My friend recently bought a mexican geddy lee jazz bass. The bass founds so twangy and bright and is really is easy to play. My standard mexican jazz bass sounds really dull and dead. I recently put on a pair of rotosounds but it still just sounds dull. How could I modify It to be bright and twangy. I have already tried lowing the action on the bass its it the bridge please help
There must be a technique for this because I hear it a lot. I would say it it definitely a voicing/pitchbending thing, but I really don't know. The foghorn basses in DNB seem to use this technique a lot
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Made perfectly sure my bass guitar was fully in tune and recorded it alongside the other two tracks. As I recorded it, I thought that it sounded out of tune in comparison to the other tracks. Went to re-tune it, discovered that it was still perfectly in tune.
I suspected that maybe the wacka wacka was making it sound off due to the pitch of the percussive sound being discordant with the guitar/bass. As such, I pitched it up a bit so that it was harmonious with the guitar.
Re-recorded the bass and it still sounded off. Pulling my hair out at this point. Surprisingly, I found that when I unplug my headphones and listen through my laptop speakers the bass and guitar sound perfectly fine - everything sounds in tune. When I plug the headphones back in, it amazingly sounds off (just ever so slightly, but enough that it is noticeable and hard to ignore).
I get ridiculous bass when I use the HPF with a lot of resonance and the peak at 30hz or whatever. So single-cycles without too much HF presence (modified sines are good) are useful (since you only get one filter on the DT).
I have a note here. The bad sound may be overloading the recorder. Low pitched sounds can be very powerful. See: approaching thunder storm which is making rumble sounds, but is moving that big window in the living room.
Update: Found a way to record the noise including bass and thumps. Rather than chase the sound I looked for a spot in the room from which to place and leave mic set up. If I need the space I just move it. Almost gave audacity up trying to record on devices with dolby but must chase the sound or place more precise/closer to source
Long story short placed mic about 6ft high used pressure zone mic technique tilted the mic about 15 to 30 degrees towards center of room near a wall. I figured if I can hear and feel the noise all over there should be a spot where I could record all over. Room is rectangle shape so placed along shorter wall which gives access to sounds from entire room. Also got a new/used computer with windows 10 and faster processor which make start up and adjustments much faster. Also experimented found more permanent settings to bring out the sound. Note found that changing/raising the pitch frequently not only makes it louder but more accurate although can lead to alot of background noise but the thumps, thuds, stomps etc quite distinguishable.
Two band compression. Maybe set the attack to something like 30ms on the high band to let the pick (higher frequencies) pump. Use a more limiting approach on the lower end to tame those frequencies to exactly the right level (they consume a lot of energy).
Use subtractive EQ in the lo-mids. That might be enough EQ:ing in many cases.
A clever trick is to use parallel distortion. Set up a dist with 100% dry and just very very little wet. This will add high frequencies to the bass. Judge from listening to the mix and not when listening solo.
Also, I like sidechaining kick/bass. I think of it as a way to simulate what mixing that would have been possible with a better arrangement
Last but not least is probably to make sure that nothing else is masking any important frequencies of the bass.
A final resort, that will make anything shine but might come at a cost, is to find a good preset to dub the instrument with.
The drums and the bass are obviously fighting each other on the lows and mids. Beside that the whole thing sounds like compressed to death. Try to cut 4-6db on 0.5 - 0.75 octaves @ ~500 Hz on the bass. Same @ 300Hz, with a smaller bandwidth (Try this on either the bass OR the drums!). Further on try a hard highpass cut between 26Hz - 34Hz and a slight boost over 0.25 - 0.66 octaves on 63Hz and also 126Hz of the bass. For the last 2 frequenies, reduce them for the drums (with a small bandwidth!) in the approx amount you increased them on the bass.
Edit: Of course you can change the bandwidth of the adjustment at ~1200Hz. Setting the bandwidth to 0.33 leaves a bit more of the vocal impression. /> I forgot to adjust the track volume of the bass. Bassdrum and bass should have the approx. same level +/- up to 1.5dB
boxy bass sounds seem like you are using a stereo bass for one, so levelling this one to mono is one trick, then bump the 103hz a bit to get some warmth out of it is another, but this depends if the bass sound has enough of that frequency around.
