When compressing the base we really don’t hear you talking about attack is how much, release , ratio , threshold etc unlike on drums you were mentioning
this is absolutely wonderful, my only question is why is your gain staging so low? is that just to make it easy or do you not typically have bass coming in around -18?
Hey bro,, I really appreciate your videos… I will say- U ARE THE FIRST OUT OF MANY MANY IVE WATCHED THAT IVE SEEN USE THE GAIN in the Dynamics/Compressor(at the 3:20min mark) please please explain why? I’m new to sound engineering and I’ve wondered what it is used for. I’ve attempted to use it kind of like a back up gain so that the MAIN gain doesn’t peak on each channel. Again, please explain. Thx 🙏🏼
+janet flores Maybe you found out already but if you select a channel and page over to config you can select a source. This way you can set two channels to the same source and proces them independent.
I do have to agree that on all these videos, (even with decent reference monitors, or using cans) the over all level of narrative to instruments could be adjusted for a better experience... just sayin'...
I Believe he's using one from the amp and one from a D.I. it's common thing to do I guess but i think you can also get the console to use two channel strip from one source.
@@htehau if you link two channels or use a Y cable to split the signal you can have 1 source and 2 channels. This could be useful if you mic or DI the bass head or cab, so you can essentially separate the signal as shown in this video to have more control of the low and high end frequencies. Having done two separate signals it's just more work and it really didn't seem to sound any different than just using 1 channel and EQing the bass as one signal. I do believe there is a place for doing this, just haven't come across a situation where I absolutely felt I needed to do so to fix issue with the bass signals.
I guess we have to assume that the "bass amp" channel means a microphone on the bass amp, however later when setting up the compressor, you say "bass is not normally miked." Confusing.
I typically use DI for all bass sound and get good results. I also really do not have an adequate mic to mic the bass cab, unless my Beta 52 isn't needed for kick drum. Then I'll use my Beta 52 to mic the bass. Or in one case a band wanted me to run DI, for the low end, and a SM57 for the mid and high end and was one of the reasons why I watched this video a while ago. I was much newer at sound back then, and have learned a ton since then. I used essentially the same techniques as the video here, but not as heavy on compression and had my gain structures set up differently. It's pretty much all to taste and what matters is the results. If you are talking straight in via 1/4 DI, I've done that as well. Had a band called Our Frankenstein come in from LA, and they didn't even have enough room for a bass amp, let alone a cab. I took his signal from his pedal to my DI box, which takes the 1/4 inch and converts it to XLR out put to my console. I send the bass to all monitors, so he and the band can hear him, and my PA has effectively become his bass cab. This worked out well, specially during sound check, we could sort out his pedal volume and I could dial in just the right amount of compression to smooth it all out.
Steve, if you want to guarantee a solid sound without using a bass amp, go with a solid floor bass preamp (Tech 21 SansAmp, or a variety of others) or get yourself a good DI with a Jensen transformer (Radial JDI). If I were still playing and decided not to use my bass rig, I could bring out my preamp and use that as a bass DI and more. Also, if you don't have a sound guy who cares about low end, you're doomed either way.
why you use so small gain on source,(yes,digital give good headroom)but it not universal, when you on tour ( transfer of scenes,repeatable results...). thats why we see so strange thresholds i find similar problem in x32. gains of recorded sounds from DAW,much lower vs. live signals. virtual soundcheck is not posible, before you calibrating levels. familiar with this problem? by the way, perfectly understood without translation into Russian
When controlling the dbs of the bass channels at the end, you lowered the dbs on the compressor instead of using the channel level slider. What's achieved going that route vs. just using the slider?
Matthew Maneri Correct gain staging. You want your mix to sit where it needs to be with your faders at or as close to unity, the "0" point, as possible.
Hi. Have a question. When you mix Bass with a studio monitors lets say a HS7 or Rokit5s, which have requency response from 55Hz above, how do you really mix the 4 string bass open E which is about 41Hz or a 5 string low B which is about 31Hz?. Thanks
+izziOnBass sounds are made up of more than just their fundamental frequencies. A low E may have a fundamental at 31Hz but it will have harmonics all the way up the spectrum... it takes time and ear training but those harmonics are what people who mix without a sub are actually making judgments on.
