From the course: Real Recording School Weekly
Fixing clicky electric bass - Pro Tools Tutorial
From the course: Real Recording School Weekly
Fixing clicky electric bass
- [Instructor] Sometimes I'll track electric bass in a way that might not be desirable by the time I'm mixing or I might get sent a bass track to mix that isn't quite working with the drums. A lot of times that problem is related to how much clickiness there is in the bass and how that's working with the whole mix, working with the drums, and if it's jutting out in the mix in an inappropriate way. (heavy bass music) In this example, I've recorded four different electric bases. The same track, same bass, everything, against the drum set. The one we just heard has the worst example of the clickiness. Like this, if we solo it. (heavy bass) You can hear that hard edge on every attack. You know its an electric base being played with a pick. A lot of people do this with rock music and all kinds of stuff. But it gives you that attack and being able to figure out how much attack you want to work with and use in your mixes and your tracking is an important thing to figure out. Here we're going to listen to the same bass line, played with the same equipment, but no compression at all, and see how that sounds different. You're still going to hear the pick. (heavy bass music) So you get a good tone of it but you can even visually see that these notes don't sustain as much. If you look at this right there, the first note, it decays down a little bit whereas the tracks below, which are compressed, have a nicer sustain. Here we'll hear a medium compression. (heavy bass music) You can hear that sustains out a little better. It does accent the clicking a little bit more, if we go back and hear it against the uncompressed. (bass) And then compressed. (bass) So that compression setting is adding a little bit of clickiness. If we try a faster attack, we get this. (heavy bass music) Now compare that to the previous track. (bass) Faster attack. (bass) The clicking is getting a little sharper. Now the worst example I came up with and the one we heard first is a slower attack. And the reason being, that the compressor is taking a little bit longer to grab onto the note with the slow attack setting and then its grabbing on and pulling the volume of the body of the tone down, leaving the click as the loudest component at the beginning of the hit. You can hear it. (heavy bass music) That clicking is very pronounced. Go back to the faster attack before this. (bass) It's similar but different. Listen again. (bass) The initial little thwack of the pick hitting the string is definitely more pronounced with that slower attack. This could be a good way to actually add some definition to bass that needs it. And in some cases a a darker bass might need a little more bite to sit in the mix. Keep that in mind as a technique to use. Now we're going to go look at this in RX. Heres the waveform view that we always see. But when we see spectral view, we see the energy going from high frequencies down to low and left to right through time and the brighter we see it is the actual volume of the frequency and the energy in time. Listen to this here. (bass) This is that bottom example we were looking at. The first one we heard. Now you can really zoom in and listen to the components here. This is the treble component. (treble sound) And you notice as you get closer to around one kilohertz, you start to get into the part that adds articulation to the bass. But the clickiness up here is really the part that sticks out and is causing some of the problems. (bass) The bass articulation area. (bass) Like around there, just above one kilohertz. That adds a lot of information that tells us how the bass is moving in the mix. If I'm dealing with a track that has a lot of issues like this, and I'm trying to mix with it, maybe someone else tracked it, like I mentioned earlier, I'll use a declicking plugin here in RX that really works great. It's called declick. The Multi-band periodic click preset is really excellent. And there I can just tone it down a little. (bass) it takes the harsh part of the clicking out. It's really an excellent device. I can also apply just a simple EQ shelf and take some of the high end down. And those kind of techniques can work a track that's already preexisting into the mix. If you're tracking and having some of these issues, first of all think about the pick, the bass itself, you know if you can put a softer pick on it that has a little less of a bite to it. Or you can also use a felt pick I've even used, a ukulele pick. If a player wants to play with their fingers, of course that's going to change everything. And then setting the tone knob on the bass, or setting amplifier settings, or DI settings if you're using those, for brightness and treble, those kind of components can help just kind of tone it down and find a nice spot where you still get articulation or, you know, it works in the mix better. Or it works with the drums better and everything in the mix. So setting this up, understanding how these components all work in the bass guitar, and paying attention to them in tracking and mixing can really help all of your work sound a lot better and help the bass stay articulate but not be obnoxious.
