Here's a tip: Use the chorus on an AUX channel (like you're doing in this video), and then send from the chorus return channel to a Room AUX... puts the chorus into a space adding depth. If blended right between the bass send, and the send from the chorus to the room verb, should have a tight, yet big, bass with movement and depth that tucks into the mix nicely
Andy's bass processing has fascinated me since I first became aware of mixing. The "chorusing trick" on Thirteenth Step is on point, and only recently I realized that the distorted bass channel on Evil Empire is pretty much always hard panned to fill the stereo image. Crazy, yet so effective. Hope to get more Andy Wallace stuff. I would have killed for something like this when I was first starting out, keep it up, the channel has great potential.
Loving the Andy Wallace series here. Have been using the Valhalla stuff for a while, never knew that symphonic was a Yamaha emulator. Pretty slick stuff. Great work as usual here. Thanks for tip 🎸🎸
@@klaralux8114 yes you would. You would lose the bottom end of course, but the chorus gives the bass its personality. Of late I’ve split my bass signal at 200hz. Bottom end heavily compressed to just sit there. The rest is what you then put the chorus effect on - so it doesn’t muddy up the bottom but does sound lovely at 800hz ish and above
check out the bass on sting "we'll be together", that is the penultimate of all time, and I played bass for years. the chorus on a stereo bass chorus from boss will have a crossover point so that the low frequencies avoid the effect, this way it sounds like you get the effect but it doesn't get muddy. this is the key and also to make sure you have new strings or there is no point to get this effect on the top end. then send the low frequencies to a synth harmoniser, just check out the sting song "well be together" in high res. Hugh Padgham always got great bass sounds, check out Peter Gabriel sledge hammer.
Great video! I use this trick for some time now (I think I got it from Rick Beato). Actually using my Yamaha outboards for this. Either the Rev7 or the SPX990. Works also nice by combining it with a distorted version of the bass. Last time I used it I had a mix of a very heavy distorted version of the bass, the DI track, and an amped version (ampeg bass cab). The DI get's fully sent to the REV7, the distortion just a tiny bit (mostly to get that top end in the chorus). By automating the volume of the DI and distortion tracks, I could get more movement out of it by balancing however I needed it for a particular section of the song. Really great!
Wow, the name of that mode with the SPX are identical! Does the Ensemble360 mode attempt to emulate or is it inspired by a particular hardware sound/preset?
Hello everyone, I hope someone can help me. My question is, do you know if Andy filters the bass before or after the effect to leave the low end in mono? And if so, to what extent? Because other engineers who use similar techniques can clean up to 1000 Hz with a low cut looking for a more modern sound. But with Andy it doesn't seem to be the case, it seems that he applies it in a more "simple" and raw way, in a good way i mean, at least in his older mixes where the bass has a perfect sound for my taste. Maybe today I filter it to get that more modern sound than mentioned before. What do you think? I'm looking for the sound he used for Nirvana or Social Distortion albums in early 90's
I think in modern days it's better to cut some low end on the send with bass chorus/flanger cause you don't need too much low end in stereo. Even better to make it on the side leave mid untouched
How does a chorus preset end up having a strange stereo panning effect and how is this supposed to sit in and help a mix? Seems like a very specific case scenario here... Maybe post a video of these tricks in a mix situation so we can judge a bit better if they’re of any use? 😇. Thanks for sharing BTW.
Blend it in subtly on a mix and you'll notice how huge the bass can be. Check out Andy Wallace's credits and you'll hear it all over the place: www.allmusic.com/artist/andy-wallace-mn0000031718/credits
Eb/D# is at 38.9 hz and E is at 41.2 hz. If you want to boost the fundamental harmonic, anything close to 40 will do you just fine. The 2hz difference on a bell curve will be basically inaudible.
duplicate the bass channel .pan them to left and right (dual mono) And create a bass sub group .Finally create aux channel ,add short plate reverb .Send your bass group to plate reverb and share results with me .Tell me what do u think ?
By doing that you're creating a false stereo, which is actually just mono. If you have the same signal panned left and right, it just sounds in the center, maybe a bit louder.
@@Mixingmachine774 The problem is that you are wasting resources in a useless track. It is essentially the same to use the mono track and send it to the plate reverb than to do what you say
@@Mixingmachine774 I did these kind of things during months before I started learning how sound works. I am sorry to tell you, but this is not a mixing theory, this is basic sound physics. What works for you is the reverb send, not the duplication of the same track. But well, if it works for you, keep doing it, no problem.
