play along. I love watching instructional videos, so I bought the Santana rhythm-section tape, From Afro-Cuban to Rock Latin Percussion. It shows five general rhythms and how you apply them—but once the musicians start doing their thing, I just sit and watch in amazement. I haven't spent enough hours learning how to play them.”
Green Day bass player Mike Dirnt on what advice he would give to an up-and-comer, as told to Guitar Center :
I would say, first of all, play music with friends. Don't just play with somebody because they happen to have a lot of skills. Play with people you get along with because happiness is a road traveled, not a destination. If you can find it within yourself to be happy with working 40 hours a week and having a gig on the weekend or just having something to look forward to as far as having different shows and playing with friends. If you can be happy with that, if you can be happy with the least, then you've already succeeded. Chances are, all it's going to be is you gigging from weekend to weekend for the rest of your life or until you get going.”
Having an appreciation for the bass guitar, I understand that a having bass player that knows how to move and groove is critical to the sound of any band. Having also served as a bass player, I know that the lower end sometimes gets the shaft when it comes to media coverage. Well, not at !
Below, check out 10 Tips for Those Rocking the Bass Guitar from a collection of noteworthy players. Who's your favorite bass slinger? Add to the conversation below!
Duff McKagan from Guns N' Roses, Velvet Revolver and Jane's Addiction on recording, as told to Bass Player:
I try not to get caught up in Pro Tools; I'd rather play a song all the way through than sit there and edit parts together. We tracked Velvet Revolver's Libertad as a live band, and on most of the tunes, we didn't use a click track. Sure, some of the tracks speed up at the end, but they do so for a reason: because the music and the feeling are getting more intense. I think the listener wants to hear that, too. Most important for me is being in that deep pocket with the drums. To do that, you have to empty your mind. Especially when we're recording, I empty my mind completely and picture myself literally inside the bass drum. Whenever that thumper hits, I'm just a little behind to create the groove.”
Jaco Pastorius on getting his stage sound via :
I turn the bass on the amp all the way up because I only use the back pick-up on the bass. I never use the bass pick-up on the front so I have to compensate quite a bit with the amp. I have a sound that's like an R&B-type sound which is real punchy and hits.”
Victor Wooten on getting his bass to sound like a guitar on his album Words and Tones, as told to Premier Guitar :
I'm always looking for new tricks and techniques. I always use a ponytail holder hair band on the neck of my bass, and I found that if I moved it to the 17th or 18th fret, I could make sounds like a guitar player using pinched harmonics. So I put distortion on the instrument and, just like a guitarist, I took a solo on ‘Sword and Stone' that sounded just like a guitarist would. It was definitely something new for me.”
Ozzy Osbourne bass player Blasko on using the overdrive pedal, as told to Bass Player:
I'm not a fan of distortion, because I think it causes you to lose a lot of the roundness of the tone. But I love overdrive. In the way I play, it helps the notes connect to one another. It's hard for me to get excited when the bass tone is completely dry. I also like to have a lot of bottom end; our stage volume is sometimes so high that I can't hear myself, so I like to know that I can still feel myself by moving lot of air.”
Primus' Les Claypool on tips for young bass players, as told to Alter the Press :
Play as much as you can and play with as many people as you can. People who just sit in a room and play, are only going to get so good. Playing music is like having a conversation, if you have conversations with the same people over and over again, you're not going to be as loquacious as someone who speaks to different people, from different backgrounds, all the time. Play with as many people as you possibly can, even if they aren't any good.”
Red Hot Chili Peppers bass player Flea on how studying music theory can help your playing, as told to Bass Player Magazine :
I took theory, composition and jazz trumpet at the University of Southern California. The main thing I got out of that experience was my theory class, and the big thing was Bach, who blew my mind in a way that Hendrix did to me when I was a kid, or Charlie Parker. I always appreciated classical music, but not to the point where I really delved into it. I took classes with a theory professor, Professor Neal Desby, and I also studied with him privately. I was really getting into Bach…. It's something to aspire to. It's just amazing.”
Rush's Geddy Lee on getting the perfect bass sound” as told to Bass Player:
I've always liked my tone to have an edge, but over the years, I've been moving the edge higher and I've brought in more warmth. When I got my first Wal, it blew me away—the lower mids are so constant and the tone fits so easily into the context of our band on record. I don't need to use a lot of fancy EQ; the bass just naturally bounces and hangs there. That's what I'm really after; the bounce of the sound. If I'm playing a lot of notes, I don't like the tone to get twangy; I like there to be a bit of depth to it…”
Nikki Sixx on using the Gibson Thunderbird to get his trademark sound, as told to Guitar Center :
I've played Gibson Thunderbirds for my whole career. The Thunderbird is me. It's become such a part of me that I don't even look right holding another bass anymore. The Blackbird is my version of the Thunderbird. It's like a race car. Both of the pickups are wired together, and there are no tone or volume controls. The only control is a toggle switch that turns the pickups on or off. The word ‘finesse' should never come into play when you're talking about rock bass. It's like sex. You've just got to do the job. Playing bass isn't about making love. It's brutal, nasty, dirty, and raw. That's what the Blackbird is. There are other basses for other styles of music with volume and tone controls, but I just want to go. It's not like I'm going to turn the tone control back 25 percent and the volume back 10 percent to play the bridge of ‘Home Sweet Home' on stage.”
Jason Newsted on creating rhythms, as told to Bass Player:
A lot of people who aren't necessarily musicians visit the studio, and I keep various noise-making devices around—drums, knockers, nose flutes—so they can play along. I love watching instructional videos, so I bought the Santana rhythm-section tape, From Afro-Cuban to Rock Latin Percussion. It shows five general rhythms and how you apply them—but once the musicians start doing their thing, I just sit and watch in amazement. I haven't spent enough hours learning how to play them.”
Green Day bass player Mike Dirnt on what advice he would give to an up-and-comer, as told to Guitar Center :
I would say, first of all, play music with friends. Don't just play with somebody because they happen to have a lot of skills. Play with people you get along with because happiness is a road traveled, not a destination. If you can find it within yourself to be happy with working 40 hours a week and having a gig on the weekend or just having something to look forward to as far as having different shows and playing with friends. If you can be happy with that, if you can be happy with the least, then you've already succeeded. Chances are, all it's going to be is you gigging from weekend to weekend for the rest of your life or until you get going.”
Wednesday, 24 August 2016
Recording The Bass Amp
Using a Beta 52 and SM 57 on the bass cabinet
Today everyone is conditioned to go direct with the bass guitar that many times miking a bass amp is completely overlooked. That's too bad because it can bring something to the track that you just can't get any other way. Here's an excerpt from my Audio Recording Basic Training book that provides an exercise for bass amp miking.
"Back in the 60's and 70's, the way engineers recorded the electric bass was by miking the bass amp. As direct boxes became more and more available, the trend eventually swung the other way, with most bass recording done direct. Today it's very common to record a bass using a combination of both an amp and direct, which provides the best of both worlds. While the bass will sound full and warm with a direct box, the amp can add just enough edge to help the bass punch through a mix.
