Viewers: in countries Watching now:
In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
Once upon a time, the bass amp was always mic'd. Today most basses are taken direct. That being said, sometimes both the amp mic and the direct signals are recorded on separate tracks as well, so that the bass sound has the best combination of bottom end and clarity. In this video, I'm going to show you how to balance direct and mic'd bass signals. So the direct and the mic'd bass signals are going to sound completely different. The DI is generally going to have more definition and a little more high end, and the mic'd bass cabinet is going to sound a bit more fuller and rounder. So let's listen to them both. Here is the DI.
(music playing) We'll go back to the beginning and listen to it again, and here's the mic'd bass cabinet. (music playing) Now generally speaking, when we add them together, we get a combination that sounds better than either one, but not always.
Sometimes it doesn't work on the track, and sometimes it works great, but some combination is usually perfect. The first thing we're going do though is we're going to check the phase just like we did with the drums. So if you take notice, I have an EQ inserted on both of the channels. So I'm going to bring one up. I only need one. I'm going to play it (music playing) And I'm going to flip the phase. (music playing) Now you can really hear the difference when the phase is flipped there.
Sometimes people actually like that flipped-phase sound and they'll use that in the track--not all the time, but sometimes it's perfect for a certain track. Most of the time though, you prefer to have a selection that gives you the most bass, and that's where we're going to leave it. In this case, it's going to be deselected, and we're going to just keep it without the phase switched on either of the channels. Now in order for us to figure out the correct balance, we can do this two deferent ways. One way is we can raise the DI, have a listen to it, and gradually bring the bass cabinet in until we get the fullness that we need.
(music playing) Now another way that we can do it that sometime works even better is to listen in the track to what the bass sounds like, just the bass DI, and then bring in the bass cabinet. So let's have a listen. We'll bring in not all the instruments, but a lot of them.
(music playing) That's just the bass DI. Let's bring in some of the bass cabinet. (music playing) Now the idea here is to make it full, but we don't make it so full that it overpowers the kick drum, or any other instrument for that matter.
One channel will sound fatter and the other more distinct, so choose the one that sounds best in the track and add the other to taste.
There are currently no FAQs about Audio Mixing Bootcamp.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.