experimented with distortion or overdrive on your bass to get an aggressive bass tone . Nothing sounds better when used in the appropriate context if you want your bass to sound like it has been turbocharged ! You might have also noticed that when using a tone like that , the bass is more forward and present even when playing softly . However , it is difficult to exhibit sensitivity in dynamics with a distorted tone because of the nature in which it is processed . What is interesting about an overdriven signal , however , is that it also exhibits the effects of compression . Check out Figure 2 . This is the same bass line recorded simultaneously using a dry signal and a track running through an overdrive pedal .
Notice the similarities ? Just like the compressor track in Figure 1 , the overdrive track shows how the line ’ s transients have been somewhat flattened , and as such emulates the amplitudeinfluencing behavior of a compressor . This is super interesting because it explains why it is so much more challenging to record or perform a track with varied dynamics if you are using a super distorted bass tone . Of course , by just looking at these waveforms you can ’ t hear the difference , but you can certainly recognize the varied levels of dynamics in each waveform because of their shapes .
BLENDING SIGNALS For the music that I am typically hired to play on , 99 % of the time I am expected to deliver clean tone bass tracks for clients and artists on sessions . In other words , they do not want the bass track to be overdriven or distorted . But one of the tricks that I use when recording is to use overdrive in a “ hidden ” way as a compression and tone embellisher for my clean tones . In a session I will almost always be using a dry signal without compression for my primary signal , typically from a nice DI . However , I will also simultaneously record an overdriven signal coming from a preamp . When it comes time to mix , I dial in a tiny portion of the overdrive signal to blend with the clean signal , typically not more than 25 % of the summed tracks . The blend level is high enough to where you can hear the summed bass track thickened and enhanced , but not loud enough to hear the overdrive or distortion . What this does is give you the compressed nuance of the overdrive and it embellishes your tone . This allows you to retain all the transient variations and dynamics of your primary clean signal in the higher frequencies that are most up front in the bass track . But even more significantly , in the more foundational lower frequencies you are maintaining a type of steady-state compression and presence that keeps the bass from disappearing when your dynamics change .
EXPERIMENTATION IS KEY Ofcourse , this is just an overview of the process , and you will need to try different overdrive settings and track blend ratios to really hone in on what will work best in your scenario . It is important to first have a fundamental understanding of how each component in your signal chain works and how each setting affects your sound . If you don ’ t have a compressor or overdrive yet , you don ’ t need to spend a lot of money to incorporate these tools into your arsenal . For example , it ’ s not necessary to purchase ultra-expensive outboard gear versions of DI ’ s , compressors , or preamps in order to experience the benefits of this method . Even simple pedals or stompboxes can be used to record this way and they have the benefit of also being super portable .
I hope this will help you out . Have fun experimenting , and happy recording !
Adam Nitti Nashville-based Adam Nitti balances his roles as a solo artist , sideman , and educator . He has filled the bass chair for Kenny Loggins , Carrie Underwood , Dave Weckl Band , Michael McDonald , Susan Tedeschi , Steven Curtis Chapman , Mike Stern , Brent Mason , Wayne Krantz , and Christopher Cross , while also releasing five solo CDs to date . As a Nashville session bassist he has played on multiple Grammywinning and Grammy-nominated albums , and is also the founder of ...
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