When using a direct box, be aware that they're not all created equal in that some will not give you the low fundamental of the bass that you expect when recording this way. Active DIs do a better job at this than passive, although some passive boxes (like the ones made by Radial) do an excellent job because of the large Jensen transformer used in the circuit.
Depending on the sound that fits the track best, mix the amp track with a DI track. The sound will change substantially depending upon the balance of the DI and miked amplifier.
ALWAYS check the phase relationship between the amp and DI to make sure there's no cancellation of the low end. Flip the polarity switch to the position that has the most bottom.
Also remember that there's no rule that says that you have to use both tracks, so don't hesitate to use just a single track if it sounds best in the mix.
E7.4: Miking The Bass Amp
A) Listen closely to the amp as the bass player plays. If there are multiple speakers, find the one that sounds the best as in E7.1A.
B) Place a large diaphragm dynamic mic like D-112, RE-20 or Beta 52 a little off-center and a couple of inches away from a cone of the best sounding speaker in the bass cabinet.
C) Move the mic across the cone. Is there a spot where it sounds particularly good? Keep the mic at that spot. Is the sound balanced frequency response-wise? Can you hear any of the room reflections?
D) Move the mic towards the end of the cone? Is there more low end? Is it more distinct sounding?
E) Move the mic towards the center of the speaker? Is there more low end? Is it more distinct sounding?
F) Move the mic about a feet away from the speaker. Is there more low end? Is it more distinct sounding?
G) Move the mic about 2 feet away from the speaker. Is there more low end? Is it more distinct sounding? Can you hear more of the room? Does it work with the rest of the instruments?
H) Raise the cabinet about a foot off the floor. Is there more low end? Is it more distinct sounding?
I) I) Place the mic where it gives you the best balance of body and definition, and balance between the direct and ambient room sound."
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Tuesday, 23 August 2016
How to Record: Bass Guitar
In the latest of our occasional series on recording instruments into your DAW, John Pickford tackles the bass guitar…
The bass guitar features in most styles of popular music, ranging from deep, dub bass in reggae, to the bright, punchy slap-tones of funk, with all manner of genres and tones in between. No matter what style you're recording though, the bass guitar should provide a solid foundation for your track and, along with other elements of the rhythm section, define its groove.
There are several ways of recording bass, the most popular being DI - Directly Injecting the instrument to your recorder, mic'ing a bass amp/cabinet and, as many engineers like to do, combining a blend of DI and microphone signals
One thing to consider is whether the bass is to be recorded simultaneously with other elements of the track, such as drums and guitars, or performed as an overdub. If you're recording other instruments in the same room as an amplified bass, it's likely that there will be a certain amount of spill.
This is fine as long as the leakage isn't going to adversely affect any future processing during the mixing stage, and some bands thrive on creating a live groove in the studio.
However, adopting the DI approach can both avoid spill and open up options later on in the recording process.
Some bass guitars have active pick-ups, meaning that their output is high enough to be plugged directly into your mixer or interface, however most basses feature passive pick-ups, necessitating the use of a DI box to boost the low-level signal.
Although bass recorded through a DI can sound tight, dry and clean, it can also lack some of the body and punch that you get from a great-sounding bass cab.
However, when recording a band live in the studio, using a bass DI not only avoids unwanted spill, it also allows a good drum take (for example) to be saved if the bassist makes a mistake. And if the bass part is perfectly played but the sound isn't quite right, the clean DI signal can later be fed through an amplifier and mic'ed up; this technique is called re-amping
Nowadays, there are many outboard recording channels or channel strips that feature excellent DI inputs. Some of these are based upon vintage console designs and most feature both EQ and dynamics control, enabling superb results to be produced without the need for amplification.
Mic'ing the Cab
Often, though, to achieve the very best bass tones, only the sound of a mic'ed-up bass cab will do. The sound of a good bass amplifier, particularly if it's a valve model, is hard to emulate with DI techniques alone. Most engineers favour either dynamic types with a strong low-end response, or a large-diaphragm condenser. Ribbon designs can sound great on bass but are more delicate than other types and don't like to be placed close to sources producing high SPLs.
Microphones designed for bass drums - such as the classic AKG D112 - usually work well on bass guitar as they generally have a pronounced low-end boost that is flattering to bass signals, and can handle very high SPLs. Don't worry if you don't have one of these though, as most general purpose mics, such as the Shure SM57 will do a reasonably good job if positioned correctly - see the More On Mic Placement box below right.
Beatles engineer Geoff Emerick often recorded Paul McCartney's bass as an overdub, using an AKG C12 set to figure 8 (bi-directional) and placing the mic around 4 or 5 feet from the bass cab.
For most recording situations though, moving the mic between 5 and 18 inches from the speaker should give you all the tonal options you could want, unless you're after a particularly roomy sound. Whereabouts along the plane of the speaker the mic is aimed will also determine the final tone. Pointing the mic at the centre of the speaker cone will give the punchiest sound, while moving along to the edge of the cone will give smoother, warmer tones.
If you are using a mic with a cardioid polar pattern, bear in mind that the closer you place it, the more bottom-end will be heard due to the proximity effect. This can be used to advantage if you only have a vocal mic (such as a Shure SM58) at your disposal, as these mics tend to have a rolled-off low end response.
Compression Techniques
Bass guitars typically have a wide dynamic range and it's almost always necessary to use some compression. The amount required will depend very much on the style and technique of the player, but as a rule of thumb, some gentle compression at the recording stage with a heavier squeeze during mixdown is a sensible starting point. Try using a 4:1 ratio to begin with and then, if the bass part is still too wildly dynamic, try a higher ratio when mixing.
Some bass playing styles, such as slap-bass, feature an occasional very loud note that can be tamed by using a much higher ratio of 10:1 or more to limit the peaks. Using extremely fast attack and decay times is not a good idea when recording bass as the initial transients will be lost and the compressor will struggle with the complex waveforms of bass signals.
Instead, set the attack time so that the plucking of the string can be heard - around 50ms should do it - and then set the release time to around 250ms or, if your compressor has an auto release setting, use that.
Before using a compressor, it's worth making sure that the basic tone of the bass is correct as a compressor will emphasise the main tonal characteristic. Therefore, it's a good idea to make any drastic EQ adjustments before compressing. If your bass sound needs fattening-up, a boost at around 80Hz often helps.
However, experiment with upper-bass and low-mid frequencies (100Hz - 400Hz) to help the bass part bed-in with other elements of the mix such as the kick drum. As bass guitars don't produce much in the way of usable high-frequency information, rolling-off the upper frequencies from around 5kHz will allow space for the treble elements of the track.
Similarly, when mixing, the bass guitar will have more room to breathe if a high-pass-filter is applied to other instruments and voices that don't require a lot of low-end energy.
