any ideas on a great compressor for big bottom end. LEVELS makes it easy to quickly identify issues with stereo field low-end, dynamic range, and of course, your levels. Signature series bass plugins include: CLA Bass, JJP Bass, and Eddie Kramer Bass Channel, each with their own style, feel and set of presets to help you achieve desired sounds quickly.In this video, see how Grammy-winning mixer Dave Darlington (Avicii, David Guetta, Carl Cox) uses the CLA Bass plugin to easily shape up a bass part in a dance track, adding compression and brightness in a one-stop shop: Now that your synth basses sound amazing, it’s time to bring them to life with a little automation. If the wideband compression you're applying is not affecting the sound how you want it to, and more detailed control is what you desire, reach for a multiband compressor. Try it on your next mix, download BASSROOM now. When you record a vocal you can really tell you need compression in that raw track (normally), but that's not the case with a synth. Please enable JavaScript in your browser in order to make this website functional. Which is why it’s best to use a. . However, sometimes this can create a nasty build-up in the low-end. To make sure you nailed the balance between the kick and the bass, use BASSROOM on your mix bus and select one of the genre-specific presets to help you fine-tune the low-end of your mix. Want to get more tips straight to your inbox? Sub-harmonic frequency generators are similar to EQs in that they change the frequency response of a signal, but uniquely different in that they add harmonics that aren’t present in the original sound. Now that you’ve got the basics under control, it’s time to add some effects. LEVELS makes it easy to quickly identify issues with stereo field low-end, dynamic range, and of course, your levels. I’ve found success sending some of my kick drum to the bass bus to add a little more punch to the bass guitar. Reduce the frequency on that band so you’re attenuating instead of boosting, Start with the slowest attack and fastest release times, Slowly increase the attack time until you start to shave off the initial transient of the bass, then back off, Slowly decrease the release time until the compressor starts to “breathe” in time with the song, Send the kick drum to a spare aux channel, but don’t actually create an aux channel, Insert a compressor that accepts a sidechain on the synth bass channel, Select the aux input you’re sending the kick drum to as the key input, so that the compressor engages only when the kick drum hits, Set your compressor with moderately-fast attack and release times, Decrease the threshold until compression is applied every time the kick drum hits. With a long attack of the synth, the attack of the compressor … Do what you need to get the fine details of the bass holding the track’s foundation together and keeping things interesting! When trying to create big, bold bass sounds it can be tempting to start stacking synths to the sky, but that can quickly clutter your mix and actually cause the bass to sound less powerful. Start with a high-pass filter to remove any unwanted sub frequencies. If you’ve been in the producing/mixing game for any amount of time, I’m sure you’ve … Next, use a low-pass filter to roll-off some of the top end above 8 - 10 kHz. Use a moderate ratio around 4:1 and fast attack and release times to compress the track by about 3-6 dB. something thats great on bas, synth bas and kick drums. Each track is different and will require a unique approach. Start with a compressor to catch any transient peaks and create more consistent dynamics. Seriously, crank the ratio as high as it will go and peg the needle. It has easy parallel distortion, as well as simple EQ, filtering and attack/release settings for the distortion channel. Don’t be afraid to boost the midrange either. This form of saturation can be applied with hardware emulation plugins like NLS Non-Linear Summer, which emulates 3 different analog consoles, or using Scheps 73, a model of a Neve 1073. Download LEVELS here to test your mix now. Dynamically load any of BASSYNTH’s 800+ multi-sampled sound sources, wavetables or oscillators into any 4 Voices using a dynamic tag-based browser.. Creatively blend any 4 sound sources and take things further with extensive sound design parameters; filters, unison, envelopes, tone-shaping controls, modulation, FX and much more. There are several different types of saturation, each a different sonic character. Because you aren’t slamming a single compressor… You should be able to hear a distinct ringing sound when you land on the resonance. Low, bass-heavy synths will benefit from slower attack and release times to help smooth out the dynamics without creating an unwanted pumping effect. Sub Bass; Posts: 33; Honor: 4; Compressing Synths « on: January 20, 2016, 11:41:13 pm » What's the deal with synth compression?? helps you accurately match the loudness, tonal balance, punch, and stereo width of your reference tracks. Step 2: Apply filtering and subtractive EQ. After dialing in the perfect synth patch, it’s time to start cleaning up any problem frequencies in the individual channels. Instead, try using serial and parallel compression to create the sound you’re looking for. Instead, try using serial and parallel compression to create the sound you’re looking for. Finally, when you have your bass tuned, try recording it in mono rather than stereo, like most synth sounds tend to be. But one of the toughest parts of mixing synth bass is getting it to sound good on small speakers like laptops and smartphones. Use another bell curve to cut any muddiness around 200 - 250 Hz. on your mix bus and select one of the genre-specific presets to help you fine-tune the low-end of your mix. If the attack and release times are too fast it can create an unnatural pump—too slow and the bass won’t compress in time, leaving your mix sounding open and muddy.A simple alternative to achieve the pumping effect is the OneKnob Pumper. The J37 Tape plugin can add a very subtle bit of definition and 'vibe,' or driven harder to create some distortion, whether on individual channels or across the buss.For extreme detailed control in the distortion domain, the Manny Marroquin Distortion plugin comes in very handy. Thankfully, seasoned mixers Chris Lord-Alge (Green Day, Muse), Jack Joseph Puig (U2, Lady Gaga) and Eddie Kramer (Jimi Hendrix, Led Zeppelin) have helped develop plugins based on their award-winning signal chains.The Signature Series plugins offer unique combinations of EQ, compression, distortion and reverb, specifically designed for a variety of bass applications. Now that you’ve tamed the frequencies that make the bass synth sound worse, it’s time to enhance the frequencies that make it sound better. But simply smashing your track with a compressor will suck the life out of it.