Bass (/bes/ BAYSS) (also called bottom end)[2] describes tones of low (also called "deep") frequency, pitch and range from 16 to 250 Hz (C0 to middle C4)[3] and bass instruments that produce tones in the low-pitched range C2-C4. They belong to different families of instruments and can cover a wide range of musical roles. Since producing low pitches usually requires a long air column or string, and for stringed instruments, a large hollow body, the string and wind bass instruments are usually the largest instruments in their families or instrument classes.
When bass notes are played in a musical ensemble such an orchestra, they are frequently used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm.
In popular music, the bass part, which is called the "bassline", typically provides harmonic and rhythmic support to the band. The bass player is a member of the rhythm section in a band, along with the drummer, rhythm guitarist, and, in some cases, a keyboard instrument player (e.g., piano or Hammond organ). The bass player emphasizes the root or fifth of the chord in their basslines (and to a lesser degree, the third of the chord) and accents the strong beats.
Basso continuo was an approach to writing music during the Baroque music era (1600-1750). With basso continuo, a written-out bassline served to set out the chord progression for an entire piece (symphony, concerto, Mass, or other work), with the bassline being played by pipe organ or harpsichord and the chords being improvised by players of chordal instruments (theorbo, lute, harpsichord, etc.).
"The bass differs from other voices because of the particular role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the larger harmonic organization of an entire work."[5]
As seen in the musical instrument classification article, categorizing instruments can be difficult. For example, some instruments fall into more than one category. The cello is considered a tenor instrument in some orchestral settings, but in a string quartet it is the bass instrument. Also, the Bass Flute is actually the tenor member of the flute family even though it is called the "Bass" Flute.
With recorded music playback, for owners of 33 rpm LPs and 45 singles, the availability of loud and deep bass was limited by the ability of the phonograph record stylus to track the groove.[7] While some hi-fi aficionados had solved the problem by using other playback sources, such as reel-to-reel tape players which were capable of delivering accurate, naturally deep bass from acoustic sources, or synthetic bass not found in nature, with the popular introduction of the compact cassette in the late 1960s it became possible to add more low-frequency content to recordings.[8] By the mid-1970s, 12" vinyl singles, which allowed for "more bass volume", were used to record disco, reggae, dub and hip-hop tracks; dance club DJs played these records in clubs with subwoofers to achieve "physical and emotional" reactions from dancers.[9]
In the early 1970s, early disco DJs sought out deeper bass sounds for their dance events. David Mancuso hired sound engineer Alex Rosner[10] to design additional subwoofers for his disco dance events, along with "tweeter arrays" to "boost the treble and bass at opportune moments" at his private, underground parties at The Loft.[11] The demand for sub-bass sound reinforcement in the 1970s was driven by the important role of "powerful bass drum" in disco, as compared with rock and pop; to provide this deeper range, a third crossover point from 40 Hz to 120 Hz (centering on 80 Hz) was added.[12] The Paradise Garage discotheque in New York City, which operated from 1977 to 1987, had "custom designed 'sub-bass' speakers" developed by Alex Rosner's disciple, sound engineer Richard ("Dick") Long[13] that were called "Levan Horns" (in honor of resident DJ Larry Levan).[14]
By the end of the 1970s, subwoofers were used in dance venue sound systems to enable the playing of "[b]ass-heavy dance music" that we "do not 'hear' with our ears but with our entire body".[15] At the club, Long used four Levan bass horns, one in each corner of the dancefloor, to create a "haptic and tactile quality" in the sub-bass that you could feel in your body.[16] To overcome the lack of sub-bass frequencies on 1970s disco records (sub-bass frequencies below 60 Hz were removed during mastering), Long added a DBX 100 "Boom Box" subharmonic pitch generator into his system to synthesize 25 Hz to 50 Hz sub-bass from the 50 to 100 Hz bass on the records.[17] In the early 1980s, Long designed a sound system for the Warehouse dance club, with "huge stacks of subwoofers" which created "deep and intense" bass frequencies that "pound[ed] through your system" and "entire body", enabling clubgoers to "viscerally experience" the DJs' house music mixes.[18] 2351a5e196