Using effects with bass isn't nearly as common as with electric guitars but can produce distinctive results. Reverbs and delays should be used with caution as they can smear the bass part and rob the part of punch and drive. Some distortion effects can give bass parts a gritty edge, however the extreme distortion caused by fuzz-boxes will reduce the low-end impact of the sound. During the 1980s it was fashionable to use a chorus effect, often with fretless bass guitars, which were also in vogue during that era.
So, there are several ways of recording bass guitar and only your own personal circumstances can dictate which method works best for you. As always, take time to experiment - and trust your ears!
More on Mic Placement
Unlike electric guitar amps, that can sound good with a mic almost touching the speaker, bass cabs benefit from further distance between the speaker and mic. Around 5 inches is the minimum distance to achieve a decent tone, but longer distances can give excellent results if the recording situation permits.
Re-amping a DI'd Bass
1: Recording bass with DI during a group tracking session can both help avoid excessive bleed onto other mics and allow greater flexibility when mixing. However, bass DI alone lacks the body and drive produced by a decent amplifier. Once the DI'd bass has been recorded, the signal can be sent to a bass amp/cab and re-recorded in isolation. You will then have two channels of clean bass with no spill from drums or other instruments.
2: The best device to use is a dedicated re-amping box, which can be obtained reasonably inexpensively. These work like a DI box in reverse, matching the recorded DI bass signal to a level that is suitable for the amplifier. Indeed, a passive DI box can be used in reverse, however a re-amping box will offer a more flexible and hassle-free approach to matching both impedance and signal-levels.
3: Simply take the DI bass signal from your recorder and plug into the input of the re-amp box. Connect a microphone to the box and mic-up the amp/cab to your satisfaction. The sound of the amplified bass can now be overdubbed onto a separate track. Of course, if you are using plug-in amplifier mods instead of the real thing, the DI sound can be treated in the box without the need for a re-amping box or bass amplifier.
Bass Amp & Direct Combined
1: Recording bass both direct and through a bass amp can produce great results. You get the clean, clear and present sound of the instrument from the direct signal, combined with the warm low-end and rich harmonics produced by the amp/cab combo - particularly if you use a valve amp. Unless the bass guitar has active pick-ups, you'll need to use a DI (Direct Injection) box to match impedances and boost the low-level signal from the instrument.
2: Plug the bass into the instrument (jack) input of the DI box and take a feed from the box into the input of the amp. Use the XLR output on the DI box to connect to your mixer or interface. Once the bass cabinet has been suitably mic'ed you will have two channels of bass. As the signal from the mic enters the recorder a couple of milliseconds later than the DI signal, the sound may become vague when combined due to phase issues.
3: To solidify your bass sound, play both channels together and send the DI signal to a digital delay. Dial in the delay (around 2ms is usually about right) until the bass sound snaps into focus. A continuously variable delay is best for this job so that you can hear precisely when the sound becomes solid and punchy. Alternatively, simply move the DI signal within your digital recorder so that the waveforms match and are not out of phase.
The bass guitar features in most styles of popular music, ranging from deep, dub bass in reggae, to the bright, punchy slap-tones of funk, with all manner of genres and tones in between. No matter what style you're recording though, the bass guitar should provide a solid foundation for your track and, along with other elements of the rhythm section, define its groove.
There are several ways of recording bass, the most popular being DI - Directly Injecting the instrument to your recorder, mic'ing a bass amp/cabinet and, as many engineers like to do, combining a blend of DI and microphone signals
One thing to consider is whether the bass is to be recorded simultaneously with other elements of the track, such as drums and guitars, or performed as an overdub. If you're recording other instruments in the same room as an amplified bass, it's likely that there will be a certain amount of spill.
This is fine as long as the leakage isn't going to adversely affect any future processing during the mixing stage, and some bands thrive on creating a live groove in the studio.
However, adopting the DI approach can both avoid spill and open up options later on in the recording process.
Some bass guitars have active pick-ups, meaning that their output is high enough to be plugged directly into your mixer or interface, however most basses feature passive pick-ups, necessitating the use of a DI box to boost the low-level signal.
Although bass recorded through a DI can sound tight, dry and clean, it can also lack some of the body and punch that you get from a great-sounding bass cab.
However, when recording a band live in the studio, using a bass DI not only avoids unwanted spill, it also allows a good drum take (for example) to be saved if the bassist makes a mistake. And if the bass part is perfectly played but the sound isn't quite right, the clean DI signal can later be fed through an amplifier and mic'ed up; this technique is called re-amping
Nowadays, there are many outboard recording channels or channel strips that feature excellent DI inputs. Some of these are based upon vintage console designs and most feature both EQ and dynamics control, enabling superb results to be produced without the need for amplification.
Mic'ing the Cab
Often, though, to achieve the very best bass tones, only the sound of a mic'ed-up bass cab will do. The sound of a good bass amplifier, particularly if it's a valve model, is hard to emulate with DI techniques alone. Most engineers favour either dynamic types with a strong low-end response, or a large-diaphragm condenser. Ribbon designs can sound great on bass but are more delicate than other types and don't like to be placed close to sources producing high SPLs.
Microphones designed for bass drums - such as the classic AKG D112 - usually work well on bass guitar as they generally have a pronounced low-end boost that is flattering to bass signals, and can handle very high SPLs. Don't worry if you don't have one of these though, as most general purpose mics, such as the Shure SM57 will do a reasonably good job if positioned correctly - see the More On Mic Placement box below right.
Beatles engineer Geoff Emerick often recorded Paul McCartney's bass as an overdub, using an AKG C12 set to figure 8 (bi-directional) and placing the mic around 4 or 5 feet from the bass cab.
For most recording situations though, moving the mic between 5 and 18 inches from the speaker should give you all the tonal options you could want, unless you're after a particularly roomy sound. Whereabouts along the plane of the speaker the mic is aimed will also determine the final tone. Pointing the mic at the centre of the speaker cone will give the punchiest sound, while moving along to the edge of the cone will give smoother, warmer tones.
If you are using a mic with a cardioid polar pattern, bear in mind that the closer you place it, the more bottom-end will be heard due to the proximity effect. This can be used to advantage if you only have a vocal mic (such as a Shure SM58) at your disposal, as these mics tend to have a rolled-off low end response.
Compression Techniques
Bass guitars typically have a wide dynamic range and it's almost always necessary to use some compression. The amount required will depend very much on the style and technique of the player, but as a rule of thumb, some gentle compression at the recording stage with a heavier squeeze during mixdown is a sensible starting point. Try using a 4:1 ratio to begin with and then, if the bass part is still too wildly dynamic, try a higher ratio when mixing.
Some bass playing styles, such as slap-bass, feature an occasional very loud note that can be tamed by using a much higher ratio of 10:1 or more to limit the peaks. Using extremely fast attack and decay times is not a good idea when recording bass as the initial transients will be lost and the compressor will struggle with the complex waveforms of bass signals.
Instead, set the attack time so that the plucking of the string can be heard - around 50ms should do it - and then set the release time to around 250ms or, if your compressor has an auto release setting, use that.
