With EXPOSE, it only takes a few seconds to make sure you deliver the best listening experience every time. Share Quote. Do what you need to get the fine details of the bass holding the track’s foundation together and keeping things interesting! Similar to saturation, using reverbs, delays or stereo enhancement plug-ins on bass instruments often creates muddiness. You can even use presets to make sure your mix will sound good in any format. And if you’re mixing a particularly plucky or buzzy synth, don’t be afraid to add a little sparkle with a shelf on the top-end. If the lead synth has a long attack and release you might want to give the compressor a lower ratio to keep a subtler dynamic sound. The H-Delay plugin is a powerhouse for this kind of task as it's quick and easy to dial, for example, a warm sounding ping-pong delay with high pass and low pass filters to create a stereo 1/4-note repeat of the bass hits, again without smearing the low frequencies, and while getting the delays to sit back nicely in the mix. By ignoring the bass frequencies, the compressor is able to apply more consistent compression to the full-range signal without creating erroneous pumping effects caused by big, boomy low frequencies.However, remember that not every channel in your mix needs compression all the time! Normally synths come out pretty even in their dynamics. But are you ready to press print? Seriously, crank the ratio as high as it will go and peg the needle. Simply drag and drop a few of your favorite mixes and use REFERENCE to see how your track stacks up. Instead, try using serial and parallel compression to create the sound you’re looking for. Next, use a low-pass filter to roll-off some of the top end above 8 - 10 kHz. Start with a high-pass filter to remove any unwanted sub frequencies. Then a tiny bit of channel compression from the SSL. Each track is different and will require a unique approach. Because you aren’t slamming a single compressor… Listen to how the bass synth in your reference track compares to your own bass synth. This form of saturation can be applied with hardware emulation plugins like NLS Non-Linear Summer, which emulates 3 different analog consoles, or using Scheps 73, a model of a Neve 1073. However, sometimes this can create a nasty build-up in the low-end. Dynamically load any of BASSYNTH’s 800+ multi-sampled sound sources, wavetables or oscillators into any 4 Voices using a dynamic tag-based browser.. Creatively blend any 4 sound sources and take things further with extensive sound design parameters; filters, unison, envelopes, tone-shaping controls, modulation, FX and much more. Try it on your next mix, download BASSROOM now. Why does everyone seems to love throwing compressors on synths?? Now that you’ve dialed in the tone and dynamics of your bass synth, it’s should sound pretty good—at least on your studio monitors. Instead, try using serial and parallel compression to create the sound you’re looking for. Blend the hyper-compressed signal back in with the original signals to taste. Multiband compression is a great option for controlling dynamic synth bass lines, especially on the bass buss if layering several sounds.A multiband compressor like the C6 is used to compress different frequency ranges of a signal with independent settings, meaning you can apply generous amounts of gain reduction to the low-end using slow attack and release times, while applying moderate compression to the midrange using faster attack and release times to accentuate the transient response. Step 2: Apply filtering and subtractive EQ. How loud is the bass synth relative to the whole track (be sure to use the level matching feature in REFERENCE to get an accurate understanding of this). In the heavier cases, compression will greatly affect the attack and the overall texture of the sounds.Depending on the synth layers you’re working with, it may make sense to use different compression settings for each channel. Do experiment though, as adding compression—light or heavy-handed—can affect the transient response and harmonic texture of any sound.If layering multiple sounds into one synth bass, the bass buss can often benefit from a light amount of compression (i.e. Plugins like the PuigTec EQs, Scheps 73 and V-EQ4 offer analog flavors for spicing up your synth basses—perfect for adding warmth, gentle coloring and loads of character.If you need a more pronounced low end, try using a dedicated harmonic frequency generator to infuse your basses with a clean, consistent low frequency signal that really beefs things up and extends the perceived bass response. or any users of these have any testimonials? In this blog, we’ll break down our approach to mixing bass synths step-by-step to help you capture a professional, polished sound. Use the built-in filter to focus on frequencies above 200 Hz or so—that way you can still capture all of the rich, crispy harmonics from the midrange without any of the muddiness. Use a dynamic EQ if you want to attenuate the signal, To make sure you nailed the balance between the kick and the bass, use. Sub-harmonic frequency generators are similar to EQs in that they change the frequency response of a signal, but uniquely different in that they add harmonics that aren’t present in the original sound. Now that you’ve got the basics under control, it’s time to add some effects. i hear the old RCA BA-6B comp/lim are good as well as the gates sta level and the collins 26u-1. Thankfully, seasoned mixers Chris Lord-Alge (Green Day, Muse), Jack Joseph Puig (U2, Lady Gaga) and Eddie Kramer (Jimi Hendrix, Led Zeppelin) have helped develop plugins based on their award-winning signal chains.The Signature Series plugins offer unique combinations of EQ, compression, distortion and reverb, specifically designed for a variety of bass applications. CLA EchoSphere – Slap Delay & Plate Reverb by Chris Lord-Alge, BLACK FRIDAY 2020 – 60% OFF + Free Bonus Plugins, Mixing with Depth w/ Chris Lord-Alge | Ep. You can even use presets to make sure your mix will sound good in any format. any more secrets out there? 3 – The Sound. In both cases, a small bit of saturation will provide some warmth, whereas engaging the mic pre circuit will introduce a heavier amount of distortion.Another form of harmonic color can be added with tape saturation; this offers a warm, rich tone. One is that of driving analog preamps or console channels a bit into the red. Don’t be afraid to boost the midrange either. Select an Appropriate Attack Time. Please enable JavaScript in your browser in order to make this website functional. Start with a single mono sound and only add additional layers if you’re unable to achieve the desired result with the first sound.If you are going to stack layers for the bass, it’s important to make sure that each part serves a specific purpose. If your bass synth still isn’t popping out of the speakers, try using a stereo widening plug-in like GROW to help add space and depth. Low, bass-heavy synths will benefit from slower attack and release times to help smooth out the dynamics without creating an unwanted pumping effect. You can also use the attack and release times to fine-tune the sound of your bass. Be careful not to use too steep of a slope, as you only want to roll-off frequencies below the lowest fundamental frequency. 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