Per collection thread

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    Nice groove Per, like the clean guitars and the big delay

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  • Thanks deadman42 ! I think it’s the chord change A7maj to G in the first part of the chorus, for some reason feels very “wish you were here” as a resolution which is odd as while this voicing of G (with the 3rd also on the B string) is used throughout wish you were here it’s an E/B minor 7 to G and an occasional Am to G. It’s possibly just the way that causes a descending line of D-C-B in the center with pedal G throughout (spreading the chords wider and wider, which is a trick Beethoven seems to also use at the start of the fast runs in Fur Elise). Though it could be the Rhodes and fact that there’s minimal processing and EQ on anything in there which gives a more 70’s vibe.


    Thanks BayouTexan ! That’s what happens with just a tinge of distortion. Distortion is just harmonics when you look at it from the perspective of frequency, that’s why it makes things sound more full and more present across the range. The downside is you lose mix space for other things.

  • I'm working on a 3 piece mix now; drums, dist guitar, clean bass. I have the dist guitar panned 35% left to move it off from center but I still have delay and reverb in full stereo. The clean bass is panned 30% right so the mix sounds wider, keeps the bass off the kick, and the bass is working with the guitar delay and verb on that right side.


    My problem with the bass is (1) knowing how much treble to use with it, and (2) not loose the deep low end when playing higher string notes.

    Larry Mar @ Lonegun Studios. Neither one famous yet.

  • I'm working on a 3 piece mix now; drums, dist guitar, clean bass. I have the dist guitar panned 35% left to move it off from center but I still have delay and reverb in full stereo. The clean bass is panned 30% right so the mix sounds wider, keeps the bass off the kick, and the bass is working with the guitar delay and verb on that right side.


    My problem with the bass is (1) knowing how much treble to use with it, and (2) not loose the deep low end when playing higher string notes.

    Keep bass frequencies in the center if you want more punch as Monkey_Man says.

    If you want to successfully push your bass up front on smaller speakers then use an EQ to drop the bass frequencies (i.e. push the EQ down but not completely out below 100hz) and then a compressor to push the result back up to level.

    When eq-ing the bass away initially before the compressor is applied you want it to sound pretty anemic and thin, almost all the bass gone.

    Once you put that compressor on things should fatten up considerably. That's the point where you level it in the mix.

    Finally to bring back the bass you gingerly raise the lower frequencies back up in the EQ, you might even leave that low cutoff and use a second EQ point lower down to raise things up just to push the warmth from the sub frequencies, just don't get too heavy with it as it'll reduce energy elsewhere in your mix. Remember you can always turn up the overall volume on your speakers if you want that full sound, this is the one time when you might want to briefly listen loud to adjust the level, don't try and achieve super fat sounding bass at very low volumes as you'll just drown everything out. Once it's level reduce that volume and protect your hearing.

    A good mix to my ears has bass higher in the mix than the kick, but also higher in the frequencies than the kick. That's your rhythm section. So long as it's tight you can actually get away with a lot with your lead instrument's timing, whether that's guitar or vocal or keys or something else.

    You have a maximum of three instruments up front at any time if you want space and clarity, and two of those are drums and bass :P


    So keep anything else lower than you think. In fact if you want space and things to sound big sometimes it's a good idea to rather than get everything up front, work in the opposite direction, set the drums to unity then make everything else as quiet as possible while still just being audible. Then balance your bass and lead.

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  • Thanks waraba ! No not on this one, I just did as high falsetto as I could on one of the voices. I noticed that Paul did a lot of very high parts in the Beatles harmonies which gives them that Jan & Dean like poppy sound, and wanted to emulate a little of that in their more psychedelic moments, ended up more Flaming Lips though which is fine, just a different feel.

  • My order of felt picks came today. Before, I would switch from fingers to a Tusq pick for bass. When doing fingering on the bass, sometimes my fingernails would catch the strings and add nasty attack (I need those nails for PMIA on guitar). The Tusq picks would deaden the attack some but still sounded like a plucked bass. I'll see how the felt picks work and then try different EQ and Comp settings as Per suggest.


    BTW Per, I don't mean to hijack your thread over and over but I get the best answers to my questions here. :)

    Larry Mar @ Lonegun Studios. Neither one famous yet.

  • I lost the ability to sing falsetto 20 years ago as a result of health deterioration.


    I'm still devastated about this as it was a huge "weapon" for me, vastly extending my range and broadening the spread in harmonies. I could sing in the register "flawlessly" so it was literally a second voice.


    A bit tough to read what you guys have been saying but I'm very-happy for you. <3