Before using a compressor, it's worth making sure that the basic tone of the bass is correct as a compressor will emphasise the main tonal characteristic. Therefore, it's a good idea to make any drastic EQ adjustments before compressing. If your bass sound needs fattening-up, a boost at around 80Hz often helps.
However, experiment with upper-bass and low-mid frequencies (100Hz - 400Hz) to help the bass part bed-in with other elements of the mix such as the kick drum. As bass guitars don't produce much in the way of usable high-frequency information, rolling-off the upper frequencies from around 5kHz will allow space for the treble elements of the track.
Similarly, when mixing, the bass guitar will have more room to breathe if a high-pass-filter is applied to other instruments and voices that don't require a lot of low-end energy.
Using effects with bass isn't nearly as common as with electric guitars but can produce distinctive results. Reverbs and delays should be used with caution as they can smear the bass part and rob the part of punch and drive. Some distortion effects can give bass parts a gritty edge, however the extreme distortion caused by fuzz-boxes will reduce the low-end impact of the sound. During the 1980s it was fashionable to use a chorus effect, often with fretless bass guitars, which were also in vogue during that era.
So, there are several ways of recording bass guitar and only your own personal circumstances can dictate which method works best for you. As always, take time to experiment - and trust your ears!
More on Mic Placement
Unlike electric guitar amps, that can sound good with a mic almost touching the speaker, bass cabs benefit from further distance between the speaker and mic. Around 5 inches is the minimum distance to achieve a decent tone, but longer distances can give excellent results if the recording situation permits.
Re-amping a DI'd Bass
1: Recording bass with DI during a group tracking session can both help avoid excessive bleed onto other mics and allow greater flexibility when mixing. However, bass DI alone lacks the body and drive produced by a decent amplifier. Once the DI'd bass has been recorded, the signal can be sent to a bass amp/cab and re-recorded in isolation. You will then have two channels of clean bass with no spill from drums or other instruments.
2: The best device to use is a dedicated re-amping box, which can be obtained reasonably inexpensively. These work like a DI box in reverse, matching the recorded DI bass signal to a level that is suitable for the amplifier. Indeed, a passive DI box can be used in reverse, however a re-amping box will offer a more flexible and hassle-free approach to matching both impedance and signal-levels.
3: Simply take the DI bass signal from your recorder and plug into the input of the re-amp box. Connect a microphone to the box and mic-up the amp/cab to your satisfaction. The sound of the amplified bass can now be overdubbed onto a separate track. Of course, if you are using plug-in amplifier mods instead of the real thing, the DI sound can be treated in the box without the need for a re-amping box or bass amplifier.
Bass Amp & Direct Combined
1: Recording bass both direct and through a bass amp can produce great results. You get the clean, clear and present sound of the instrument from the direct signal, combined with the warm low-end and rich harmonics produced by the amp/cab combo - particularly if you use a valve amp. Unless the bass guitar has active pick-ups, you'll need to use a DI (Direct Injection) box to match impedances and boost the low-level signal from the instrument.
2: Plug the bass into the instrument (jack) input of the DI box and take a feed from the box into the input of the amp. Use the XLR output on the DI box to connect to your mixer or interface. Once the bass cabinet has been suitably mic'ed you will have two channels of bass. As the signal from the mic enters the recorder a couple of milliseconds later than the DI signal, the sound may become vague when combined due to phase issues.
3: To solidify your bass sound, play both channels together and send the DI signal to a digital delay. Dial in the delay (around 2ms is usually about right) until the bass sound snaps into focus. A continuously variable delay is best for this job so that you can hear precisely when the sound becomes solid and punchy. Alternatively, simply move the DI signal within your digital recorder so that the waveforms match and are not out of phase.
Monday, 15 August 2016
5 Tips For Amazing Electric Guitar Recordings
1. 'The Hendrix Principle' - get your sound right before you record
Sure, it sounds pretty obvious, but take it from an experienced recording engineer, this is the number one fundamental to a great guitar recording, and it's so often overlooked.
Remember: the essence of recording is capturing a sound. So you need to make the sound you want, then capture it.
I like to call it The Hendrix Principle, because he's the perfect example. If you want your guitar to sound like Jimi Hendrix , you'll need the kind of guitar he used, the kind of amp he used, and the kinds of FX pedals he used. Then you're ready to record.
Remember: Hendrix (or whoever) didn't play any old crappy instrument and then expect the engineer to wave a magic wand to give him his sound.
2. Microphone Matters
When you go to record your electric guitar, you need to mic-up the amplifier with an appropriate microphone. Microphones fall into a number of basic categories: Dynamic , Condenser and Ribbon are the main 3. Dynamic microphones are an ideal choice for close-miking a loud guitar amp. If you're going to use a condenser or a ribbon microphone, be sure not to overload them with a too-powerful amp.
Recommended:
A Shure SM57 is the ideal microphone for recording Guitar Amps. They're virtually indestructible and have been a studio standard for decades. But the best thing is: they won't break the bank.
3. Microphone placement matters even more!
While choosing the right microphone is important, how you place the microphone can make or break the sound. In a nutshell, if you close-mic your amp, pointing the microphone right in the centre of the speaker cone will produce a bright sound. Aiming the microphone at the edge of the speaker cone will give a darker sound, and somewhere in between will give a more balanced sound.
4. Capture more sound with more mics.
To get even more out of your electric guitar recording, Try using multiple microphones. There are 2 standard placement setups for this:
Technique 1: Front and back of cab
Having a microphone behind the guitar amp as well as in front helps to capture more of the sound. The 'back mic' should ideally be the same model as the front mic, and should be exactly the same distance from the speaker cone as the front mic. The polarity of this microphone must be inverted, generally at the microphone pre-amp, though this can be done in your recording software.
Combining the 2 mic signals together gives a fuller, richer sound than using just the front microphone. (This is the same principle as top and bottom snare drum miking.)
Technique 2: Close / Distant
Besides having the amp close-mic'd, add another microphone a few feet back from the amp. This microphone will pick up a different sound to the close mic, and when you blend the two signals together, you get a full, rich sound.
5. Natural ambience ' Room mic
Instead of just using acoustically 'dead' rooms to record Guitar Amplifiers, let's take it one step further and do what they did back in the good old days of recording in the mid twentieth century. Find a nice sounding space, set the amp up there, and capture some of the natural ambience of the space together with the amp sound. But be careful not to over-do natural ambience, because once it's in your recording, there's no way of getting it out again.
The Bathroom Amp Sound!
One of the best guitar sounds I ever pulled was when I set up a little 1963 Gibson Skylark amp in a tiled bathroom. With a close mic and one a couple of feet back, I captured just the right amount of the guitar amp reverberating around the tiled room together with the relatively dry close-mic. Putting the 2 signals together and blending them just right, the sound was phenomenal!
That's it!
There you go, 5 easy steps to follow for amazing electric guitar recordings, every time. And as a bonus, my special 'Bathroom Amp Sound' explained!
Stay tuned for more recording and mixing tips!
