Mixing the "thump" and "pop" differently

[namuxtree]

How do people mix bass so that when the bass player is filling the foundational role it sits right in the mix, but when they play something dynamically different, like the pop in slapping or a lick while digging in to get more bite, it seems to have a different mix altogether?

Case in point:

The "root" or "bass" notes are warm, round, deep, and right where it needs to be in the mix, but the pops are much more subdued level-wise and very clear.

My guess would be that they either have 2 inputs like a DI and a mic or they take the same track, double it, and EQ them differently.

Anyone with experience in this have any input?

 

[Bassbeater]

I think it's just compression and EQ. You need to have fresh strings to get a sound like this.

 

[guts]

When you have a great performance, you don't want to do too many unusual things to the recording that could obscure the beauty of the action of the player's fingers on their instrument. You want to keep the adjustments to the minimum. Just what's required to bring out the details of the performance in the mix and make it play well with the other instruments.

The sound that was achieved on that recording is caused by the bassist performing the sound. There's definitely some kind of EQ whether it's the knobs on the instrument, the amp, or in in the DAW and there's very probably some compression as bassbeater said, but you almost never have a track where there isn't at least a small amount of compression on the bass. They didn't use any special effects to get that sound in the recording process, or at least doing so for this bassist would be unnecessary as it can be done without them. The bassist just has control over the sound that the instrument produces.

They're balancing the tone, articulation and dynamics of the performance with their hands and their ears.

 

[J Posega]

Gotta use your ears. The majority of mixing is just a bunch of cases of applying compression and EQ until it all sounds right.

 

[bkbirge]

I can't listen to the example video but it is very common in the studio to have 2 or more tracks of takes using different instruments and then combine them to one track that sounds best. It is also just as common to have a single track from a good player that knows how to adjust his dynamics and sound on the fly with his fingers. No way of knowing which is this particular example unless you know someone involved in the production.

 

[J Posega]

Just actually listened to the track. Since it's live, it very well could be a DI and mic'd signal mixed to taste. Maybe they're using one more for lows, the other more for highs, but perhaps not. Impossible to tell.

For slap stuff and playing that switches techniques, I find a multiband compressor or dynamic EQ can help to catch the peakiest notes from each style and get things nice and even sounding. But other engineers can get things sounding even sweeter using standard compression and EQ, so it really does come down to using your ears.

 

[JRA]

My guess would be that they either have 2 inputs like a DI and a mic or they take the same track, double it, and EQ them differently.

it's possible, of course, and not that uncommon in many recording processes/projects, but i'm with the group: the player is doing his part + compression and EQ for the sound we hear in the video. i'm not hearing anything unusual or which couldn't be done with 'standard operating procedures'.

 

[Badwater]

Have you tried to do side chain compression to bring the bass forward in the areas you want? You can also side chain the limiter to do the same. The mix is where the magic happens. EQ is the key when it comes to many instruments and vocals going on. Very complex to work with. A mixing challenge of epic proportions.

 

[seamonkey]

an alternative that may work for you: Bass Rider | Plugins | Waves

 

[JimmyM]

It's all about technique. There are times he's playing lightly closer to the neck to make it sound dark and foundational, and then he slaps in a way that gives him a big fat low end but has a very bright high end response with a tweeter to bring out his slaps and pops. It's 95% about technique and 5% how it's EQ'd. Compression is very much optional. Some people use it but I don't. It can help, but I worked very hard on my technique to get my slaps, pick playing, and fingers playing to be all at the same relative volume consistently instead, and while I'm not claiming to be as good as that guy I am much better off as a musician for having worked on the technique first before I ever added a compressor. And now I don't even bother with it anymore. The house can compress me mildly if they want as long as they don't squash my sound, but I work better without it in my amp.