Posts Tagged ‘bass’

I know you’re not supposed to master your own tracks but we were working on a budget, so instead I just too a 2 week break from doing anything and came back to master with fresh ears. I purchased a copy of Ozone 5 just for the occasion and I must say, it was DEFINITELY worth it, and as I use it more and become more familiar with it I will try put up a basic tutorial for it at some stage.

As for the EP

First was the linear EQ, as you can see I rolled off the bass a little, and gave some broad presence at 2k, this really helped bring the track out and really make some impression on you.

Next was the harmonic exciter, now these things are tempting to just push up and up and up cause they sound so cool and exciting (lol wonder why) but don’t over do it, you can ruin the effect of the song and the rest of your mix work. As you can see I’ve tried to keep mine relatively minimal with a bit more in the mid and highs were its most effective.

I didn’t do too much with the dynamics and compression apart from the mids, but this was a light deep compressor to bring out some of the clarity and harmonics a little more.

Next is the most noticeable part of mastering, the loudness maximising, I wanted a really full track, but I didn’t want it to just blare in your face so I went for a quite smooth heavy maximiser, and some MBIT+ dither to spread the noise evenly.

I did quite a bit of experimenting with the stereo spread and converting in and out of mono, switching phase, ect, to make sure any spreading I did didn’t cause and phase cancelling, I found some really awesome settings, but many of them didn’t work at all in mono which meant they were best to avoid, or at least tweak, in the end these are the settings I went with.

finally the post EQ, all this work had given really great spread, clarified highs but the bass became a little over powering, so I pulled that down a little and gave a tiny bit more low mids and tiny bit less high mids.

So that was my process for mastering ‘Fairly Natural’ the first serious release by my good friend and the very talented Sam Luff, please check him out and comment on my recording, mixing and mastering with your ideas, advice, questions and opinions as I’d love to hear them.

The Mix was an intense process. Without many instruments we had to create a full sound. With the help of Logic 9, I think it went pretty well.

All songs were recorded in the one session and each instrument had the same track for each song, so these settings were applied to all songs, then split off and minor tweaks were made (most of which probably won’t be mentioned because they’re not really very interesting.) Sam wanted his EP sound to be really consistent so we decided doing it like this would be a fun, challenging and interesting approach.

I started mixing the first song, which was probably the thinnest of the lot with nothing but guitars and vox. It’s quite an intense and raw song and I wanted the EP to start strong. I started with the guitars and did the usual pan each mic to either side, high pass and low pass EQ to keep out sounds not in the frequency range, some low mid cuts and a slight high mid boost to eliminate any masking, compressor and a noise gate. This got it sounding pretty good, but after mixing everything else the guitar just seemed to not… sit right, it was just a little overpowering in the high mids, so I decided to do something I tried in a different mix. I put a stereo spreader on both guitar mic tracks and spread the upper mids a little, order 11 for one and 12 for the other so the same frequencies weren’t being spread on either side. Being already panned to one side, this pushed some of those frequencies just a little closer to the middle, widening it at the loss of some of its power, perfect!


On the left we have the left guitar mic and its plugins, on the right, the right!


The vocals were a lot more simple, just a matter of EQ, compression, noise gate, and a tinyyyyyyy little bit of delay.


Now the lead guitar was interesting, for the electric lead solos we had 2 mics, one dead on and one to the side, so I panned them to show this. This sat the guitar slightly to one side but still gave a nice full sound, almost like if a band were playing and the guitarist had come up to do a solo and was standing just to the right of the singer.

Here you can see the centered mic on the left and the panned right mic on the right, as well as the EQ, compression, noise gate and delay decisions I made.

Next was the acoustic guitar solos, there wasn’t really anything special done here, it was recorded with a single mic so I opted against any crazy stereo imaging, quite a decent amount of EQ and delay, and more compression than I normally try to use, then a good ol noise gate.


The only other major instrument recorded was the double bass, once again a pretty simple process, decided to go for some more creative EQ to try and keep the clarity of the double bass whilst removing resonances and fixing some masking problems.


There were some other instruments used, including an egg shaker, a MIDI glockenspiel, a MIDI kick drum and some whistling, but I opted against doing those ones as they were very simple processes, but if anyone is interested let me know and I’ll show you how I did them, or help as best I can with mixing those instruments.

The final part of the mix was the reverb, this was done by setting up an auxiliary channel strip and putting the space designer reverb on it, then bussing all tracks to it. I don’t know very much about designing reverbs, in reality or in plugins, but I found the preset my ears agreed with most was the small booth reverb. It just sounded right and fitted the style perfectly.

I also used a concert hall reverb on the vocal echoes in the first song, ‘Heaven’.

If anyone has any advice for my mixing process for future mixes, please don’t hesitate to send it my way!