Sure, it sounds pretty obvious, but take it from an experienced recording engineer, this is the number one fundamental to a great guitar recording, and it's so often overlooked.
Remember: the essence of recording is capturing a sound. So you need to make the sound you want, then capture it.
I like to call it The Hendrix Principle, because he's the perfect example. If you want your guitar to sound like Jimi Hendrix , you'll need the kind of guitar he used, the kind of amp he used, and the kinds of FX pedals he used. Then you're ready to record.
Remember: Hendrix (or whoever) didn't play any old crappy instrument and then expect the engineer to wave a magic wand to give him his sound.
2. Microphone Matters
When you go to record your electric guitar, you need to mic-up the amplifier with an appropriate microphone. Microphones fall into a number of basic categories: Dynamic , Condenser and Ribbon are the main 3. Dynamic microphones are an ideal choice for close-miking a loud guitar amp. If you're going to use a condenser or a ribbon microphone, be sure not to overload them with a too-powerful amp.
Recommended:
A Shure SM57 is the ideal microphone for recording Guitar Amps. They're virtually indestructible and have been a studio standard for decades. But the best thing is: they won't break the bank.
3. Microphone placement matters even more!
While choosing the right microphone is important, how you place the microphone can make or break the sound. In a nutshell, if you close-mic your amp, pointing the microphone right in the centre of the speaker cone will produce a bright sound. Aiming the microphone at the edge of the speaker cone will give a darker sound, and somewhere in between will give a more balanced sound.
4. Capture more sound with more mics.
To get even more out of your electric guitar recording, Try using multiple microphones. There are 2 standard placement setups for this:
Technique 1: Front and back of cab
Having a microphone behind the guitar amp as well as in front helps to capture more of the sound. The 'back mic' should ideally be the same model as the front mic, and should be exactly the same distance from the speaker cone as the front mic. The polarity of this microphone must be inverted, generally at the microphone pre-amp, though this can be done in your recording software.
Combining the 2 mic signals together gives a fuller, richer sound than using just the front microphone. (This is the same principle as top and bottom snare drum miking.)
Technique 2: Close / Distant
Besides having the amp close-mic'd, add another microphone a few feet back from the amp. This microphone will pick up a different sound to the close mic, and when you blend the two signals together, you get a full, rich sound.
5. Natural ambience ' Room mic
Instead of just using acoustically 'dead' rooms to record Guitar Amplifiers, let's take it one step further and do what they did back in the good old days of recording in the mid twentieth century. Find a nice sounding space, set the amp up there, and capture some of the natural ambience of the space together with the amp sound. But be careful not to over-do natural ambience, because once it's in your recording, there's no way of getting it out again.
The Bathroom Amp Sound!
One of the best guitar sounds I ever pulled was when I set up a little 1963 Gibson Skylark amp in a tiled bathroom. With a close mic and one a couple of feet back, I captured just the right amount of the guitar amp reverberating around the tiled room together with the relatively dry close-mic. Putting the 2 signals together and blending them just right, the sound was phenomenal!
That's it!
There you go, 5 easy steps to follow for amazing electric guitar recordings, every time. And as a bonus, my special 'Bathroom Amp Sound' explained!
Stay tuned for more recording and mixing tips!
Monday, 8 August 2016
Guitar & Bass Guitar & Bass
How to record electric guitars: 25 top tips
These days, there are more ways than ever to capture the sound of your electric guitar. John Pickford shares 25 top recording tips in our bluffer's guide…
1) The basic sound
Electric guitars are capable of producing a multitude of different sounds, ranging from the purest cleans right through to saturated distortion and feedback. Many factors influence the final recorded sound; the type of guitar and amp, and any stompbox or rack-mounted effects used will shape the initial tone. The choice of microphone(s) and mic'ing techniques, too, along with any studio processing, will also contribute to the end result. Your playing style is also crucial; experiment by playing with fingers or a variety of plectrum gauges until you get the right attack. While most guitarists play with a pick, coins can also be used to produce interesting harmonic overtones - just ask Brian May or Billy Gibbons.
2) Choosing the guitar
While the combination of guitar, amp, effects and technique all play a crucial role in achieving the desired tone, it's important to choose the right guitar for the job in the first place. There's a reason why Stratocasters, Teles, Les Pauls and ES-335s have featured on so many classic recordings over the years; it's because they are as reliable as they are versatile. That said, don't be afraid to try guitars fitted with more esoteric pickups, such as Gold Foils, for a less generic sound. P-90s are another great studio weapon; less dense than humbuckers, they can provide plenty of rhythm raunch without crowding the mix.
3) Amplifier types
The amplifier you choose to use will have a huge impact on the sound. Valve amps are still king for most players, but they can often be impractical in home recording scenarios. Though we'd all love to mic up a cranked Marshall Plexi every time a classic-rock sound is required, these days software and hardware modelling is so good that the results are almost indistinguishable from the ‘real thing' in a finished mix. Though pricey, the Kemper Profiling Amp and Fractal Audio Axe-Fx produce seriously realistic results, while almost as impressive are software solutions such as IK Multimedia's AmpliTube and Guitar Rig from Native Instruments. If you are recording on a Mac or iPad using GarageBand, don't discount the built-in amp and pedal simulations either.
4) Amplifier size
The size and power rating of the amp, as well as the size and type of the speakers within the cabinet, will have a significant impact on the recorded sound. Obviously, huge stacks will produce a very different sound from small combos. That said, many recording engineers have found that a small, low-powered amp cranked right up can sound more exciting than a big powerhouse. Even cheap transistor amps with tiny speakers can sound great in the right context. Don't be precious and don't rule anything out; it's all about the end result!
5) Listen
Before deciding on how to go about mic'ing the amp, listen to the sound in the room. If the guitar is being recorded as part of a rhythm track in the same room as drums and other instruments, the only option may be to use a close-mic'ing technique, unless you don't mind dealing with the other instruments bleeding into the guitar track. Recording guitars in isolation, as an overdub, presents more options for ambient room mic'ing. Experiment with mic positioning to achieve the right amount of room sound and the desired bass and treble response. Distance-mic'ing in a very live-sounding room can create an appealing slapback echo-type sound, while close mic'ing gives you absolute flexibility in the mix.
6) Basic mic'ing
For many engineers, a simple one-mic technique gives them all the recorded electric guitar sound they need. Dynamic types, such as the ubiquitous Shure SM57, are ideal for capturing loud sounds, as they can handle high SPLs. For a more accurate representation of the amplifier as the human ear hears it in the room, a condenser or ribbon mic can be employed, although care must be taken not to damage the mic with very loud signals. Pointing the mic at the centre of the speaker cone produces the brightest sound, with the sound becoming increasingly warm the further off-centre it's placed. It's common to position the mic quite close to the speaker grille, unless a degree of room sound is desired. A good starting point is to place the mic just off-centre, at a distance of between two and six inches.
