Now they mix better, but it lost most of the big punch it used to have with the raw signals... Mainly becouse the tabla needs so much space and really lives on its resonance with that modulated hand palm sound. |
What would you do?
I recently worked on some tabla stuff with the exact same problem - double bass and kick also important in the mix
I think you are right in thinking that the 'voop' of the low tabla is The Thing that must be in the clear.
here are some of the things I did
lite saturation on the bass to bring out harmonics. The ear will follow the line of the bass by following those higher frequencies, allowing you to cut more lows.
normally I don't put reverb on kick or bass, but verb on one
of the tracks while the others are bone dry can help it stand out from the others. Once I did a song with two basses. I put reverb on one bass and it was the only reverb in the entire song - worked like a charm.
playing peekaboo: If you establish the kick strong at the beginning you can hide it later, bring it back from time to time. Sleight of hand... keep the tracks moving and before people can notice something is gone, its back.
ruthlessly cut the lows on everything else in the mix, piano, guitar, snare, even more than usual
i have the feeling it all speaks in the same area...
you can still choose which aspects
you can 'push' an instrument a little north or south of where it actually is with the EQ
you will find a set of compromises that works - that, as Drumsound says, creates the illusion
that everything is fully "there"