Damping factor? That's just how well an amplifier can control the push/pull of a driver. Higher damping factor is preferred for subwoofers and bass drivers. No video needed.
superkaboose1066 He said he has 2 DIs for the bass; one for the highs and mids, and one for the lows. He has to go through an amp too, not just the bass. That's why I'm interested to know how loud the bass amp is on the stage.
@@88KeysMan Better to just use one input source, tell the 2nd bass channel to listen to the first bass channel input. Two DI's is a waste of resources when one has a digital board. Also, his input gain is way too low to be truly useful. But, comp on bass is a good idea so there's that.
That's because there's no real input head amp gain happening. If you see how hard he's compressing (-57dB). To me, I'd be thinking ...something's not right. Should be heaps more signal going into the compressor than what he has.
low definitely mono and mid-bass sometimes sounds good when its stereo... Depends completely on how it sounds and the source of bass. There are loads of times when the mid-bass sounds better in stereo (particularly when the bass is coming from a synth), but most of the times for live instruments doesn't sound good
In the beginning you said you use your bass amp channel as your highs and your DI channel as your lows. If you only have a DI channel could clone it to another channel and still do the two channel mix technique?
He's dealing with the line level signal. In a studio environment you'd typically trim the raw signal up another 6dB so it's a usable sound - it doesn't *really* matter whether you do it before or after, but I prefer to do it before.
David, the way you're judging him so harshly; surely you must be an amazing engineer yourself. Please link us to some incredibly awesome mixes you've done.
@@DavyBrown_ Yeah, I think that guy doesn't understand that people mix differently, and if the results make everyone happy, there is no issue. And David Jaycox the guy obviously cares about mixing, just does it differently. I kind of suspect he kept gains low for the demonstration so that his vocal levels wouldn't get drowned out. I agree the examples could of been mixed a bit louder in post editing for clarity though. I've noticed the X32, or at least where my venue is, the pre-amps like to be run a little bit hot. They sound warmer and a bit fuller that way to my ears. Summation can cause the overall input signal to the mains to get really hot if I'm running a lot of channels, so sometimes it's not always a good idea to run the gain that way. If I have a 3 piece band and 8 channels of sound, summation isn't as much of an issue as running 12 or 14 channels of sound, and I can run the gain a bit higher, usually going for -12 peaks, instead of my normal -18 to -15 peaks.
Sounds more like a gain structure issue if you are clipping your DAW inputs. I record with Reaper from an X32 console, and haven't had this issue. Everything starts with your gain structure, so make sure all your inputs are good. I typically shoot for peaks at about -18 to -15, that leaves plenty of headroom for summation, and dynamics. Typically, my setup is gain structure, then out to the DAW, no EQ, no compression, nothing but the raw input signal. if you include any EQ and compression on your output to DAW that can boost your signal if you have any EQ boosts in the signal, so be wary of that as well and double check how your signal path is going from console to DAW.
I think what he means is; the "low end" (which is mainly controlled by the bass guitar and kick drum) has a massive impact on the dynamics of a song. Sonically, the bass or, "low end" is one of the most dynamic frequencies. E.g., usually when a song is built up and full, the bass is loud. But when the song is dynamically lower, the bass is significantly quieter or sometimes not even present, and the kick drum is played softer or not at all; whereas more mid-range instruments like piano and guitar can easily still play when the song is dynamically lower. So obviously, people feel more compelled to worship when the song is dynamically high. And since the bass has such a huge impact on dynamics, you could say that more bass indirectly encourages people to worship.
I understand Audio, thanks. ....still, I dont see how low-end encourages "worship" ...very random. Maybe this clip is originally part of some church music thing/class, idk.