7) Multi-mic'ing
Additional mics can be used to capture different tones from the amp and/or some ambient room sound. When recording open-backed cabinets, great results can be obtained by using a second mic at the rear of the cab. When this technique is employed, it's wise to invert the phase on one of the channels. To create a sound that's larger than life, try recording a part with close and distant mics and pan the two channels, then repeat the process, panning the channels in the opposite direction. Two close mics pointing at different parts of the speaker - one dead-centre and the other towards the far edge - will pick up the full range of the speaker's tone.
8) Multi-amping
Another way of creating a huge sound is to split the signal from the guitar - most easily achieved via a stompbox with stereo outputs - and send it to two or more amps. All sorts of combinations of sound can be achieved, especially when panning techniques are employed. Of course, each amp can also be multi-mic'd if desired, and some truly three-dimensional results can be obtained. Different effects can be applied to the various amps, while using combinations of clean and dirty amp sounds can be really effective for delivering overdrive with definition, or grit and
sparkle simultaneously.
9.) DI boxes
Traditionally, the vast majority of professional engineers prefer to record electric guitars through a mic'd up amplifier, rather than use a DI (direct injection) box, even though specialist guitar DI units are readily available. That said, there are many pracitcal reasons to split the signal from the guitar and use a DI box in conjunction with an amp. If you find out later that the recorded amp sound doesn't work in the mix, or you wish you hadn't committed a particular effect ‘to tape', the pure guitar sound can be re-amped and subsequently reprocessed without the need to discard a great take. You can route the DI'd signal through a modelling plug-in and blend that with the mic'd amp sound, too.
10) Amp positioning
Small amps can benefit from being placed on a stand, rather than the floor, as reflections from the floor can muddy the sound. A stool or something similar will do if a stand isn't available. For the same reason, when using larger stacks or combos with several speakers, try mic'ing one that's furthest from the floor. Placing an amp against a wall will increase the bottom-end response, and placing it in a corner will emphasise the low end further still. A mellow tone can be achieved by pointing the amp into the corner and mic'ing from behind.
11) Player positioning
In many studios, the guitarist can play in the control room while the amp is mic'd up in the live room. It feels less natural at first, but this way, you can more accurately monitor how your guitar sits in the mix through the studio monitors while you track. Some players prefer to be in the same room as their amp for reasons of feel and response, but if you are using a hollowbody or pickups that are succeptible to microphony, separating the guitar and amp can help. Of course, if feedback is desirable, you are better off in the room with the amp.
12) String mic'ing
Setting up a mic to record the natural acoustic sound of the guitar strings can add percussive character when blended with the amp sound, especially if you are capturing old-school archtop sounds. For best results, the guitar needs to be isolated from the amp to prevent excessive bleed. This technique gives a good front-end attack to the sound and plenty of definition. A small condenser is the best mic for the job, and it's worth using a high-pass filter as well.
13) Noise
Before recording commences, make sure that all of your equipment is in good shape and not producing crackles, hums and buzzes. If you are having problems, they can often be dealt with by using noise-filtering units such as gates and expanders. These are best used before post-recording effects - compression and reverb, for example - are applied, as a compressor will emphasise noise, while a gate might chop off the natural tail of the reverb.
14) Strings and cables
Just as it's important that the guitar, amp and effects are performing to spec, make sure that all cables are functioning properly (it's uncanny how many times a lead that was working fine yesterday suddenly develops a fault just before a take). It's a good idea to ensure that spares are available. That goes for strings, too - valuable recording time can be lost just because a string has broken and no one has a spare. Some engineers will try to insist you use brand new strings when recording, but don't be bullied into it if you prefer the warmer sound of a played-in set; that applies especially to bass, as new bass strings can introduce undesirable harmonic content into the sound.
15) Pickup position
Many guitarists with instruments that have more than one pickup spend most of their time on the bridge unit. Using a variety of pickup positions when recording will thin or fatten the sound as required, but also help free up space when it comes to the mixing stage. Think of a recorded mix as a layer cake; too much density in one frequency range will cause a headache for the mixing engineer.
16) Go active
Active pickups feature a preamp to boost the signal before it's sent to the guitar amp, and therefore require power - usually from a nine-volt battery. The benefits of using active pickups are that they have a much higher output than passive types, and better noise-rejection than humbuckers.
17) Guitar EQ
Although electric guitar sounds vary dramatically, they are all essentially midrange instruments with little or no extreme high- and low-end information. With the tone controls on the amp and the guitar itself, recorded electric guitar sounds often need little in the way of EQ if the desired tone was produced at the recording stage. However, if the sound needs a bit more bite, try boosting the upper mids somewhere between 2.5 and 5kHz. For added warmth, a little boost around the 250Hz range should thicken the sound, while muddiness is often dealt with by cutting a few dBs at around the 200Hz mark.
18) Filters
A very useful way of creating space for guitars in the final mix is to use tunable high-pass and low-pass filters to remove extreme frequencies that do nothing to enhance the guitar tone, but invade the space of other instruments that do perform in those areas. Generally speaking, it's worth losing everything below 80Hz, although it's not unusual to set the filter a good degree higher. Shaving off some high end may also be useful to help place the guitar in a specific area of the audio spectrum. Filter at the mixing stage, as the sound of the recording will often determine the optimum filtering points.
19) Multi-tracking guitars
Many recordings feature multiple guitar tracks playing simultaneously, but sometimes this can clutter up the mix. Another approach is to make each part sound distinctive by using different combinations of guitars, amps and effects. Panning the guitars to various areas of the stereo spectrum will create space for each part, while subtle use of ambient effects can create a sense of depth. EQ can be used to help guitars blend together. Try cutting certain frequencies from one guitar track and boosting those same frequencies in another.
20) Compression
Compressors are often applied to electric guitar tracks to bring out the guitar's natural sustain, as well as even out the overall dynamic range. Lead guitar parts usually benefit from a degree of compression treatment, while heavily overdriven rhythm parts often require very little or none at all, as the distortion naturally provides its own type of dynamic control. In the case of unnatural sounds, such as electric guitar, compression becomes a highly subjective topic, so experimentation is key to achieving the desired effect. As a starting point, therefore, try medium-fast attack and release times - an extremely fast attack time will blunt the transient response of the note. Remember that electric guitars can be inherently noisy and compression will generally exaggerate any hums and buzzes.
21) Double tracking
To create a thicker rhythm guitar sound, overdub the same part one or more times. Depending on the desired effect, the overdub can be treated as one mono signal and mixed to the same stereo position, or panned left and right for a stereo double-tracked sound. Alternatively, treat the original track with an ADT (Artificial Double Tracking) effect. This can be done with a digital delay set to around 40 milliseconds. Again, the delayed signal can be panned or mixed as one with the original guitar track.
22) Stereo guitars
Aside from the stereo effect of doubling up the same part and panning it to opposite ends of the stereo spectrum, some guitarists use stereo rigs in conjunction with stereo effects. Traditionally, this involves using two amp cabinets, although single cabs that operate in stereo are available. To achieve a good, even stereo image, it's best to mic each cab identically, ideally with the same type of mic. Invert the polarity of one of the channels to avoid any out-of-phase issues, and pan them hard left and right. Stereo effects such as reverb, delay and room ambience, can be added to mono guitar signals at the mixing stage.
