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MIDS!!! How do YOU treat yours?

K

kbarboza4

Nov 11, 2012
106
266
TN
#1
Mid frequencies, especially low mids, find themselves in any tonal conversation, whether we're talking about live or recording applications. They really are the secret sauce to tone. I've heard so many people say boosting your low mids (anywhere from about 220 to 500) will help you be heard and more present in a mix. I used to be in that camp, with a slight bump in my low mids, and a slight cut in my high mids (with bass and treble flat).

However, in recent years I've reversed my thoughts on that, and favored a slight cut in the low mids, and a slight boost in high mids to give me a little rasp, some airy punch in the articulation, and just a hair of glass on the top end. I'm running a fender jazz (60's voices) through a Markbass lm3 and MB cabs.

Tell me: 1) Where are your mids these days? 2) What bass and amplification are you running it through, and...3) How does that lend to *your* sound?
 
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#2
I love mids. I always have at least one, of not two, semi-parametric EQ's to help with the mids - either for a quick cut (slapping, adding some sizzle, etc.) or a significant boost to add fretless mwah.

My favorite set up is a Fender Tone stack (BMT) with mids flat (this is typically mids at "10" on the knob) and then I use a parametric for tone shaping. I have two amps - an Eden Powered Navigator and a Demeter HBP-1 800. The Demeter uses the Fender tone stack, the Eden does not, but both have parametric mid capability.

Also critical are an HPF and LPF.

Nowadays i mostly use pedal preamps that fit the bill, and I have a couple of set ups with the same concept. Broughton Messenger with a Sushibox UA, Origin Bassrig64 with a Sine effects Nano para, SIB Fatdrive with Grace Designs Alix, etc.
 
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#3
moon-bass said:
I love mids. I always have at least one, of not two, semi-parametric EQ's to help with the mids - either for a quick cut (slapping, adding some sizzle, etc.) or a significant boost to add fretless mwah.

My favorite set up is a Fender Tone stack (BMT) with mids flat (this is typically mids at "10" on the knob) and then I use a parametric for tone shaping. I have two amps - an Eden Powered Navigator and a Demeter HBP-1 800. The Demeter uses the Fender tone stack, the Eden does not, but both have parametric mid capability.

Also critical are an HPF and LPF.

Nowadays i mostly use pedal preamps that fit the bill, and I have a couple of set ups with the same concept. Broughton Messenger with a Sushibox UA, Origin Bassrig64 with a Sine effects Nano para, SIB Fatdrive with Grace Designs Alix, etc.
Click to expand...
I'm with you on the pedal pre's. I just started that a couple years ago (with the BDDI). I just got a Broughton SV pre, and an RC Booster. Both sound great, though the Broughton crushes it with alt rock stuff. The RC has been very surprisingly underwhelming in my setup but I haven't gigged it yet, so we'll see. Interesting point about HPF/LPF, as I haven't felt the need for one. I have an HPF on my BassBone and haven't yet needed it. I kind of like a little of those subs hitting my backside on stage. Might have to do with my drummer, who's BD is really tight and not boomy. :headphone:
 
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#4
kbarboza4 said:
I'm with you on the pedal pre's. I just started that a couple years ago (with the BDDI). I just got a Broughton SV pre, and an RC Booster. Both sound great, though the Broughton crushes it with alt rock stuff. The RC has been very surprisingly underwhelming in my setup but I haven't gigged it yet, so we'll see. Interesting point about HPF/LPF, as I haven't felt the need for one. I have an HPF on my BassBone and haven't yet needed it. I kind of like a little of those subs hitting my backside on stage. Might have to do with my drummer, who's BD is really tight and not boomy. :headphone:
Click to expand...

I use the LPF to cut strong noise - I absolutely hate string noise :-)

I find the HPF really tightens up my sound and reduces mud. The fender tone stacks can add a lot of bass, so taking some of those low rumbles out can help.
 
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#9
Kyle_S said:
I have no idea how to EQ, so I have every knob except volume set to 12 o'clock on my GK MB110. If I want to change my tone, I just tweak settings on the bass.
Click to expand...
TroyK is right man, give a small tweak a try and just see. Start with low and hi mids, and bump one up and cut the other just a little. It'll make the bass *feel* different. When you get it where you like it really feels good in the mix. But be subtle. What styles do you like to play?
 