Also, please look up Sam Luff on facebook! or soon iTunes! He will be extremely grateful and is very much worth your time!

A friend of mine organised to record the bass exam of another friend, he had some really awesome originals, a jazzy pirates of the Caribbeany thing, a very Dream Theater like one and some others, all awesome songs.

Anyway the mix:

Most of it was just tweaking EQs and gains to get levels right and keep from masking, but I experimented a bit with stereo imaging using a stereo spreader with the keys, guitar and sax (keys center with a massive spread, guitar and sax with smaller ones but panned to the left and right a little) this gave an incredible stereo image. The keys sat really wide throughout the mix and the sax and guitar sat in areas slightly left and right of center. I highly recommend experimenting with spreading to give a sound a wider sense of space in its position, especially when you don’t have many instruments.

It’s been about a week since I’ve posted, but there is a reason for this. I took a trip up to Queensland last week to visit my friend, the very talented and future famous Sam Luff. I’d been planning this trip for a while and we decided we would take the opportunity to record, produce and release his first proper EP. His music page can be found here: I highly recommend you give his music a listen, especially if you’re into acoustic singer/songwriter style stuff, hes really very talented.

The recording session was a brilliant bit of fun, and he had a great setup to use, combined with some mics I brought up, we had all we needed.

The Booth: first we did some DIY acoustics treatment using some karate mats and a mattress that looked like acoustic foam. We first set it up on the floor for the sitting down instruments (ie. guitar, guitar amp) than moved it up to a table for vox. The room sound was kind of dead already, but this did a great job of catching all the direct reflections.
The Acoustic guitar: a simple spaced pair setup. Took some fiddling to get the mics in a good in phase position but we finally got there. Used my matched pair of Peluso CEMC6s, brilliant mics, they sound absolutely brilliant.

The electric guitar: For the guitar amp I put an SM57 right in the center then a CEMC6 back and too the right a bit, this mic was later panned to the right, this gave the guitar a brilliant image and position in the mix.

Voxs/Acoustic Lead: Both the acoustic lead and vox parts were recorded with my AKG perception 820. Great mic and relatively cheap for what it is. Vocals and guitars came out clear as day, and nice and dead.

And finally, double bass: This was also just done with the AKG, great smooth low frequencies.

All in all we finished up with some great dry tracks, there was a little bit of MIDI use for a backgrounded kick drum and a glockenspiel.

Stay tuned for the mix report!

Build a Triffusor

Materials (per triffusor):

  • 2x equilaterally triangular pieces of MDF wood
  • 2x rectangular pieces of MDF wood (width same as trianglar side)
  • 1x rectangular piece of MDF wood slightly shorter and thinner than other pieces
  • Acoustic foam rectangle the size of the 2 larger pieces of MDF wood
  • 5 long thin pieces of any kind of wood to be placed on one side for diffusion
  • A decent number of screws and some PVA glue (and some contact glue, though PVA will work)
  • Saw(s) and miter box (if cutting any of the wood yourself)
  • (Optional) beading for the edges


Attached larger pieces of MDF wood to two sides of one of the triangle. PVA glued, and then screwed them together.  Attached other triangle to other end of the rectangular MDF wood in the same way.

Used contact glue to attach acoustic foam to one side of the triangular prism.

Put smaller wood rectangle where third side of triangle would go and push it in so that it sits further back than the other sides.

Place long thin strips of wood against the side with the deeper wall and glue

Acoustic Properties:

–       Reflective side: The reflective side is smooth wood, allowing the sound to bounce off easily, creating direct reflections.

–       Absorptive side: The side with the acoustic foam is designed to absorb sound. When the sound hits the acoustic foam it enters any tiny gaps in the foam and bounces around inside it so many times that barely any of the sound manages to get reflected, most of it dies within the foam.

–       Diffusive side: The side with the further back wood and strips of thin wood running up and down it is designed to diffuse any sound that hits it. Either before or after the sound hits the back panel, much of it will reflect off the strips causing it to be reflecting off to the sides, known as being ‘diffused’, often used to stop early reflections from causing phase cancelation without killing the reflections all together and risking deadening the room too much.

Personal Uses:

  1. In parts of my room there are cupboards and dressers that would cause unusual reflections, reflective side could be placed in front of these to give more direct reflections.
  2. Diffusive or absorptive side could be placed at the back of my room where the first direct reflections would occur to send them in different directions of absorb them to reduce possible comb filtering in the listening position.
  3. Absorptive side could be placed facing out of the corners and be used as a bass trap.

Evaluation: Overall, each of the triffusor’s sides has the acoustic properties they were designed to have, and the triffusor itself is very sturdy and solid. If building more, the only thing I would do differently is take more time perfecting some of the measurements in attempt to get that really neat and tidy, professional look.

