Tim Gillett wrote:The two bass examples you give are solo with no band competing. Can you give examples of bass that you like in the context of a full band?
Like I said, its in the first place for myself (when working with a band pretty much everything is based on compromising to make everything work and it differs per song, also), but when I get to these examples to start with, I know how to compromise to make the best of it in a mix. But I need a good starting point.
And John uses so many sounds I cant tell for sure what this exact sound would do in the mix, but I know Kristof's sound quite well, he's been playing for friends of mine, on recordings and live and I can always pick up on the character of the sound Im after, even in a full mix.
The Bunk wrote:Probably not the purist's answer this and, as others have suggested, a lot of it is down to the recording and technique but the Izotope Alloy 2 plug-in has a "Growling Bass" preset which I love and have used frequently, although sometimes with a bit of tweaking.
I try to be as much of a purist as reasonable, but I mostly know when its time to compromise. We live in a digital world and techniques change...
But Purist or not, that isnt a bad idea at all. I can download the demo, have iZotope make its calculation and see what it comes up with. What I need are frequenties and ratios to find a starting point and iZotope can calculate what is either missing, or is to dominant in my setup.
blinddrew wrote:Does your dissatisfaction vary depending on what rooms you're in? I.e. practice room, studio, stage?
No, I heard the basic sound in many places, with the use of all kinds of instruments, from hard and soft wood, with all kinds of pickup variations and all kinds of strings, all kinds of amps, in all kinds of rooms.
Its not like Im after that exact sound of the examples, I know its pretty much impossible to copy a sound in every detail, even with the exact same gear. Or even simpler, what is perfect to someone's taste might even vary slightly from day to day. Its about that roughness in the sound, especially with the example from John Myung, with the drive on it, to keep up the clearity in the high-mid and top-end, without loosing too much low-end.
When I get the roughness and the low-end, on lower volumes the high-mid and top-end are lost and when I set up the high-mids and top like Im after, then the roughness and bottom decrease too much. Im constantly dialing over the middle ground, I guess. :P
CS70 wrote:They do seem fairly reasonable bass sounds, as you say. The second video has quite different timbres, so not sure exactly which one you refer to, but John's snippet and the starting sounds in the second video seem fairly aggressive, there's a fair bit of mid and higher frequency content and the players use the strings sound to add even more zing to the proceedings. There can be some drive and compression, but just playing with the bass tone controls and pickups and the preamp EQ and drive.. shouldn't really need super loud volume to get it.
The different timbres are the different pickup configurations. The first sound, for example, is a plectrum on the neck side, with the neck pickup, while the jazzy sound later on is plucking on the bridge side, with the bridge pickup. Of course, the plectrum and playing style are a big part of that first sound, theres a lot of rattle from the strings going on, that makes that aggressive sound. I know now to do that! ;)
Indeed, it should be pretty basic, playing style, EQ and compression, a little drive when desired, like the John Myung sound... Its all about hitting the right sweetspots.
But Im gonna see if I can get some calculating plugins come up with some frequenties and ratios to use as a starting point. Maybe that can get me on the right track.
Thanks for all the input guys! :)