23) Electro-acoustic guitars
Acoustic guitars that have been fitted with a pickup can be recorded using the same techniques as standard electric guitars when plugged into an amp. Interesting sounds can be created by mic'ing up an acoustic guitar and sending the sound through an amp. This can be done live - although you should be aware of feedback - or a previously recorded acoustic track can be re-amped and used exclusively, or mixed with the original acoustic track. You can get some really gnarly and original ‘electric' sounds with creative use of overdriven acoustic guitar; it's especially good for slide playing.
24) Effects
On entering a studio, some guitarists ask if they should leave off the effects they normally use and add them in later. Of course, this can be done; however, if the effects are integral to the desired sound and you are ‘playing' the effect as much as you are the instrument - fuzzboxes, heavy spring reverb, long delays and so on - it might be difficult to create the right feel during the take without them. If there is uncertainty as to whether the effects are spot-on, split the signal to retain the option of reworking the sound during the mixing process.
25) Isolation and ISO boxes
Separation and spillage are always at the forefront of a recording engineer's mind, although some more old-school producers are happy to ‘let it bleed'. Electric guitars, basses and drums are loud instruments that can bleed into each other's mics when played in the same room.
Not everyone has the luxury of drum booths and separate rooms, but isolation boxes are great for isolating guitars during a rhythm track recording. They are also ideal for home recording, allowing a good volume level without disturbing neighbours. Isolation boxes are commercially available, but can be expensive; try making your own from wood and foam.
These days, there are more ways than ever to capture the sound of your electric guitar. John Pickford shares 25 top recording tips in our bluffer's guide…
1) The basic sound
Electric guitars are capable of producing a multitude of different sounds, ranging from the purest cleans right through to saturated distortion and feedback. Many factors influence the final recorded sound; the type of guitar and amp, and any stompbox or rack-mounted effects used will shape the initial tone. The choice of microphone(s) and mic'ing techniques, too, along with any studio processing, will also contribute to the end result. Your playing style is also crucial; experiment by playing with fingers or a variety of plectrum gauges until you get the right attack. While most guitarists play with a pick, coins can also be used to produce interesting harmonic overtones - just ask Brian May or Billy Gibbons.
2) Choosing the guitar
While the combination of guitar, amp, effects and technique all play a crucial role in achieving the desired tone, it's important to choose the right guitar for the job in the first place. There's a reason why Stratocasters, Teles, Les Pauls and ES-335s have featured on so many classic recordings over the years; it's because they are as reliable as they are versatile. That said, don't be afraid to try guitars fitted with more esoteric pickups, such as Gold Foils, for a less generic sound. P-90s are another great studio weapon; less dense than humbuckers, they can provide plenty of rhythm raunch without crowding the mix.
3) Amplifier types
The amplifier you choose to use will have a huge impact on the sound. Valve amps are still king for most players, but they can often be impractical in home recording scenarios. Though we'd all love to mic up a cranked Marshall Plexi every time a classic-rock sound is required, these days software and hardware modelling is so good that the results are almost indistinguishable from the ‘real thing' in a finished mix. Though pricey, the Kemper Profiling Amp and Fractal Audio Axe-Fx produce seriously realistic results, while almost as impressive are software solutions such as IK Multimedia's AmpliTube and Guitar Rig from Native Instruments. If you are recording on a Mac or iPad using GarageBand, don't discount the built-in amp and pedal simulations either.
4) Amplifier size
The size and power rating of the amp, as well as the size and type of the speakers within the cabinet, will have a significant impact on the recorded sound. Obviously, huge stacks will produce a very different sound from small combos. That said, many recording engineers have found that a small, low-powered amp cranked right up can sound more exciting than a big powerhouse. Even cheap transistor amps with tiny speakers can sound great in the right context. Don't be precious and don't rule anything out; it's all about the end result!
5) Listen
Before deciding on how to go about mic'ing the amp, listen to the sound in the room. If the guitar is being recorded as part of a rhythm track in the same room as drums and other instruments, the only option may be to use a close-mic'ing technique, unless you don't mind dealing with the other instruments bleeding into the guitar track. Recording guitars in isolation, as an overdub, presents more options for ambient room mic'ing. Experiment with mic positioning to achieve the right amount of room sound and the desired bass and treble response. Distance-mic'ing in a very live-sounding room can create an appealing slapback echo-type sound, while close mic'ing gives you absolute flexibility in the mix.
6) Basic mic'ing
For many engineers, a simple one-mic technique gives them all the recorded electric guitar sound they need. Dynamic types, such as the ubiquitous Shure SM57, are ideal for capturing loud sounds, as they can handle high SPLs. For a more accurate representation of the amplifier as the human ear hears it in the room, a condenser or ribbon mic can be employed, although care must be taken not to damage the mic with very loud signals. Pointing the mic at the centre of the speaker cone produces the brightest sound, with the sound becoming increasingly warm the further off-centre it's placed. It's common to position the mic quite close to the speaker grille, unless a degree of room sound is desired. A good starting point is to place the mic just off-centre, at a distance of between two and six inches.
7) Multi-mic'ing
Additional mics can be used to capture different tones from the amp and/or some ambient room sound. When recording open-backed cabinets, great results can be obtained by using a second mic at the rear of the cab. When this technique is employed, it's wise to invert the phase on one of the channels. To create a sound that's larger than life, try recording a part with close and distant mics and pan the two channels, then repeat the process, panning the channels in the opposite direction. Two close mics pointing at different parts of the speaker - one dead-centre and the other towards the far edge - will pick up the full range of the speaker's tone.
8) Multi-amping
Another way of creating a huge sound is to split the signal from the guitar - most easily achieved via a stompbox with stereo outputs - and send it to two or more amps. All sorts of combinations of sound can be achieved, especially when panning techniques are employed. Of course, each amp can also be multi-mic'd if desired, and some truly three-dimensional results can be obtained. Different effects can be applied to the various amps, while using combinations of clean and dirty amp sounds can be really effective for delivering overdrive with definition, or grit and
sparkle simultaneously.
9.) DI boxes
Traditionally, the vast majority of professional engineers prefer to record electric guitars through a mic'd up amplifier, rather than use a DI (direct injection) box, even though specialist guitar DI units are readily available. That said, there are many pracitcal reasons to split the signal from the guitar and use a DI box in conjunction with an amp. If you find out later that the recorded amp sound doesn't work in the mix, or you wish you hadn't committed a particular effect ‘to tape', the pure guitar sound can be re-amped and subsequently reprocessed without the need to discard a great take. You can route the DI'd signal through a modelling plug-in and blend that with the mic'd amp sound, too.
