a good mix for this kindaa music?

[afreshcupofjoe]

Digital audio has enough dynamic range that you can just record the bass at a lower volume where it's not clipping and compress it later. If you are having trouble monitoring, then just put a compressor on the track and monitor through it live, then you can always change the settings later. Use fast attack, moderate to fast release, and a high ratio like 10:1 or even higher. Adjust the threshold until you are getting a few db of gain reduction on the louder notes and then turn it up a little further. Adjust the release knob to get a natural pumping depending on the material.

[nirdosh]

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Bass Specific DIs/processors
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THANKS a ton man!! for these amazing links, great!! now i will call them tomorrow morning nd i hope they will be able to provide their products in my country (INDIA).... i will pray!!!! god pls ls pls pls pls get me a good deal soon!!

[BLynx]

(deleted)

[nirdosh]

I SAW SOME DIS ND CONDENSOR microphones nd i choosed behringer bass di ( modl no. 156743 on music123.com) nd a condensor microphone pair of akg c1000 nd c20008.. are they good enough? shall i go for ir or not

one more thing, im using boss gt6 guitar processor nd there is a digital out in it, whats that?? is it useful in doing recordings? if yes then how?
nd do anybody know any site from where i can get some rocking patche settings that i can make in my gt6, some body told me that you can really make patches of any particular well known track .

[dover666]

but when i record it the meter starts clipping, the volume is alredy very low that i hardly manage to listen to it when recording

In that case you might be better off by doing a bit of processing before the signal hits the PC.

Best is the DI line out of the bass amp (if available) you'd normally use.
Or do you have access to a hardware compressor / limiter to insert into the signal chain?
Next try is some guitar gear set at a clean or mildly crunchy sound. A bit of overdrive does limit the peaks also.

What a compressor / limiter does? The Slipperman explains it all:
http://www.badmuckingfastard.com/sound/ ... n.html#vca
(read it all if you have the time... Entertainment + educational!)

He rants about the VCA in a noise gate. Compressors and limiters are variation on the same theme: a gremlin in a box with a fader, and the knobs on the box say how the gremlin should move the fader whil he views the level of sound coming in. Some parameters explained:

* Threshold says at what level the gremlin starts reducing the volume.
* Ratio says how much it will reduce volume when it goes over threshold.
* Limiters are compressors with infinite ratio: volume may never go over the threshold.
* Attack says how fast the gremlin acts when volume goes over the threshold.
* Release says how fast the gremlin acts when volume drops below threshold again.

So the idea is that you automatically "limit" the peaks. So they don't clip anymore, so you can safely increase the gain. So it's louder but without the insane peaks. So that tells you that the attack must be rather fast (low value).

And experiment... Start with setting all controls in the middle, and go from there. Listen what the effect is. Preferably on speakers, not on headphones.

eXtremely important for good metal/thrash music..... get yourself a 19 dollar compressor pedal from your local guitar graveyard.... (some distortion pedals have attack release on them.... if you find a bass one, this should help... + tune up a bit.... metal is better with a tighter string... (see cannibal corpses album tomb of the mutilated , the track "hammer smashed face") it helps you control a large fluster of running notes when the strings are a wee bit tighter......

[nirdosh]

i need some tips on different frequecies like low range, mid range and highs... if some body can help me down please. coz i"ve heard that midrange is not good for recording... i really dont understand this.

[BertKoor]

i"ve heard that midrange is not good for recording...

That quote is worthless without it's context. You need ALL frequencies in your recording. And when you're inexperience you don't know yet in which case which frequencies should be emphasized or attennuated. And if you are in the same room as the loud guitars you are recording, then you can't judge what you're doing. So the best thing for a newbie to do is just record how it comes in, and do the EQing in the next stage (while mixing)

The infamous Slipperman once wrote:

Let's just talk about EQ APPROACHES.


Schools of thought.

School 1: Capture it ALL.
School 2: Capture it ALL but capture LESS of what yer pretty sure yer not going to use much of later.
School 3: Capture MOSTLY what you want with a TINY nod to the wacky shit.
School 4: f**k everyone. Capture ONLY what you like. HAMMER the f**k out of everything else.
School 5: Shit pants in terror. Return to recording rap with SP1200.

OK. So there's REALLY only 4 schools.....
Each one has it's advantages and drawbacks.
I was trained by a guy who vacillated between schools 1 and 2. For more than a decade I would only trim away that which I truly knew I was NEVER gonna use... if even that. The philosophy was... If you gotta EQ, something is wrong. Wrong mic, wrong pre, wrong placement, wrong guitar, wrong amp, wrong player (so kill me), wrong SOMETHING. Go change it.... If you've got the time and budget, School #1 can potentially be the way to go. The wisdoms seem glaringly apparent. You build your basic sound to tape with the shortest and cleanest signal path. One that gives you the least 'phase smear', the best bandwidth and noise floor (I don't think THAT'S gonna be a "huge one" on these types of sounds but...) etc. Later, in mix, with the 'big picture' in hand you can 'size' the tones up and down as needed without digging yourself into a corner beforehand.

Right... And that still doesn't tell you how to use EQ (cause that's your underlying question.) But alas the answer is: USE YOUR EARS! Load a generic 4-band parametric EQ on your track and listen critically to what happens if you fiddle with the controls. Do that in the best possible listening conditions: it's better use real (and good) speakers than headphones.

Rule of thumb 1: it's better to cut than to boost.
Rule of thumb 2: no two tracks need the exact same EQ.

So start with setting the amount of a mid sweep to -18 and turn the freq knob. There will be a position where it sounds better and nice. Now turn up the amount again up to inbetween -6 or -2 so it sounds more natural. Repeat that with all bands.