Contents
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Fixing clicky electric bass6m 15s
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Finding kick drum articulation5m 30s
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Identifying bad drum edits6m 50s
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How small rooms affect drums5m 31s
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Dealing with snare drum ring8m 57s
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Taming hi-hat bleed6m 49s
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Stopping hollow kick drum sounds4m 29s
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Taming boomy acoustic guitars3m 29s
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Fixing boomy upright bass4m 44s
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Mid/Side or XY drum mics?4m 51s
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Problems with multiple mics on guitar amps5m 34s
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Too much room sound on the vocals4m 14s
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Vocals with proximity problems7m 12s
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Vocals with close reflections6m 15s
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Snare compression6m 29s
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Clicky upright bass4m 44s
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Identifying bad vocal edits6m 45s
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Different overhead drum mics4m 30s
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EQing overhead drum mics2m 23s
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Drum room ribbon mic angle2m 27s
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Connect the vocal notes1m 38s
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Bass in higher registers1m 28s
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Adjusting bass definition5m 7s
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Drum overheads or front-of-kit mics?4m 32s
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How to end vocal phrases2m 11s
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Listening to different snare mics4m 4s
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Drum bleed on toms with different mics6m 32s
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Damping snare by hand during tracking2m 43s
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How to support long vocal notes2m 9s
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Two bass amp mics to audition3m 2s
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Damping drum ambience or not?5m 38s
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Roving microphones on drums6m 6s
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Stereo vs. mono drum overhead mics4m 45s
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Cardioid or omni mono drum overhead mics3m 48s
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Blumlein vs. X/Y drum room sounds4m 9s
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Quick tip on recording snare drum3m 7s
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Drum overhead compression4m 4s
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Omni or cardioid drum room mics?2m 52s
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Do different kick drum sizes matter?5m 42s
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One electric guitar tracked stereo3m 55s
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Tracking one guitar with two amps: Splitting signal3m 49s
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Tracking one guitar with two amps: Ground hum5m 30s
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Tracking one guitar with two amps: Polarity5m 58s
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Creating snare gate with compression4m 27s
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How to locate vocal plosives3m 41s
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When to set delays off tempo4m 22s
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Duck echo effects with compression4m 57s
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Automate EQ on fake strings3m 3s
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Sum to mono your low end4m 56s
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Turning any sound into sonic wash6m 1s
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Drum room mics as overheads6m 23s
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Adding spring reverb to guitar parts4m 16s
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Bass sidechained from kick drum3m 23s
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Kick drum sidechained from bass3m 35s
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Unique way to boost drum overhead mics5m 6s
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Creating sonic wash with modulation4m 39s
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Cymbal ambience and drum editing4m 48s
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Distortion pedals and bass DI3m 17s
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Drum high end in the mix3m 3s
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Kick drum low end in the mix3m 13s
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Dark bass amp with bright DI box3m 10s
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Parallel track drum edit trick2m 50s
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Bass amp and mic distance3m 6s
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Mixing with single handclaps6m
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Reamping vocals with travel speaker2m 33s
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Reamping instruments with travel speaker4m 58s
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Changing vocal sounds with real tape4m 50s
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Changing instrument sounds with real tape4m 34s
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Reamping vocals through headphones2m 55s
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Reamping instruments through headphones3m 34s
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Reverse vocal polarity while singing1m 49s
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Ribbon or dynamic mic on bass amp2m 29s
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Separate rhythm and solo guitar for mixing3m 52s
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Mixing mono electric guitar in stereo6m
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Parallel gated snare drum4m 42s
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Short delays on snare drums2m 12s
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Using Auto-Key to find a song's pitch3m 19s
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Fixing fades on an entire mix1m 14s
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Do not Auto-Tune your vocal doubles2m 46s
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Let artists control their headphone mix2m 1s
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Boosting snare hit pickup3m 2s
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Parallel vocal compression2m 36s
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Parallel vocal compression with low EQ2m 43s
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Parallel vocal compression with midrange EQ2m 19s
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Pro audio rack gear as stompboxes3m 9s
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When DI electric guitar tracks work3m 32s
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Stereo track or mono5m 6s
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Mid-side mics on acoustic guitar3m 40s
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Cardioid and figure 8 mics on acoustic guitar1m 39s
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Using a listen-back mic1m 29s
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Vocal breath edit fade tip2m 16s
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Use delay to fix percussion2m 16s
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Kick drum and bass guitar bus mix glue4m 15s
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Recording one-person handclaps3m 7s
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Speaker mic on kick drums3m 27s
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Checking mixes: Left minus right2m 49s
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Checking mixes: Mono2m 10s
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Using the console as a keyboard5m 32s
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Moving mics while reamping5m 6s
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Moving speakers while reamping3m 11s
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Real doppler drum effects2m 32s
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Moving mics around speaker reamping2m 3s
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Creating wider sounds through reamping2m 51s
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Reamping via tweeters only4m 33s
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Reamping via woofers only3m 58s
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Room reamping for echo returns6m 14s
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Reamping the whole mix for fade-out3m 7s
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Using input sheets1m 49s
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Mic’ing electric guitar for pick sound2m 36s
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EQ stereo sends to plate reverb3m 30s
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Delay before plate reverb3m 36s
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Mic’ing electric bass for pick sound3m 33s
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Using a speaker mic on bass amps3m 20s
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Tambourines all sound different1m 25s
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Monitoring on different speakers2m 55s
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Doubling guitar octaves3m 4s
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Panning vibraslap by hand1m 1s
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Percussion in stereo2m 22s
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Keeping your talkback on track2m 1s
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Foam windscreens affect sound3m 26s
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