10) Amp positioning
Small amps can benefit from being placed on a stand, rather than the floor, as reflections from the floor can muddy the sound. A stool or something similar will do if a stand isn't available. For the same reason, when using larger stacks or combos with several speakers, try mic'ing one that's furthest from the floor. Placing an amp against a wall will increase the bottom-end response, and placing it in a corner will emphasise the low end further still. A mellow tone can be achieved by pointing the amp into the corner and mic'ing from behind.
11) Player positioning
In many studios, the guitarist can play in the control room while the amp is mic'd up in the live room. It feels less natural at first, but this way, you can more accurately monitor how your guitar sits in the mix through the studio monitors while you track. Some players prefer to be in the same room as their amp for reasons of feel and response, but if you are using a hollowbody or pickups that are succeptible to microphony, separating the guitar and amp can help. Of course, if feedback is desirable, you are better off in the room with the amp.
12) String mic'ing
Setting up a mic to record the natural acoustic sound of the guitar strings can add percussive character when blended with the amp sound, especially if you are capturing old-school archtop sounds. For best results, the guitar needs to be isolated from the amp to prevent excessive bleed. This technique gives a good front-end attack to the sound and plenty of definition. A small condenser is the best mic for the job, and it's worth using a high-pass filter as well.
13) Noise
Before recording commences, make sure that all of your equipment is in good shape and not producing crackles, hums and buzzes. If you are having problems, they can often be dealt with by using noise-filtering units such as gates and expanders. These are best used before post-recording effects - compression and reverb, for example - are applied, as a compressor will emphasise noise, while a gate might chop off the natural tail of the reverb.
14) Strings and cables
Just as it's important that the guitar, amp and effects are performing to spec, make sure that all cables are functioning properly (it's uncanny how many times a lead that was working fine yesterday suddenly develops a fault just before a take). It's a good idea to ensure that spares are available. That goes for strings, too - valuable recording time can be lost just because a string has broken and no one has a spare. Some engineers will try to insist you use brand new strings when recording, but don't be bullied into it if you prefer the warmer sound of a played-in set; that applies especially to bass, as new bass strings can introduce undesirable harmonic content into the sound.
15) Pickup position
Many guitarists with instruments that have more than one pickup spend most of their time on the bridge unit. Using a variety of pickup positions when recording will thin or fatten the sound as required, but also help free up space when it comes to the mixing stage. Think of a recorded mix as a layer cake; too much density in one frequency range will cause a headache for the mixing engineer.
16) Go active
Active pickups feature a preamp to boost the signal before it's sent to the guitar amp, and therefore require power - usually from a nine-volt battery. The benefits of using active pickups are that they have a much higher output than passive types, and better noise-rejection than humbuckers.
17) Guitar EQ
Although electric guitar sounds vary dramatically, they are all essentially midrange instruments with little or no extreme high- and low-end information. With the tone controls on the amp and the guitar itself, recorded electric guitar sounds often need little in the way of EQ if the desired tone was produced at the recording stage. However, if the sound needs a bit more bite, try boosting the upper mids somewhere between 2.5 and 5kHz. For added warmth, a little boost around the 250Hz range should thicken the sound, while muddiness is often dealt with by cutting a few dBs at around the 200Hz mark.
18) Filters
A very useful way of creating space for guitars in the final mix is to use tunable high-pass and low-pass filters to remove extreme frequencies that do nothing to enhance the guitar tone, but invade the space of other instruments that do perform in those areas. Generally speaking, it's worth losing everything below 80Hz, although it's not unusual to set the filter a good degree higher. Shaving off some high end may also be useful to help place the guitar in a specific area of the audio spectrum. Filter at the mixing stage, as the sound of the recording will often determine the optimum filtering points.
19) Multi-tracking guitars
Many recordings feature multiple guitar tracks playing simultaneously, but sometimes this can clutter up the mix. Another approach is to make each part sound distinctive by using different combinations of guitars, amps and effects. Panning the guitars to various areas of the stereo spectrum will create space for each part, while subtle use of ambient effects can create a sense of depth. EQ can be used to help guitars blend together. Try cutting certain frequencies from one guitar track and boosting those same frequencies in another.
20) Compression
Compressors are often applied to electric guitar tracks to bring out the guitar's natural sustain, as well as even out the overall dynamic range. Lead guitar parts usually benefit from a degree of compression treatment, while heavily overdriven rhythm parts often require very little or none at all, as the distortion naturally provides its own type of dynamic control. In the case of unnatural sounds, such as electric guitar, compression becomes a highly subjective topic, so experimentation is key to achieving the desired effect. As a starting point, therefore, try medium-fast attack and release times - an extremely fast attack time will blunt the transient response of the note. Remember that electric guitars can be inherently noisy and compression will generally exaggerate any hums and buzzes.
21) Double tracking
To create a thicker rhythm guitar sound, overdub the same part one or more times. Depending on the desired effect, the overdub can be treated as one mono signal and mixed to the same stereo position, or panned left and right for a stereo double-tracked sound. Alternatively, treat the original track with an ADT (Artificial Double Tracking) effect. This can be done with a digital delay set to around 40 milliseconds. Again, the delayed signal can be panned or mixed as one with the original guitar track.
22) Stereo guitars
Aside from the stereo effect of doubling up the same part and panning it to opposite ends of the stereo spectrum, some guitarists use stereo rigs in conjunction with stereo effects. Traditionally, this involves using two amp cabinets, although single cabs that operate in stereo are available. To achieve a good, even stereo image, it's best to mic each cab identically, ideally with the same type of mic. Invert the polarity of one of the channels to avoid any out-of-phase issues, and pan them hard left and right. Stereo effects such as reverb, delay and room ambience, can be added to mono guitar signals at the mixing stage.
23) Electro-acoustic guitars
Acoustic guitars that have been fitted with a pickup can be recorded using the same techniques as standard electric guitars when plugged into an amp. Interesting sounds can be created by mic'ing up an acoustic guitar and sending the sound through an amp. This can be done live - although you should be aware of feedback - or a previously recorded acoustic track can be re-amped and used exclusively, or mixed with the original acoustic track. You can get some really gnarly and original ‘electric' sounds with creative use of overdriven acoustic guitar; it's especially good for slide playing.
24) Effects
On entering a studio, some guitarists ask if they should leave off the effects they normally use and add them in later. Of course, this can be done; however, if the effects are integral to the desired sound and you are ‘playing' the effect as much as you are the instrument - fuzzboxes, heavy spring reverb, long delays and so on - it might be difficult to create the right feel during the take without them. If there is uncertainty as to whether the effects are spot-on, split the signal to retain the option of reworking the sound during the mixing process.
25) Isolation and ISO boxes
Separation and spillage are always at the forefront of a recording engineer's mind, although some more old-school producers are happy to ‘let it bleed'. Electric guitars, basses and drums are loud instruments that can bleed into each other's mics when played in the same room.
Not everyone has the luxury of drum booths and separate rooms, but isolation boxes are great for isolating guitars during a rhythm track recording. They are also ideal for home recording, allowing a good volume level without disturbing neighbours. Isolation boxes are commercially available, but can be expensive; try making your own from wood and foam.
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