I think his point was, *_dynamics_* have a big impact on _how_ and _if_ people will worship; and if they feel encouraged to worship..not bass directly. Typically the most people are worshiping or raising their hands ect. when the song is at its climax. Since the bass has such an impact on dynamics, you could say that more low-end encourages people to worship since more low-end means a fuller sound or climax of a song. Its a bit of a weird association, but myself being a bassist and drummer, I've realized how much of an impact those frequencies have on the listeners experience and their compellingness to worship.
Imagine you're on the bridge of a song, and its just piano playing. Suddenly the bass guitar and drums jump in, and the audience can feel the bass guitar and kick drum hit them in the chest... don't you think they'd feel more compelled to worship at that point as opposed to when the just piano was playing? I'm don't mean to be annoying.. I won't keep trying to explain the same idea if its all the same nonsense to you - just trying to translate what I know.
This video is extremely unhelpful. Nothing is explained, no understanding why or how. Nothing. You know a lot of what you are doing but you fail to explain the most trivial steps of what and why you're doing it. This video only helps people who already know how to mix. It's not an instructional video in anyway shape or form.
"This video only helps people who already know how to mix." ...Clearly you didn't read the title of the video. It says MASTER CLASS. Thus, like you ironically stated, "This video only helps people who already know how to mix." Next time read before slamming him for trying to help others.
@@DavyBrown_ It helped me when I was new to mixing. But, I already had some fundamental understanding of what compression is/does and gain structure. MechaAkuma just really needs to find other videos that explain things at a more basic level, then understanding this video makes sense. I don't think there is any need to put the guy on blast for it. The video helped me and I've learned tons more since then, and I don't do things the way he does, as I find out with most engineers, they have their on mixing style and ears that tell them things differently than what everyone else hears. Results are what matters, and his bass and drums were balanced well enough, albeit, a little low on the volume side demonstration purposes, in my opinion.
This has got to be a joke. UA-cam needs to remove these videos. Such horrible device. If you were to actually apply these "techniques" live, your mix would be feeding back so fast and you wouldn't know what to do. This whole video series is nothing but amateurish attempts to set people up for failure. The guy in the video did comment on one video that "if he ran this "training" series where the board was actually set up correctly, it would have been way to loud in the room". Well here's an idea. "TURN THE SPEAKERS DOWN"
@@imjamescameron He had no real gain to build upon. Almost every single live sound fader pusher I know runs the input gain to the first yellow, some run them hotter. I run them to the first yellow.
So both channels panned straight up the middle right?
I’ve got it in two channel but how can I make one of them make the dirty sound?
Gain? Compress?
When compressing the base we really don’t hear you talking about attack is how much, release , ratio , threshold etc unlike on drums you were mentioning
compressor is very important for bass... nice tip... thanks
Thank you for the class!
Very informative videos about sound engineering. Thank you and God bless!
this is absolutely wonderful, my only question is why is your gain staging so low? is that just to make it easy or do you not typically have bass coming in around -18?
Valo lage apner video thanks 😍 asob video debar jonno
Get your gain structure right bro.
Love your masterclass training......thank you
Hey bro,, I really appreciate your videos… I will say- U ARE THE FIRST OUT OF MANY MANY IVE WATCHED THAT IVE SEEN USE THE GAIN in the Dynamics/Compressor(at the 3:20min mark) please please explain why? I’m new to sound engineering and I’ve wondered what it is used for. I’ve attempted to use it kind of like a back up gain so that the MAIN gain doesn’t peak on each channel. Again, please explain. Thx 🙏🏼
so are you using two channels, direct or how i can duplicate the same signal? and i realy thanks for you help
+janet flores Maybe you found out already but if you select a channel and page over to config you can select a source. This way you can set two channels to the same source and proces them independent.
+Daan de Groot cool get it and thank you
I do have to agree that on all these videos, (even with decent reference monitors, or using cans) the over all level of narrative to instruments could be adjusted for a better experience... just sayin'...
How do you duplicate a bass guitar into two channels?
When you select a channel you can change the source, I imagine that’s how he did it
How would you do the routing of the bass amp, so you get the two outputs from one amp?
