There’s a couple of ways to do with this. We put a compressor on it but we don’t want to over compress, so we’re going to actually get inside the way from that track and restructure them. Let’s take a look at that. Now, let me make this a little larger, so you can really see what we’re doing. Here’s the entire bass part. We’re going to take scissors. You can do this on almost on any program, because you’re going to do some cuts. Normally, I would work on a huge screen here and get right in there, but for the sake of video, we’re going to do it this way.
I recommend when you’re working with cutting wave forms, the wave parts is actually make them as biggest possible so you can really get in to doing exactly that. We’re going to cut these sections. What we’re going to do is even them out by hand. Compressors are nice but they’re not humans. They can’t conceive of things like we can in order to reproduce musically. This is going to make it in men’s difference. There’s a very powerful tool. They don’t have to be exact but they should be close which they were not.
Now, as this hits the compressor, the compressor is going to be much more capable of dealing with the part. Now, what we’re probably should do is actually bring them up but more even because we have to be aware of the part before and the part after it, and then make sure that as the sections progress, it still sounds natural. Now, we’re dramatically improving the plain, don’t tell the bass player but I think he did it. Let’s have and listen to that. Man, that’s already better. Now, we can bring out up in the mix and it’s going to be more even. Now can have any pick up problems because everything has been evened out.
Dramatically improved. Now, once again coming through, we’re going to go back to the compressor and a little bit more, and then bring up some other frequencies with an equalizer to make it even feeling that lower area better. Okay, little higher ratio when on the release time, and we hear there’s a distortion that’s just because we’re going through multiple sound cards to make video lime like this. Now, let’s go to the EQ, and turn it down a little bit, so I can distort. Now, only I can point to but you know, we’re looking at the lower mid-range area first before we get them to the low lows, and the reason there is that’s what’s going to reproduce better on small systems.
Now, I’m going to allow the distortion to stay in here as a reference point because once again, he’s a six string bass and he’s so low in frequencies, and that’s creating a problem right there, so in order to deal with, we’re rolling off very low and boosting in the mid-range, lower mid-range area and not touching anything else at this point, we’re starting with that. Let’s take a listen. Now, let’s hear with the solo. that’s better. Once again, we have long release time on this. We lower the threshold settings and more of the signals going into the compressor and being compressed, and brought up the ratio a bit, still is not high but we’ll stick with that for now.
Now, let’s bring in the keyboard for a second since it’s such a prevalent part.
From Recording School Online.