A synth is created through tone generation, manipulation, and amplification.


A basic synth will often have a single oscillator (the generator) with the ability to generate some kind of sound wave, the most common being the square, saw, triangle and sine waves.

To start building a synth sound, first select your wave. The square wave has quite a ‘woody’ sort of sound, and is often good for bass synths, the saw wave is quite sharp and a common lead synth wave, the triangle wave sounds similar to the square wave but a bit more dull and harmonically weaker and the sine wave is very pure and lifeless. This is because the shape of the other waves creates harmonics, and if you were to filter out the frequencies around the note you were playing you would end up with something that sounds like a sine wave anyway.

These waves are often not the only choices, many synths offer you the choice of combining two waves, and some synths offer you noise waves, or even the ability to create your own wave shape.

So depending on your synth, these are your choices… for one oscillator. Very often synths will have multiple oscillators, giving you the ability to layer sounds on top of each other, and blend the volumes for an even or one sided combination, as well as a pitch control (often used to put an oscillator up or down and octave, but sometimes used for different intervals, be careful with using intervals other than an octave, it might sound cool at first but it could create problems in the harmonic progression of your song.) Individual detune controls are often available to add some crunch by putting oscillators slightly out of tune with each other.

Many synths also allow you to choose how many unison voices the synth has, which essentially means the synth adds multiple copies of itself onto itself, this is a great way to create a really huge sound, but don’t get carried away or you won’t leave any space in your mix for anything else!

If you’re just starting out I suggest you just use one or two oscillators, and stick with basic wave shapes, one of my favourite sounds is 2-3 oscillators all set to a basic saw wave. Which sounds kind of boring, but here’s where it gets more interesting.


The first manipulator is the ADSR envelope (an envelope is where the signal passes through to be manipulated, feel free to call it the manipulator thing.) This stands for Attack, Decay, Sustain, Release.

The attack is how long it takes for the synth to go from no volume to peak volume

The decay is how long it takes to go from peak volume to sustain volume

The sustain is the volume from the end of the decay period to until the note you’re playing is released

And the release is the time taken for the sound to reach silence after the note is released

This is best shown using this graph:

Slow attack and release times are most common in pads to allow the chord to swell up and fade away.

Decay and release are only experimented with excessively for more unusual kinds of sounds.

The next manipulators are the filter and resonance:

The filter is used to roll of frequencies above a certain point, sometimes you are given control of how fast they roll off as well. This is often used to filter out unwanted harmonics or if the high frequencies are masking another sound in the mix and you feel you don’t need them. Another common use for it is to have the filter set low and automate it to open up gradually, allowing the synth to grow and fill out the audio spectrum. If you don’t know how to automate, leave a comment and I’ll do a post on it as I won’t be going into that in this post.

The resonance is a control to create a resonance at a certain frequency, making it more prominent in the sound. This is often used to create a bigger bass sound or to emphasise some interesting harmonics in lead sounds.

Other manipulators are –

The LFO: This stands for ‘Low Frequency Oscillator,’ but it doesn’t generate sound, however it is still a waveform, this waveform is just used to control other aspects of the synth. A common use is to have it control the volume on a bass synth so that the volume fluctuates at the rate the wave is set to, the wave is then often synced to the song tempo, and there we have… WUB WUB!

Other uses are to control things like the filter, the pitch, the resonance or anything really, and you can get some really insane sounds.

Effects: These can be anything from chorus, flange, delay, reverb, or many other things, but I won’t be going into these in this post either.

Unison Detune: This is often a single knob to control the detune for all the voices in the synth that aren’t given actual oscillators.

I’m sure there are lots of synths with manipulators I haven’t mentioned, but these are what I’ve found to be most common, but if I’ve forgotten an important one, let me know!

Finally, the amplifier:

This isn’t really something you need to think about unless you’re using a hardware synth that requires an amp to make sound, in which case you will just have to buy an amp and get familiar with it, because all amps are very different. Software synths are amplified by your DAW or your computer (if its a standalone synth) and played through your speakers.

There is also another kind of synthesis called FM or ‘Frequency Modulation’ synthesis, but I will save that for another post as it gets quite complicated.

Thanks for reading, hope you found this helpful, if theres anything you’d like me to do a post on, let me know!

I have arranged for you a collection of dubstep remixes of the pokemon theme song, as I found these are all brilliant and completely different:

1. Arion

Simple, brilliant, can’t really say anything bad about it.

2. Barclay Berkley

This one has an incredible drop, some amazing use of sampling (although the ‘yeah’ sample from the bridge does’t really work just after the verse, kinda the wrong key) none the less, brilliant.

3. I Am The Bromman

Not really that great in a lot of ways, but it does have some cool things going for it, the drop isn’t heavy but it’s still pretty awesome to listen to.