I Believe he's using one from the amp and one from a D.I.
it's common thing to do I guess but i think you can also get the console to use two channel strip from one source.
@@htehau if you link two channels or use a Y cable to split the signal you can have 1 source and 2 channels. This could be useful if you mic or DI the bass head or cab, so you can essentially separate the signal as shown in this video to have more control of the low and high end frequencies. Having done two separate signals it's just more work and it really didn't seem to sound any different than just using 1 channel and EQing the bass as one signal. I do believe there is a place for doing this, just haven't come across a situation where I absolutely felt I needed to do so to fix issue with the bass signals.
I guess we have to assume that the "bass amp" channel means a microphone on the bass amp, however later when setting up the compressor, you say "bass is not normally miked." Confusing.
What if you don not use an amp for the bass but run direct. Is there a way to get a solid sound out of it still.
I typically use DI for all bass sound and get good results. I also really do not have an adequate mic to mic the bass cab, unless my Beta 52 isn't needed for kick drum. Then I'll use my Beta 52 to mic the bass. Or in one case a band wanted me to run DI, for the low end, and a SM57 for the mid and high end and was one of the reasons why I watched this video a while ago. I was much newer at sound back then, and have learned a ton since then. I used essentially the same techniques as the video here, but not as heavy on compression and had my gain structures set up differently. It's pretty much all to taste and what matters is the results.
If you are talking straight in via 1/4 DI, I've done that as well. Had a band called Our Frankenstein come in from LA, and they didn't even have enough room for a bass amp, let alone a cab. I took his signal from his pedal to my DI box, which takes the 1/4 inch and converts it to XLR out put to my console. I send the bass to all monitors, so he and the band can hear him, and my PA has effectively become his bass cab. This worked out well, specially during sound check, we could sort out his pedal volume and I could dial in just the right amount of compression to smooth it all out.
Steve, if you want to guarantee a solid sound without using a bass amp, go with a solid floor bass preamp (Tech 21 SansAmp, or a variety of others) or get yourself a good DI with a Jensen transformer (Radial JDI). If I were still playing and decided not to use my bass rig, I could bring out my preamp and use that as a bass DI and more.
Also, if you don't have a sound guy who cares about low end, you're doomed either way.
Why is the voice louder than audio from the track ? Can't really hear much to be able to get stuff about 'Mixing'.
because people who decide its time to teach others are usually insanely oblivious to how shitty they are at what they do
I agree with you. It was difficult to hear during the mix.
why you use so small gain on source,(yes,digital give good headroom)but it not universal, when you on tour (
transfer of scenes,repeatable results...).
thats why we see so strange thresholds
i find similar problem in x32.
gains of recorded sounds from DAW,much lower vs. live signals. virtual soundcheck is not posible, before you calibrating levels.
familiar with this problem?
by the way, perfectly understood without translation into Russian
Great video.
When controlling the dbs of the bass channels at the end, you lowered the dbs on the compressor instead of using the channel level slider. What's achieved going that route vs. just using the slider?
Matthew Maneri Correct gain staging. You want your mix to sit where it needs to be with your faders at or as close to unity, the "0" point, as possible.
+James Hurley ok
Hi. Have a question. When you mix Bass with a studio monitors lets say a HS7 or Rokit5s, which have requency response from 55Hz above, how do you really mix the 4 string bass open E which is about 41Hz or a 5 string low B which is about 31Hz?. Thanks
+izziOnBass sounds are made up of more than just their fundamental frequencies. A low E may have a fundamental at 31Hz but it will have harmonics all the way up the spectrum... it takes time and ear training but those harmonics are what people who mix without a sub are actually making judgments on.
I thank you for using my favorite chord progression my good sir ^_^
How do you fix the phase
I was wondering the same thing. This video was very helpful for me.
the x32. has a polarity change button. with this one you can rotate the phase 180 degrees. most digital mixing console are capable of doing so.
Please make a video on damping factor
Damping factor? That's just how well an amplifier can control the push/pull of a driver. Higher damping factor is preferred for subwoofers and bass drivers.
