EQ Magazine - March 2008 - (Page 6)

SOUNDING BOARD BASS IN YOUR FACE Editors note: In the January ’08 issue of EQ, we announced a contest in our Bass Management column, offering copies of The Screamin’ Lords’ newest release Long Live Me to the first 25 EQ readers who sent in the hippest bass-recording tips or techniques. Below is a sampling of some of the feedback we received. [Do you] need to create the illusion of lower notes than the pitch of your regularly tuned E string on a fretted bass [when recording], but don’t want to tune down? Try using a double stop a fifth above the root note, fretted an octave above the desired pitch. For example, if you want to hear the D below your low E string, finger D on the E string at the 10th fret and A on the A string at the 12th fret and play them with about equal intensity; a “lower” D will sound. Note: This only seems to work well on fretted basses, and only on the E and A string. It’s illusory, but it can work. Complicated bass lines will be difficult without doubling, but the notes will be implied there. I can make it sound like I’m going all the way down to a low B with this. Dan Daily (via email) As a bass player first and foremost, my bass recording tip results in a bass sound that stands right out and grabs attention. I begin by tracking the bass direct through my Line 6 Toneport, using what I believe is the Neve 1073 preamp model. I use the preamp’s EQ to add low end with a fairly large bump around 700 to 800Hz, with a wide Q. This alone makes the bass stand out quite a bit, but I also make a second copy of the track in my DAW, and drop the low end a bit in the copy. Then, I’ll boost the mids again, but a little higher up in the spectrum—usually around 1.2 to 1.8kHz. Then, to top it all off, I add a tiny bit of distortion, not usually enough to hear the actual distortion, but enough to add a tiny bit of edge to the sound. This results in a bass sound with lots of low-end “oomph,” but also the mid- and highend clarity and sizzle that makes it stand out loud. You can hear what I mean at www. myspace.com/nathanraphael. The first song is called “Bass Solo” and it really shows this technique off well. Nathan Salter (via email) For a punchy bass sound that cuts through a mix I use a Fender Precision Bass with Elixir Strings running through a Tech21 SansAmp Bass D.I. I prepare the bass by tucking a piece of soft foam right up against the bridge to lightly dampen overtones and solidify the fundamental. The foam isn’t there to stop the sustain as much as tighten up the sound. This works great with either finger or pick playing for that Philadelphia funky sound. Terry Zimmerman (via email) When I’m looking to get some good grit on my bass tracks, I run the bass through my Ashdown ABM 500 and mic it for a good solid tone. Then I’ll take the amp’s effects send out and patch it into a close-miked 15W tube guitar amp, dialing in the desired amount of grit. I usually have both amps running next to each other, then mic the room for a blend. Dove, Tiger Tiger Productions (via email) ON THE RZA TRIP Stopping by to give props on the RZA issue [January ’08]. It’s about time y’all started giving some love to the hip-hop community. RZA is hands-down the most influential producer in modern hip-hop (except for Dre and maybe Timbaland). It was dope to read about some of what he used on the newest album [8 Diagrams]. Rich Thomas, if you’re reading this, you get my props for writing the best production piece on my man that I’ve read. Brooklyn Zoo 4-Ever (R.I.P. O.D.B.) P-Nut (via email) DESPERATELY SEEKING TUNAGE As an open-minded, longtime reader of your magazine, l have noticed one unfortunate trend—one for which you bear no fault, but it exists all the same. Many of the CDs you recommend for listening and write about, particularly those of a historic/vintage/progressive 1970s/non-Top 40 nature, are relatively hard to find (at least in the Pittsburgh, PA, area I live in), or are out of print, etc. To top if off, most of these relatively hard-to-find CDs are rather expensive when they are found. I’m not sure what a good solution may be, but I admit it’s very frustrating to read about wonderful, groovy albums in your publication that I’ll not likely get to hear. Derrick Demase (via email) Matt Harper responds: I’m not sure how much help this is, but as a Pittsburgh native, there is a great store down on Penn Ave. in the Strip District I used to frequent called Eide’s. This was a source of constant rare/hardto-find recordings in my teenage years (admittedly, my personal tastes are very much of the left-of-center variety, and thus I’ve had the same problems you are encountering now throughout my entire life). Beyond that, just search the Internet—most of what you seek is out there somewhere. CORRECTION Jeff Tanner wishes to clarify Fred Archambault’s statement on the Aurora GTQ2 Mark 3 that appears on page 35 of the February 2008 issue of EQ: “The GTQ2 is not a Neve 1073 copy. It uses circuitry and components unique to our company.” Got something to say? Questions, comments, concerns? Head on over to www.eqmag.com and drop us a line in our Letters to the Editor forum, send us an email at eqeditor@musicplayer.com or snail mail c/o EQ Magazine, 1111 Bayhill Dr., Suite 125, San Bruno, CA 94066 for possible inclusion in the Sounding Board. Note: Letters may be edited for length and/or clarity. Direct correspondence by EQ editorial is not guaranteed. All submissions become the property of EQ magazine and can be published in any medium. 6 EQ MARCH 2008 www.eqmag.com http://www.eqmag.com http://www.myspace.com/nathanraphael http://www.myspace.com/nathanraphael http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - March 2008

EQ Magazine - March 2008 Contents Talk Box Sounding Board Punch In Tool Box Dream Theater Nick Drake LO-FI Recording Tricks Guitar Trax Bass Managment Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Tascam Gigastudio 4 Cakewalk Sonar 7 Crane Song Avocet Cad Signature Series Mic Packs Waves GTR3 Kjaerhus MPL-1 Pro SE Ableton Live 7 Centrance Micport Pro, Tapco LINK.midi 4x4, Multi-Gigabyte USB 2.0 Memory Sticks Digital Redux Electrotech, Nine Volt Audio Action Drums, Big Fish Audio Hadeeth 2 Room with a VU

EQ Magazine - March 2008

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