BASS
USING OVERDRIVE TO ENHANCE CLEAN TONES IN RECORDING APPLICATIONS | Adam Nitti
Over the years I have experimented with all sorts of different ways of recording my bass guitars . I have invested in all different types of compressors , preamps , microphones , DI ’ s , and everything in between . But if there is one thing I have learned , it is that the most important part of the signal chain is the source . In our case as bass players , that refers to the union that joins our bass with our hands . They are considered primary tonal companions when it comes to the quality of our sound . Having said that , if we have that part of the equation solid and wellestablished , there are infinite ways to color and shape our sound using different recording techniques or devices . In this installment I want to share with you a unique way in which I use overdrive to enhance my clean tones in the studio .
COMPRESSION One of the most common components used in a bass player ’ s signal chain is a compressor . Compressors are widely used in audio engineering , serving to maintain a signal within a controlled dynamic range . By diminishing the levels of high transients , compressors help to balance the amplitude of a signal more evenly . This results in a more consistent volume level across the audio track . The aim is to ensure that the overall sound is dynamically balanced , reducing the gap between the loudest and quietest parts , and making the sound more uniform and controlled . Compressors are a valuable tool , but if they are used too aggressively , then your tone can be compromised by having its dynamics stripped away . For this reason , I generally recommend that unless you are going for a “ squashed ” sound specifically , you should use conservative settings that will not exponentially reduce the dynamic content of your track and subsequently make it lifeless . Optimal compression ratio and threshold settings will be dependent on several factors , including the output level of your bass and the type of compressor used , but try to use settings that are more transparent and subtle . Remember : You can always compress your bass tracks more if needed during the mixing process , but if you have a signal that was already squashed while going to “ tape ”, you won ’ t be able to reduce any excessive compression during mixdown because it will be recorded into the track already .
When trying to understand the effects of compression on a recorded bass track , it ’ s often helpful to visually compare the waveforms in an audio application or DAW , contrasting the compressed ( affected ) waveform with the uncompressed ( unaffected ) one . This visual comparison can make it easier to understand how compression alters the sound . Figure 1 shows a bassline recorded on two simultaneous tracks , one completely dry and the other running through a compressor set to a high compression ratio .
Notice how the dry bass track ’ s waveform on the top has greater variance in the ‘ height ’ of its transients . You can see how some of the notes jump out more than others by observing how the amplitude of the waveform varies significantly based on how loud or soft each note or nuance is . Conversely , in the track using compression you can see how the transients are more smoothed out and consistent . This is because the difference between the low and high transients is much smaller , and the track ’ s amplitude reflects that . The waveform is therefore “ flatter ”, and this is reflected in the sound of the track .
THE EFFECTS OF OVERDRIVE Many of you have probably at some point
Figure 1
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