No video needed.
Thanks, my question is is the bass guitar a stereo type or you
mic the combo alongside with it
!
Thank you...honestly.
James, how loud is the bass amp on stage?
going through DI, no amp on stage
superkaboose1066 He said he has 2 DIs for the bass; one for the highs and mids, and one for the lows. He has to go through an amp too, not just the bass. That's why I'm interested to know how loud the bass amp is on the stage.
@@88KeysMan Better to just use one input source, tell the 2nd bass channel to listen to the first bass channel input. Two DI's is a waste of resources when one has a digital board.
Also, his input gain is way too low to be truly useful. But, comp on bass is a good idea so there's that.
Can't hardly hear the bass at all, just your voice.
Me too!!!
That's because there's no real input head amp gain happening. If you see how hard he's compressing (-57dB). To me, I'd be thinking ...something's not right. Should be heaps more signal going into the compressor than what he has.
exactly
low and mid bass mono or stereo ?
mono
low definitely mono and mid-bass sometimes sounds good when its stereo... Depends completely on how it sounds and the source of bass. There are loads of times when the mid-bass sounds better in stereo (particularly when the bass is coming from a synth), but most of the times for live instruments doesn't sound good
Polarity not phase and the gain structure does seem a bit on the low side. Over all though good video's though the series.
@6:09 That is polarity not Phase
In the beginning you said you use your bass amp channel as your highs and your DI channel as your lows. If you only have a DI channel could clone it to another channel and still do the two channel mix technique?
That's what I would do. Channel 9 - bass Channel 10 - listen to channel 9 easy.
Dude you must have very little head amp gain going into the channel considering the threshold of the compressor @ 57dB. 🤷🏻♂️
How did u put the bass on 2 tracks?
Daniel Croitoru 2 separate Inputs. Bass Di and Bass Amp
@@PedroLopes-lu9xu on the x32 you can send one signal to two separate channels. in the routing screen.
-57.5 thresh on a compressor? Never seen nothing like that..
He's dealing with the line level signal. In a studio environment you'd typically trim the raw signal up another 6dB so it's a usable sound - it doesn't *really* matter whether you do it before or after, but I prefer to do it before.
That's cause this whole series is a joke and the guy doesn't care about mixing audio
David, the way you're judging him so harshly; surely you must be an amazing engineer yourself. Please link us to some incredibly awesome mixes you've done.
@@DavyBrown_ Yeah, I think that guy doesn't understand that people mix differently, and if the results make everyone happy, there is no issue. And David Jaycox the guy obviously cares about mixing, just does it differently. I kind of suspect he kept gains low for the demonstration so that his vocal levels wouldn't get drowned out. I agree the examples could of been mixed a bit louder in post editing for clarity though.
I've noticed the X32, or at least where my venue is, the pre-amps like to be run a little bit hot. They sound warmer and a bit fuller that way to my ears. Summation can cause the overall input signal to the mains to get really hot if I'm running a lot of channels, so sometimes it's not always a good idea to run the gain that way. If I have a 3 piece band and 8 channels of sound, summation isn't as much of an issue as running 12 or 14 channels of sound, and I can run the gain a bit higher, usually going for -12 peaks, instead of my normal -18 to -15 peaks.
SHOW THE SCREEN MORE
How Do I mix my bass so my low end wont clip my DAW Volume meter?
Sounds more like a gain structure issue if you are clipping your DAW inputs. I record with Reaper from an X32 console, and haven't had this issue. Everything starts with your gain structure, so make sure all your inputs are good. I typically shoot for peaks at about -18 to -15, that leaves plenty of headroom for summation, and dynamics.
Typically, my setup is gain structure, then out to the DAW, no EQ, no compression, nothing but the raw input signal. if you include any EQ and compression on your output to DAW that can boost your signal if you have any EQ boosts in the signal, so be wary of that as well and double check how your signal path is going from console to DAW.
