i tend to run the bass through a gate, then into guitar rig where i split the signal. one of them has a heavy scoop on the EQ and is then compressed and DI'd. the other is just the mid frequencies i cut from the other going through a distortion unit on full, a fairly "metal" head, and a 4x12 cab. mix them in guitar rig until i like it, then logic's built in EQ to even out any unwanted frequencies and roll off below 100Hz (i generally like the kick to be lower than the bass guitar and i find it adds more clarity with the heavy distortion), and finally compress it with a very slow attack, a quick release, a fairly high ratio, and the threshold set wherever it needs to be to make the sound more consistent the distorted midrange really allows the bass to almost fuse with the guitars and make a huge wall where the clean low end and high end give it the deep bottom and click-y top i love in a metal tone. it's like korn meets muse
Studio one's Splitter function is amazing for bass. Similar to patchwork or metaplugin where you can run parallel chains from a single channel. I've tried the Sub/Upper Bass/Attack separation method, but my favorite to get solid bottom end from a sloppy performance is to keep one track really pretty dry, low pass it at about 300hz, and hi-pass at about 100hz. Apply some LA-2A or something nice and gentle, and then a bunch of saturation to even out/distort the filtered signal, then use a sub-octave generator like bx_sub/aphex big bottom/Rbass, etc to get a really LOW bass sound without dealing with the problems that frequently pop up in the sub lows with cheap instruments or bad playing. I find it much easier to control the energy in the upper bass (90-200ish) and generate a low octave from that, rather than trying to use a multiband compressor to control the low end.. maybe its the way the crossovers work in a multiband, but it always think it sounds better to take my Frankenstein ultra low-end track and blend it in with a distorted (mostly) full range track. Then compress the hell out of the whole thing.
Really funny just recently I decided to try the Fabfilter Saturn on my bass guitar plugin chain randomly trying to get a more overdriven tone, it just seemed like it worked really well, cool to see that it's being used by someone like Nolly, although I wasn't aware of the plugins ability to be multi band, so that's helped me out alot with dialing in the right sound. Thank you :)
Probably my favorite current producer/engineer on the planet. If I could have anyone mix my EP or album, it would without a doubt be Nolly. Super cool to get some insight into how he mixes for the rest of us.
That's generally a good thing, so there is more room for the kick. You only want to get a little sub bass back as he showed right at the end of the video.
Love Nolly but don't understand why he'd cut the sub low just to add it back in artificially via Waves R-Bass. I'm sure he has a reason, but that move just confused me. Someone help me understand?
ive been looking for a plugin like that fab filter one for a while. always have been a fan of doing specific processing on bass to certain areas of the frequency range without having to split off into a bunch of tracks.
Sweet tips! Am I right in saying that this is just for creating the bass tone,would further processing then have to be done to mix it? Or is this pretty much "mix ready"?
I would think after making the basic tone you then add the bass track into the mix balancing volume and further eq’ing. Making sure this doesn’t clash with the kick or guitars Adding a side chain with the kick is my favorite secret sauce
Guys a question. What was Nollys first band? . It was an English band, I remember I have seen a video of them playing in a rehearsal place and it sounded awesome. It was different from Periphery, more on the hard core side of things. I can't remember their name so unfortunately I can't find the band. It was possible something with a word red or at least an r in their name if that helps 😂😂🙏
I need help! I feel like I’m either having to cut too many lows of the bass or too much. As soon as I get to b and below it seems like a lot less low end is necessary.
I couldn't believe when I heard Nolly say he likes the Redwirez SVT mic'ed up with the MD421. Without prior knowledge or EVER seeing this video before, I am also using the Redwirez "SVT810-421-CapEdge-5in.wav" in nearly all of my compositions.
Anyone have a similar patch for axe fx 3? I'm trying to make one,..don't have the saturn plugin, but I feel like the ax fx 3 has the guts to get this sound...just have to have 2 tracks......there's no 8 x 10 svt cab ir built in to the axe fx3....I might have to throw down for that...but would rather not if I don't have to!!...
the thing with live is that the PA and room are always too crap to be able to really hear any nuance. So a distorted bass is just a distorted bass, no matter which boutique distortion you use. Anything will work as long as it sounds a bit passable and it will do the trick. Live, no-one cares except you as a musician… No-one else will hear it.
Some people I know load the sounds into Kemper Profilers and use those instead of regular amp-heads. But santibanks is right. The subtleties are usually gone in a live room.
not related to the bass tone, but that bus compressor (any will do the trick, actually, just aim for around 8-10dbGR with fast attack & fastest possible release) on the drum room track is hell of a trick.
Does anybody know any plugins that are either free or logic stock that can have the same functionality as the fabfilter saturn? I really prefer to not split the bass tone for distortion onto another track.
@@DavidWoodMusic i can bet you my left nut that if you gave Nolly the $150 bass and he gave you the dingwall he'd still get a 10x better tone. Gear does matter, but not nearly as much as skill
@@DavidWoodMusic alr then, once you get a dingwall please shoot me a recording and we'll see if you can nail Nolly's tone just by paying money, I'm waiting :)
Not sure if it's my headphones or my hearing is just very very bad, cause' I can't tell a difference between those bass settings in the beginning of video.
Don't forget you're listening to audio that was encoded for a video file, and then re-encoded by RU-vid. There's a lot of data loss and the sound you're hearing is far from what Nolly's hearing as he's mixing this.
Experience, you can Boost with a narrow bell, if you find a “whistle” that doesn’t change in pitch a lot it’s probably that, however if you boost too much every frequency will be annoying that’s where experience comes into play to know which ones you should cut
So sick ! I've acually bought this nail the mix session and I still think the Bass Amp track is far superior. I wish he could re create it on camera for all of us 🔥🔥🔥🔥🔥
Yeah I now got the B7K ultra into a solidstate head with a tube pre, which gives a beast of a sound. Now looking into maybe upgrading the pickups (2x MM style). You think that would even be worthwile after putting the signal through all these pre amps and if so, found anything that comes kinda close to dingwall?
Awesome video! Will this whole masterclass be available to subscribers for the foreseeable future? Cannie afford it at the moment but hopefully by the end of the year.
