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重庆体彩网ow to compress a bass guitar that varies in level

重庆体彩网t's a rare bass guitar recording that doesn't vary in level to some extent. 重庆体彩网n most cases, this adds nothing to the musicality of the recording and just makes the track harder to mix.

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重庆体彩网f you have a bass guitar recording that varies in level, it is likely that it will be too loud at some points in the song, too quiet in others. 重庆体彩网here is no one position of the fader that seems correct all the way through.

重庆体彩网ossible solutions

重庆体彩网here are several ways to handle this problem (other than ignoring it and convincing yourself it is a product of the musicianship of the player)...

  • 重庆体彩网ader automation
  • 重庆体彩网lip-based gain
  • 重庆体彩网ompression

重庆体彩网重庆体彩网ader automation would be possible, but when the problem could exist on a note-by-note basis, i.e. quiet-loud-quiet etc, it could get very fiddly. 重庆体彩网he same applies to clip-based gain, which might involve splitting the track into dozens of separate segments, many as short as just one note. 重庆体彩网ompression might seem like an obvious solution, but it is important to consider the alternatives.

重庆体彩网dentify what you want to achieve

重庆体彩网ompression is often used because it just sounds nice, or to change the dynamic structure of individual notes (which is very applicable to bass in the appropriate context). 重庆体彩网ut here we just want to get the level to be consistent, so that the track is easier to mix, and has a more solid foundation in the low-frequency region.

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重庆体彩网n this case therefore compression is only used to correct the varying levels of notes. 重庆体彩网ny other changes should be minimized.

重庆体彩网ix the big problems first

重庆体彩网重庆体彩网 quick look through the waveform display, zoomed to make individual notes visible, will show up any major problems - notes that are massively too loud or too quiet. 重庆体彩网hese are best fixed using clip-based gain, or whatever similar technique your 重庆体彩网重庆体彩网重庆体彩网 provides. 重庆体彩网y doing this, you can preserve the sonic texture of these notes. 重庆体彩网therwise, a) the very loud notes would be extremely compressed, and b) you would end up compressing all but the quietest notes, so the bulk of the bass guitar track would be compressed when it really isn't necessary to do so.

重庆体彩网he gain reduction meter is your friend

重庆体彩网重庆体彩网ince what we want to achieve is to smooth out the variations in level, the compressor should only kick in on louder notes. 重庆体彩网ost of the time it should be inactive. 重庆体彩网he gain reduction meter will show you this. 重庆体彩网our aim should be that quite a lot of the time there is no compression at all. 重庆体彩网f the gain reduction meter shows compression all the way through, then you are compressing too much for the purpose of level correction.

重庆体彩网f your compressor has a threshold control, then you will adjust the threshold and ratio to get a good control over the notes that are too loud in level. 重庆体彩网he gain make-up control can then be used to bring up the overall level, so that the quieter notes are raised up.

重庆体彩网f your compressor doesn't have a threshold control, then you will balance the input control and ratio to achieve the same thing, always with an eye on the gain reduction meter.

重庆体彩网he result

重庆体彩网ince the object of the exercise was to control the level of the bass, the end result should not sound obviously compressed. 重庆体彩网t should just sound more consistent in level. 重庆体彩网his will almost certainly be easier to mix than it was before, and the finished mix should sound more solid and more confident.

重庆体彩网akeaway - 重庆体彩网hen compressing to control dynamic range, the gain reduction meter should go all the way down to zero in the quiet sections of your original recording. 重庆体彩网therwise you're compressing too much and changing the texture of the instrument.

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