I felt like the first track was a waste and could have achieved the desired sound with the second track and eq
I cant relate to the whole worship thing, great mixing tips none the less.
"it encourages people to worship" what the hell does that men???mlol.
I think what he means is; the "low end" (which is mainly controlled by the bass guitar and kick drum) has a massive impact on the dynamics of a song. Sonically, the bass or, "low end" is one of the most dynamic frequencies. E.g., usually when a song is built up and full, the bass is loud. But when the song is dynamically lower, the bass is significantly quieter or sometimes not even present, and the kick drum is played softer or not at all; whereas more mid-range instruments like piano and guitar can easily still play when the song is dynamically lower.
So obviously, people feel more compelled to worship when the song is dynamically high. And since the bass has such a huge impact on dynamics, you could say that more bass indirectly encourages people to worship.
I understand Audio, thanks. ....still, I dont see how low-end encourages "worship" ...very random. Maybe this clip is originally part of some church music thing/class, idk.
I think his point was, *_dynamics_* have a big impact on _how_ and _if_ people will worship; and if they feel encouraged to worship..not bass directly. Typically the most people are worshiping or raising their hands ect. when the song is at its climax. Since the bass has such an impact on dynamics, you could say that more low-end encourages people to worship since more low-end means a fuller sound or climax of a song. Its a bit of a weird association, but myself being a bassist and drummer, I've realized how much of an impact those frequencies have on the listeners experience and their compellingness to worship.
yaaaaa, Nope. completely left field. I can relate Anything to Anything if i try.
Imagine you're on the bridge of a song, and its just piano playing. Suddenly the bass guitar and drums jump in, and the audience can feel the bass guitar and kick drum hit them in the chest... don't you think they'd feel more compelled to worship at that point as opposed to when the just piano was playing? I'm don't mean to be annoying.. I won't keep trying to explain the same idea if its all the same nonsense to you - just trying to translate what I know.
Bro your BG is too buried in the mix so way too soft
Master class. Lol
That bass tone sounds awfully muddy, consider playing another bass with a better tone
bass. . .lower octaves who cares ??? I don't get it
This video is extremely unhelpful. Nothing is explained, no understanding why or how. Nothing. You know a lot of what you are doing but you fail to explain the most trivial steps of what and why you're doing it. This video only helps people who already know how to mix. It's not an instructional video in anyway shape or form.
Well, I guess he's in a "too high level" . He's like master level d. It helps me btw. Haha
"This video only helps people who already know how to mix." ...Clearly you didn't read the title of the video. It says MASTER CLASS. Thus, like you ironically stated, "This video only helps people who already know how to mix." Next time read before slamming him for trying to help others.
@@DavyBrown_ It helped me when I was new to mixing. But, I already had some fundamental understanding of what compression is/does and gain structure. MechaAkuma just really needs to find other videos that explain things at a more basic level, then understanding this video makes sense. I don't think there is any need to put the guy on blast for it. The video helped me and I've learned tons more since then, and I don't do things the way he does, as I find out with most engineers, they have their on mixing style and ears that tell them things differently than what everyone else hears. Results are what matters, and his bass and drums were balanced well enough, albeit, a little low on the volume side demonstration purposes, in my opinion.
this video should be named: How not to mix
can translate to Russian?don't fucking understand what you're saying.or subtitles put
i'm sure cursing at him really makes him want to do more work for you for free
thank you
Учи английский, умник. Русские нифига не умеют звукорежиссировать. В СССР все осталось.
This has got to be a joke. UA-cam needs to remove these videos. Such horrible device. If you were to actually apply these "techniques" live, your mix would be feeding back so fast and you wouldn't know what to do. This whole video series is nothing but amateurish attempts to set people up for failure.
The guy in the video did comment on one video that "if he ran this "training" series where the board was actually set up correctly, it would have been way to loud in the room". Well here's an idea. "TURN THE SPEAKERS DOWN"
@@imjamescameron He had no real gain to build upon. Almost every single live sound fader pusher I know runs the input gain to the first yellow, some run them hotter. I run them to the first yellow.