02-04-2015, 07:19 PM
Thanks for the feedback, guys. Mick, I think the slight muddiness comes actually from the bass, not guitars. I tried to make that late seventies and early eighties fusion bass sound with a lot of lower middle punch, but seem to have failed miserably. Anyway, I decided to call the slight muddiness "that analog feel and warmth" and just left it there, thus trying to mask my lack of skill as a stylistic choice.
The dryish solo sound is an actual stylistic decision, for I first tried that "hero-with-long-hair-driving-a-volvo-convertible-to-a-mountain-top-to-fight-off-a-dragon"-type huge sound, but to my taste it just didn't seem to fit, although there's still some delay and reverb there.
People seem to like the snare sound. On both mics there's firstly an eq with some cuts in the lower middle region, and a boost on the highs on bottom mic. There is Logic's Enveloper (I think it's a SPL's transient designer copy) on the upper mic for the punch, and a slight compression on the lower mic to bring out the rattle. These are then fed into a bus, which first has a limiter just to tame some of the loudest peaks, then a gate with 3 dB reduction and set so that it in effect "boosts" 3 dBs the louder hits. And finally there's a wide boost on the 200 hZ area to bring out the body and punch more.
Anyway, I could use some tips on mixing the bass. I think I can get quite decent sound out of most tracks and make a working mix out of them, and then I bring up the bass and it just ruins everything. It just masks and muddies everything and still it lacks clarity and definition no matter what type of EQing and processing I try to apply.
The dryish solo sound is an actual stylistic decision, for I first tried that "hero-with-long-hair-driving-a-volvo-convertible-to-a-mountain-top-to-fight-off-a-dragon"-type huge sound, but to my taste it just didn't seem to fit, although there's still some delay and reverb there.
People seem to like the snare sound. On both mics there's firstly an eq with some cuts in the lower middle region, and a boost on the highs on bottom mic. There is Logic's Enveloper (I think it's a SPL's transient designer copy) on the upper mic for the punch, and a slight compression on the lower mic to bring out the rattle. These are then fed into a bus, which first has a limiter just to tame some of the loudest peaks, then a gate with 3 dB reduction and set so that it in effect "boosts" 3 dBs the louder hits. And finally there's a wide boost on the 200 hZ area to bring out the body and punch more.
Anyway, I could use some tips on mixing the bass. I think I can get quite decent sound out of most tracks and make a working mix out of them, and then I bring up the bass and it just ruins everything. It just masks and muddies everything and still it lacks clarity and definition no matter what type of EQing and processing I try to apply.