Register    |    Sign In   |   
electronic MUSICIAN
» » »

4 Safeguards for Healthy Lows Logan UT

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.

Interwest Electronics
(801) 266-5301
4091 South State Street Interwest Electronics
Salt Lake City, UT
 
S3 Entertainment
(435) 615-8138
Bldg 202 60 North Cutler Drive
North Salt Lake, UT
 
Safe And Sound Systems
(801) 838-7888
Suite 300 12896 South Pony Express Road
Draper, UT
 
AudioWorks
(801) 364-9999
149 East 200 South
Salt Lake City, UT
 
Beyond AV
(801) 277-2093
3961 A South Wasatch Boulevard
Salt Lake City, UT
 
TheaterXtreme
(801) 878-8444
241 E 12300 S #2
Draper, UT
 
High Definitions
(435) 783-5840
PO Box 628
Oakley, UT
 
Tri-Phase Electric
(801) 756-6008
775 East Utah Valley Drive
American Fork, UT
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Lighting Control, Security / Access Control / Surveillance / Gate Access
Brands
Bose, Denon, Draper, Etheral Cables, KEF, Keyscan, Kinetics Noise Control, Leviton, Libery Wire, Marantz, SP Controls, Panamax, Panduit, Parasound, RTI, Samsung, Seura Mirror TVs, SpeakerCraft, Vantage Controls, Velodyne, Vodavi, Yamaha.
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Benjamin Seager, CEDIA Certified Professional Designer, CEDIA Certified Professional EST II

Safe and Sound Systems, Inc.
(801) 838-7888
12896 S. Pony Express, Suite #300
Draper, UT
 
Aurant
(801) 467-5918
2209 South Highland Dr.
Salt Lake City, UT
 

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