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#10
-Stingray said:
Slight cut in low mids, and slight bump in high mids for a live rock mix. Bass doesn't need to "cut" in a live mix. As a prior guitarist, every bassist that tried to make their tone "pop" in the mix by boosting low mids made everything a muddy mess and absolutely irritated me.
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It can happen, especially if you're over zealous. I am with you on the low mid cut, it just feels good in rock cuz those high mids push a little rawness and flavor thru the mix but your fundamental blends with the distorted guitars, almost like it's one big instrument
 
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#11
TroyK said:
It's been a tough learning curve for me, but it is worth getting comfortable with. Your GK has a nice 4 band EQ.
Click to expand...

I've always known I should learn how to tweak my amp settings, I just never really knew where to start. I've been trying out lots of different kinds of strings lately, and I've probably given up on some too soon when they just needed a different EQ setting to shine.

kbarboza4 said:
TroyK is right man, give a small tweak a try and just see. Start with low and hi mids, and bump one up and cut the other just a little. It'll make the bass *feel* different. When you get it where you like it really feels good in the mix. But be subtle. What styles do you like to play?
Click to expand...

I'm all over the place. Sometimes rock and metal with roundwounds on a Jazz or Yamaha 5-string, sometimes blues and R&B on a P-bass with flats. All my basses are passive. The Yamaha has an active EQ, but again, no EQ knowledge, so I just play it in passive mode.
 
#12
Mids are the one thing I tinker with. That’s how I adjust to a room. Same as with guitar. Usually (I mean Always but trying to pretend like there should be some leeway) when people say their bass or guitar can’t cut through the mix what the mean is “my EQ is shaped like a ravine and The Man said I had to do it that way”.

Short answer, set your tone how you like it, adapt your mids when you turn up to stage volume and to play in your mix.
 
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#13
I'm not the biggest tone junkie, but typically for a J bass, Dingwall NG3, or Ripper I will boost my low mids a bit and cut my high mids just a touch. I am not necessarily looking for a scooped sound and getting more of the low mid is helpful in sounding big, deep, and round. Especially when I'm trying to avoid sounding formless, deep, shakey, and loud.
 
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#18
Killing Floor said:
Mids are the one thing I tinker with. That’s how I adjust to a room. Same as with guitar. Usually (I mean Always but trying to pretend like there should be some leeway) when people say their bass or guitar can’t cut through the mix what the mean is “my EQ is shaped like a ravine and The Man said I had to do it that way”.

Short answer, set your tone how you like it, adapt your mids when you turn up to stage volume and to play in your mix.
Click to expand...

This is the same approach I have. Set the bass and treble to your liking then adjust the mids to the room and instrumentation of the band.

As much as I love mids, there can always be too much which can overpower a room (muddy booms), and drown out other band mates.

Also, slightly boosting mids to be heard in the mix is easier on your cabs than just feeding them more amperage.
 
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#19
kbarboza4 said:
Mid frequencies, especially low mids, find themselves in any tonal conversation, whether we're talking about live or recording applications. They really are the secret sauce to tone. I've heard so many people say boosting your low mids (anywhere from about 220 to 500) will help you be heard and more present in a mix. I used to be in that camp, with a slight bump in my low mids, and a slight cut in my high mids (with bass and treble flat).

However, in recent years I've reversed my thoughts on that, and favored a slight cut in the low mids, and a slight boost in high mids to give me a little rasp, some airy punch in the articulation, and just a hair of glass on the top end. I'm running a fender jazz (60's voices) through a Markbass lm3 and MB cabs.

Tell me: 1) Where are your mids these days? 2) What bass and amplification are you running it through, and...3) How does that lend to *your* sound?
Click to expand...

I play a MIA Fender PBj with VVT controls wide open. On my Eden Amps, the EQ is flat with a slight (2 or 3 clicks) boost at 165hz. With the same setting on my bass, the EQ on my Mesa WD-800 3 band Mid EQ is a lot more convoluted to get the same sound. Either way, it provides the perfect timbre for the 11 piece Motown Review band I’m in.
 
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#20
I usually wear a frown ...
download.jpg

i do like a low mid boost on certain tunes .
 
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