Ползвате ли Bass Equalizer

[Dilian Nedev]

Да ви питам - ползвате ли бас еквалайзер (примерно на бос или б*р*н*е*) ?

Също така - какви настройки ползвате за различния тип музика . Може да споделите настройките и от графичните екюта на амповете си , ако имате такива екстри към тях

[Parni_Valjak]

http://forum.muzikant.org/index.php?s=&amp...st&p=170507

Отвори картинките, и прочети препоръките за употреба на тонконтролите/ икуалайзера на Acoustic 370 бас усилвател. Сигурно ще има полза.

Успех!

[Demiurg]

Аз свиря линейно от пулта, и почти линейно от DI-box-a. Ако ми трябва да усиля/ намаля някои честоти за определено парче, го правя от електрониката на баса. Доволен съм от звука на баса си, че да слагам и EQ.

[разбойник]

Настройките зависят от стила, баса, басиста, усилвателя, колоната и т.н.

С инструмент с джаз бас адаптери намалявам предния адаптер, повдигам ниски (60-80 херца) и понякога повдигам и около 800 херца.

С петструнния ми бас с хъмбъкъри Бартолини свиря линейно, като само за някои парчета променям звука с баланс на адаптерите или срязвам леко среди. Промените правя от активната електроника на баса, усилвателя ми е с линейни корекции.

 

Ето една статия от сайта на Electronic Musician (http://emusician.com/, много полезни неща има в архива им), която може да е полезна за начало и, надявам се, ще отговори на някои от въпросите ти.

 

Electronic Musician December 1996

Creative Bass EQ

by Brian Knave

 

Improve your mixes from the bottom up.

 

There are two basic reasons to mess with your console EQ during a mix: to shape an instrument's tone so that it "sits" better in the overall track or to alter the tone because you want the instrument to sound different. The first reason can be thought of as corrective EQ and the second as creative EQ. Often it's a combination of the two that yields the best results.

 

However, creative EQ is particularly useful when you have a tone in mind that's more appropriate to a groove or style of music than what's actually recorded on tape. As long as your board offers at least one (but preferably two) sweepable mid-range bands, as well as low and high shelving, you can usually tailor the sound of an existing track to better match the mood and style of a song. Of course, you can also get creative and dial in unusual or bizarre sounds.

 

This month, we'll look at enhancing the timbre of the bass guitar. Obviously, even the most creative equalization can't alter a bass player's style, technique, or musicality. For example, if you record a heavy metal bassist playing a Gibson Ripper with a pick, no amount of tweaking in the world is going to make the track sound like Jaco Pastorius playing a fretless Fender. But if your bass track is just shy of hitting the yummy mark, twisting a few knobs can slam home a great tone. Of course, it helps if you have a general idea of which frequencies to boost and/or cut. So, to get you on the right track (so to speak), I'll list my tonal recipes for some classic bass sounds.

 

BEATLE BASS

 

Paul McCartney's bass sound evolved over the years, but whether it was the early Hofner thump or the Rickenbacher rumble of Wings, his tone was always round and fat. Low-mids often predominated and the attack was very articulate because McCartney usually played with a plectrum. To push a track towards the Beatle zone, start by boosting 80 Hz or 100 Hz (depending on your board's EQ configuration) by 2 or 3 dB. If the bassist used a pick, there's probably sufficient mid-range "pluck" already; if not, try boosting 3 to 6 dB at 3 kHz. This should increase string intelligibility and punch.

 

If your mixer has high shelving EQ in the 12 kHz to 18 kHz range, you can make the sound a bit smoother and warmer by cutting 6 dB up there. But if all you have is a 10 kHz shelf, take care when cutting or you may dull the sound too much.

 

SILLY LOVE TONE

 

For a similar sound with a little more warmth, again boost the 80 Hz range a few dB, then boost 500 Hz by 6 dB or so. Next, cut 300 Hz by about 3 dB and 12 kHz by 6 dB. (Obviously, this application requires four-band EQ with two sweepable mids.) Cutting at 300 Hz gets rid of any hollow, tin-can tones, and-in combination with the boosts-yields a warmth that can complement a ballad while retaining enough authority to drive a rockin' blues or clubhouse shuffle.

 

BASS IN YOUR FACE

 

If the tune calls for an aggressive Chris Squire or John Entwistle sound, you'll need to roll off some low end and crank up the mids. First, add 6 to 9 dB of high-mids and sweep between 1 kHz and 2 kHz until you find the appropriate flavor of honk. Next, cut 200 Hz by 6 dB. If you want an even more brittle sound, cut 80 Hz by another 2 or 3 dB. The result is a trebly, piano-string sound with enough attack to help a busy bass line slice through the mix like a machete through sugarcane. Geddy Lee, stand back!

 

TWANG THANG

 

If you want to accentuate the twang in a bass track, give this a try. First, cut 200 to 250 Hz by 6 dB or so. This is a good cut for reducing "mud." Now, boost an equivalent amount of 1 kHz for the twang. Finally, beef up the low end a tad by boosting a dB or two at 80 Hz. Country session player David Hungate (formerly with Toto) may not call this an "authentic" C&W twang, but hey, we're being creative, right?

 

MO-BETTER MOTOWN

 

Legend has it that the classic "dead string" bass sound of Motown groove king James Jamerson depended on, well, dead strings. And, supposedly, after he switched to some new strings given to him as a gift, he never quite got that sound again. To achieve a similarly smooth, muted tone without dumpster-diving for discarded bass strings, simply cut 1 kHz by 5 or 6 dB, boost 200 Hz by 3 dB, and pump up the lows with a slight boost at 80 or 100 Hz. Then, cut the high end (preferably 18 kHz, but 12 kHz will work) by 6 dB or so. Also, note that by boosting a few more dBs of low end, you can achieve a passable reggae bass sound as well.

