Remember the bigger or wider your sonic footprint is , the more potential it has to occupy the space of other instruments and muddy their sonic space . Resist the urge to evaluate your bass tone by only listening to it by itself . You really need to hear it back within the mix or context of the music you are tracking to in order to get a realistic perception of how well it sits in its own space .
When using a more modern bass with active electronics and a lot of headroom , you may find that you have to slightly cut some frequencies instead of boosting so you can carve out what is competing with other instruments .
If possible , I also prefer listening both through studio monitors and headphones to get an accurate picture of where my bass sits . When it comes to bass guitar it really helps to be able to monitor and evaluate on systems that offer enough low frequency information to know how your bass is behaving in the mix . Strive to develop the ability to listen to the entire mix from the perspective of tonal balance and the relationship of frequencies . By practicing this more external listening perspective , you can better evaluate how your bass tone is working within the music .
DON ’ T OVERUSE COMPRESSION
A mistake I sometimes see with lessexperienced players is a tendency to use too much compression on their sound . A compressor can be a fantastic tool for a bass player as a subtle tone-shaper , but in the recording world compression is often used to balance the variation of dynamics coming from the bass guitar to make it sit more consistently in a track . The way compression works is that it essentially attenuates your loudest transients via a set ratio so that they don ’ t stick out as much , basically shrinking the dynamic threshold distance between your quietest and loudest notes or passages . The intended result is a smoother and more even sound that sits in a track more evenly . As great a tool as compression is , if overused it can have some negative consequences for your tone .
For example , compression that is set too heavy makes your bass sound ‘ squashed ’ and completely lacking dynamics . A squashed bass tone that allows no significant variation in dynamics comes across as sounding synthetic and lifeless . Another symptom of having compression set too heavy is being able to hear the compressor ‘ breathe .’ In other words , you
want the compression to be more transparent . If you can hear your compressor actively attenuate and release your notes to the point you hear the volume changes happening in real time , chances are you are using too aggressive a setting .
Another artifact that can result from using too much compression is the addition of added noise or hiss . For example , an overly aggressive compression setting that is working extra hard to maximize sustain will typically add noise to the trailing edges of long notes . Not a great tonal characteristic when you want a clean sound .
I hope these simple tips will help you think even more about the quality of your tone when recording . In a future article I will dive a little deeper and discuss some more specific strategies . Until then , I wish you happy tracking !
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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