Quote:
Originally Posted by Rednose  I do generally try to get what I'm looking for to DAW, that is why I put the kick through the DBX 905 eq (The best eq I have available, sorry...) and the DBX 160 VU.
I then add a touch of eq with the UAD Neve 1073.
I'm having problems getting the bass guitar to cut through the mix, and maybe its because I'm using similar eqs on the kick drum and bass guitar. |
Are you tracking your kick with the dbx eq and 160 then adding some UAD eq? If you are, stop it.
Use the room and microhone(s) to track with because you can ruin the sound later when you mix or edit. Do not cut the track with processing that you can't undo. You can make those creative decisions in relation to the entire mix instead of isolated during a tracking situation.
You should only be looking to get a clean, clear and natural recording of the sound that you hear in the room. Tune the drums and get a "wow" sound going on in the room. Then position the mic(s) ... Save everything else for later.
You said this:
"
I do generally try to get what I'm looking for to DAW.......I'm having problems getting the bass guitar to cut through the mix"
That says it ain't working. Getting things to cut through a mix is more about a clear recording and having enough headroom rather than boosting a particular frequency. Bob Katz wrote a how-to on calibration for resolution mag here:
http://www.resolutionmag.com/pdfs/KN...misationp2.pdf
How I eq is by sweeping through a frequency band and finding a part that I choose to emphasise/deemphasise. I have to
hear it (in relation to the mix). Eq is one of many reasons that I feel good monitoring and a good room is the most important tool. What does it sound like? For things like bass and low drums I get more headroom and a louder overall mix from cutting out frequency I don't need or I deem excessive. Especially in the lowend, you can get more with less.