Register    |    Sign In   |   
electronic MUSICIAN

4 Safeguards for Healthy Lows Lafayette IN

Of course, you won't be able to dothis gig right if your ego crashes thestudio party. A good bassist is a masterat bridging the sonic, rhythmic,and musical gaps between the guitarand the drums, so it's far from a signof weakness to assume he or she isspot on.

Sound Advice
(765) 447-0186
635 S. Earl Avenue Sound Advice
Lafayette, IN
 
Audio Video Integrations Inc
(765) 446-2696
4315 Commerce Drive
Lafayette, IN
 
Sound Lab, Inc
(765) 449-4211
127 Farabee Drive North
Lafayette, IN
 
Protech Design, Inc.
(317) 244-0300
P.O. Box 34427
Indianapolis, IN
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Lighting Control, Security / Access Control / Surveillance / Gate Access
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Robert Smythe, CEDIA Certified Professional EST II

Ovation
(317) 576-1671
6609 E 82nd St
Indianapolis, IN
 
Autographics & Sound
(765) 445-6806
3319 South Street, Suite A
Lafayette, IN
 
Best Buy
(765) 446-9244
2323 SAGAMORE PKWY S
Lafayette, IN
 
Integrated Home Solutions
(260) 927-8267
106 Peckhart Court
Auburn, IN
 
Amplified Technologies
(317) 402-5940
2020 South State Road 135 Amplified Technologies
Greenwood, IN
 
Media Solutions
(574) 262-1258
2905 LaVenture Place
Elkhart, IN
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Lighting Control, Multi-Room Audio
Brands
Crestron, Kaleidescape, DVDO, Sunfire, Marantz, Proficient Audio, Denon, Universal Remote Control, Honeywell, Canton, InFocus, Speco, Panasonic
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Kevin Phend, CEDIA Certified Professional EST II

4 Safeguards for Healthy Lows

But this doesn’t mean they are impervious to poor judgment.

And it’s those rare times when you’re hearing something suspectfrom the bass that your production chops, taste, and paranoia will be put to the test. But don’t freak out—simplyuse this short and handy checklistto evaluate the low end.

First, Always AssumeYou’re Wrong

Of course, you won’t be able to dothis gig right if your ego crashes the studio party. A good bassist is a masterat bridging the sonic, rhythmic,and musical gaps between the guitar and the drums, so it’s far from a signof weakness to assume he or she isspot on. It would suck, however, if you opened your mouth simply because you wanted a perfectly excellent basspart done your way. If everythingpops, freeze—the bass track is done.Go torment the drummer.

Define the Objective

I made a huge mistake on a recentproduction by letting the bassist playa fretless upright, when I knew a frettedelectric was the best option fordriving a straight-ahead rock song.Melodyne took care of the uprighttrack’s out-of-tune bits (the guy wasone of those self-professed “perfectpitch” wunderkinds who nonethelessplay a slew of poorly intonated notes),but nothing could fix the distractingslaps and snaps or thewobbly low end. If I had a clear“groove goal,” this miscuemight not have occurred. Before tracking, tell the bassist,“I want this to rock as hard asan ice-road trucker blastingthrough snow banks,” or “Ineed this to slip and slide likean old jazz cat three whiskey sin to an all-night set.” You getthe idea. Lay out the rightscene, and the bassist won’t tryto foist a fretless on you when a Fender Precision is obviouslythe ideal cast member.

Watch the EnergyMeter

You’re listening to a playback,and everything is played well,but something isn’t right withthe groove. In these instances, I findit helpful to forget about technical performance issues, and focus onenergy concerns such as, “Is therhythm track matching the vibe and vitality implied by the song?” Abassist may like to punch preciselywith the kick-drum beats, for example,but that approach might be too uptight and segmented for a fastrocker or punk track. Perhaps it’sbetter to rock eighth notes. Try itand see. On the other hand, a pulsating part might sound too anxious forthe plaintive energy of a ballad. Your“energy meter” should even chartthe ramifications of the bassist usinga pick or fingers to perform his orher parts. Different feels, right? Youmay need to overrule a player’s preferencefor fingertips and nails if thesharp and consistent attack of a pickserves up the intensity you’re lookingfor. These are obvious examples, ofcourse, but the point is to zero in onthe energy you’d like the track tounleash, and share that information with the bassist. Otherwise, the player may default to personal preferences that don’t deliver the vibe you wish to achieve, and, ultimately,it’ll be the song that loses out.

Hedge Your Bet

Unless your bassist is John Entwistle,Jaco, Paul McCartney, Stanley Clarke,or a similar...

Click here to read the rest of the article from EQ Magazine

Discover Emusician