more cohesive nature we picked up from miking the cab and keeps the attack and energy up without getting too muddy overall . I ’ m digging it so far , but up until now we have only had the bass and drums in the mix . Aside from jazz trio gigs where the guitarist fails to show up , not many musical experiences contain just bass and drums . Let ’ s jump to the next point and talk a bit about musical context .
CONTEXT IS KING .
While we could continue to massage and sculpt and get fancy with side chain and multiband compression and dynamic EQ until the cows come home , Example 3 seems to have an acceptably cohesive blend of bass and drums . We ’ ve got a nice low end energy without flubby bits or a clash between the bass drum and the bass guitar . One good way to confirm that things are basically where they need to be is to add in another musical element . If this was a live mix exercise , perhaps you started off with soundcheck of only the bass and drums first . Or you checked out balance and basic interaction and sonic placement via soloing their tracks to headphones . For this next example , we simply took where we left of with Example 3 and added in a guitar track .
EXAMPLE 4
Maybe I am just imagining things , but the bass track actually seems to improve in its position relative to the drums as the guitar comes into play . Everyone has a nice little frequency yard to play in and there aren ’ t any obvious frequency fights going on . If time were no object , I may work on the bottom range of the guitar if there was a tendency to play down low often , but otherwise it seems to work . Close enough for jazz !
Speaking of jazz , one of the other important aspects of recognizing the musical context has to do with stylistic norms . The modern rock or alternative electric guitar track pairs up well with the straightforward and full bass tone well in Example 4 . But what if this was more of
Scooped EQ shown in Logic bass amp simulator plugin .
a funky trio ? How about something that isn ’ t even necessarily a jazz funk sort of vibe , but hinting at a Red Hot Chili Peppers or disco / pop / groove jazz sort of thing ? As always , context is king .
If presented with a more guitar-forward rhythmic counterpoint , I might decide to clear out a bit of space for the guitar to shine vs . the more homogenous mix approach in Example 4 . This is where I think the sonic equivalent of ‘ context is king ’ is best illustrated . As a bass player myself , I am not a fan of the scooped sort of sound that was a bit of a fad a while back in bass tone circles . But as we shall see ( hear ), it does have its place at times .
The scooped approach is to keep the upper and lower frequency intact ( or even slightly boosted ) while taking a sizable ‘ scoop ’ out of the midrange . Again , not a tone I ’ d grab in all situations , but it does open up a nice spot to fit other busier elements into within the sometimes cluttered mid area . Let ’ s give it a listen .
EXAMPLE 5
You ’ ll notice a good bit of low end carrying things along and a plucky pick attack bringing some rhythmic interest to the game . Still not one of my favorite bass tones when the bass is frequently exposed without accompaniment , but not all that bad . This scooped EQ really comes to life when our funky little guitarist joins in , though !
EXAMPLE 6
No difference at all in the bass between Example 5 and Example 6 , but it does almost feel like the entire mix fills out and propels forward a bit more once the guitar is added . Nifty .
THE BOTTOM LINE .
As we ’ ve heard in the examples above , there are a multitude of bass sounds and approaches that can work depending on the style and vibe you ’ re trying to achieve . There isn ’ t a perfect
go-to bass tone that will work in every musical scenario and in every room and in every mix . Sometimes a clean DI with minimal EQ and compression is best . Other times , a miked cabinet and a heavy helping of compression is best . One thing that does seem to hold true in every case is that no one approach holds true in every case . Remember to keep your musical goal in mind and think about the context in which you are working and let your ears be your ultimate guide . Don ’ t be afraid to break the rules , test the boundaries and experiment . See you next month as we continue on our path to Mixing Mastery !
Jeff Hawley A 20-year music industry veteran — equally at ease behind the console , playing bass guitar , leading marketing teams or designing award-winning audio products . He currently heads up the marketing for Allen & Heath in the US .