{"id":12915,"date":"2014-03-13T06:49:57","date_gmt":"2014-03-13T10:49:57","guid":{"rendered":"https:\/\/noelborthwick.com\/cakewalk\/?p=12915"},"modified":"2014-03-13T06:49:57","modified_gmt":"2014-03-13T10:49:57","slug":"subtractive-eq-bass","status":"publish","type":"post","link":"https:\/\/noelborthwick.com\/cakewalk\/2014\/03\/13\/subtractive-eq-bass\/","title":{"rendered":"Subtractive EQ Part 4: Bass"},"content":{"rendered":"

Miss part 1?\u00a0Read Subtractive EQ – Snare Drum<\/a>.<\/p>\n

Bass<\/strong>
\nThe bass in this track caters to fans of the early Metallica era. \u00a0Bassist Cliff Burton popularized this distorted sound on such tracks as (Anesthesia) Pulling Teeth. \u00a0It’s important to blend this type of bass tone into the bottom of the guitars. \u00a0In this mix the guitars and the bass become a single unit ebbing and flowing with one another at certain points through the song.<\/p>\n

Understandably one can assume that there was much processing done to this track before it’s transfer into SONAR. \u00a0It’s important to capture the sound before you start mixing so that your mixing process is not a patch-job.<\/p>\n

This tone is aggressive and piercing to the ear. \u00a0A significant way to know that this instrument needs attention is by the aural fatigue that you may experience while soloing this track and listening to it rather loudly for more than 10 seconds. \u00a0I aimed to adjust the bass track to fit like a glove under the mix by applying a HPF at 78Hz with a steep bandwidth setting. \u00a0The amount of bass here needs control. Using a compressor to control the sound would be redundant because of how much overdrive was applied to this track. \u00a0The overdrive has ultimately eliminated any trace of strong transients.<\/p>\n

Lastly, there is another dip in the EQ around 2.2kHz. \u00a0This adjustment reduces some of the aforementioned piercing sound. Any harsh tones in this register will be too overbearing in the mix.<\/p>\n

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Bass Guitar<\/figcaption><\/figure>\n<\/div>\n


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