 

STAX-VOLT JOLT

 

This is basically a variation on the Motown sound-which is not surprising when you consider that Duck Dunn (of Booker T. and the MGs) was also known for never changing his strings. But rather than cutting at 1 kHz, go for a more a punchy, aggressive sound by scooping out 6 or more dB at around 5 kHz. By staying "down in the basement," either the Motown or Stax-Volt sound works nicely in a mix cluttered with mid-range elements such as guitar, piano, and horns.

 

JACO JAZZ

 

The bass sound of jazz legend Jaco Pastorius has been described alternately as tight, farty, animalistic, and horn-like. But however you describe it, the bottom line is that it takes a Jaco Pastorius (or a darn good clone) to get a true Jaco tone, as much of his sound was in his fingers.

 

But you can approach the Jaco sound-especially if working with a fretless bass-by boosting the mid-range while reducing low mids. Start by cranking 1 kHz by 6 dB or so to get some honk. Then, carve out a big dose of 200 Hz, cutting as much as 9 dB or more. Finally, boost the low end and cut the highs by 1 or 2 dB. Actually, this sound works well in a variety of progressive jazz applications. To get more of a Marcus Miller sound, cut at around 800 Hz rather than 200 Hz.

 

BASSIC MIX TIPS

 

Keep in mind that small, close-field monitors don't provide subsonic bass response. If your monitors can't accurately reproduce frequencies below, say, 60 Hz, the plain fact is that you'll be stuck guessing what's going on below that point. This is another reason why it's very important to reference your mixes on several different playback systems.

 

In addition, as anyone who has done much mixing knows, there's a fine line between too much bass and too little. Finding that line is complicated by the fact that we typically perceive certain tones differently when we hear them at different volume levels. As it turns out, our ears have a flatter response at high volumes than they do at low. The lower the volume, the quieter low frequencies (from 20 Hz to 200 Hz) sound in relation to mids and high mids (those from 1 kHz to 6 kHz). In other words, what sounded like tons of bass while you were mixing at 100 dB will likely sound puny at 70 dB. That's why it's also vitally important to check your mixes at several different volume levels.

 

CLEVER DISCLAIMER

 

Now that I've laid out more than a half-dozen bass EQ settings, I'll remind you that not one of them is worth a hill of beans if the resulting bass sound doesn't complement the song and work to enhance the other elements of the mix.

 

Although it's certainly no sin to tweak a track in solo mode, EQ settings should only be finalized in the context of the complete mix. The purpose of EQing a mix, after all, is to minimize frequency conflicts among the various instruments so that they're not fighting for the same sonic space. In other words, you're trying to create an aural "niche" for each instrument-and this can only be done while listening to all the parts together. Often, after you've EQ'd a track in the context of the entire mix, an individual track will sound absolutely horrible when soloed. Well, so be it. All that really matters is that the sound works when it is joined by all the other elements of a (hopefully) well-balanced mixed.

 

A final plea: Use these recommendations only as starting points. Sometimes my suggestions will work for your track, and sometimes they won't. But if nothing else, these "tone templates" will help you get acquainted with the sonic capabilities of your console EQ section. Then, you can more readily find your own favorite bass tweaks.

[Danihell]

Аз се кефя да има повече високи честоти и да попляква. Намалям средите и леко ниските, понеже обикновено всички се оплакват, че има много ниски. Иначе, зависи от музиката, която правиш, за някой парчета набримчвам ниски и изрязвам другото или ниски и среди за по-винтидж звук

[ludmata]

Mи при мен е малко сложна историята... На Боса съм дал "чайка" но съвсем лекa, след това на преампа съм направил един як сетъп, който няма как да се обясни щото е с 5 параметрика, но общо зето е с доста ниски, малко среди за цвят и нормално високи и оттам си барам от баса каквото ми трябва... Нали за това съм го зел с активна електроника Кеф ми много плътен джам разкъртващ, кеф ми алтърнатив... всичко е въпрос на три врътки... Общо зето на еквалайзера съм направил така че да звучи нормално когато на баса ниски и високи са ми на 0, както когато

Лошото е че първоначално се получава голяма мазня докато намериш каквото ти трябва за определената бас китара и след това кеф голям...

[Mephistofel]

Ползвам,и то няколко.Харесва ми да експериментирам със звука си.

[kolega]

Използвам само активната електроника. За по-голяма атака и по-агресивен звук, усилвам високите и понамалям ниските.

За по-мек звук, усилвам ниските и дърпам по-леко струните.

Редактирано Юни 15, 2007 от kolega

[Mephistofel]

^ Въпрос на вкус - точно пък активната електроника най-малко,да не кажа хич,я използвам като честотна корекция - свиря абсолютно линейно (като настройки на самия бас) почти винаги.

[MDFk]

И аз ползвам различни настройки на EQ-то. В зависимост от песента - стила, колко е динамична, какво и е настроението, дори в коя ера е написана - от което зависи дали да набера нещо което намирам за по "винтидж" или по-"модерно".

[Insaneripper]

Аз ползвам лимитер/enhance а съм имал и еквалайзерче и личното ми мнение,че лимитера скастря доста от възможностите на басс-четата!

[Mephistofel]

^ Аз също ползвам Limiter/Enhancer на Boss - LMB 3,и смятам,че при умело боравене с него дава добри резултати - така че всеки с мнението си.

 

Нека се върнем на темата,а тя е за equalizer-и.