#MIXING VOCALS CUBASE AI 5 FREE#

VST Bass Amp is nice, but as weвЂ™ve rolled off the low end and focused on the mids, why not try aВ VST Amp Rack guitar amp model instead? ThreeвЂ™s AВ Crowd? You could use any saturation plug-in in the same way, and if your amp tone is fairly clean you could go the whole hog and use your favourite amp-modelling plug-in. IВ selected the Tube Compressor for this track due to this processorвЂ™s Drive control, which allows you to push aВ slightly overdriven amp sound like this one that bit harder - you can be really assertive if you want, without the overall bass sound becoming aВ fuzzy, blurry mess.

#MIXING VOCALS CUBASE AI 5 FREE#

But the fun really starts when you experiment with the amped part, free from concerns of low-end solidity. SteinbergвЂ™s VST Bass Amp plug-in can be a great means of adding character to your lower-mid/mid bass track.With the two tracks operating in different ranges, the faders can be used to create the desired balance. You can bus the two tracks to aВ dedicated Group Track, on which you can apply further dynamics processing to and level automation of the composite sound. An amp often compresses the sound a little but DIвЂ™d bass can be very dynamic, so donвЂ™t be afraid to apply plenty of gain reduction to the DI to nail down the low-end. IВ chose CubaseвЂ™s Vintage Compressor for the low-frequency DI part, and the Tube Compressor for the more characterful amp track. With the parts restricted to their own range, dynamics control can be applied. Here, the DI and amp recordings are set to crossover at 175Hz. Finally, IВ rolled off everything above 8kHz, where the bass contributes nothing particularly useful.Д¬ubaseвЂ™s Frequency plug-in provides all the control and visual feedback you need to EQ bracket your bass tracks. IВ also added aВ little 4kHz boost, which IВ find often helps to bring out note definition created by the fingers or pick.

For the amped/driven track, IВ rolled off everything below the same frequency (175Hz). As weвЂ™re dealing with multiple tracks, IВ used FrequencyвЂ™s linear-phase mode. In the screenshot example, DI provides only the solid low end, so IвЂ™veВ rolled off everything above 175Hz (the ideal frequency will vary, but it will usually be in the 150-200Hz area) using aВ 12dB/octave slope, and everything below 50Hz at aВ gentler 6dB/octave. There are many options, but with our DI and amp tracks now in phase aВ good starting point is to insert CubaseвЂ™s Frequency EQ plug-in on each track. The screenshot above shows an amped track that benefitted from aВ slight negative shift along the timeline, and polarity inversion via the вЂphaseвЂ™ switch in the MixConsoleвЂ™s Pre rack the hollowness disappeared and my blended bass sounded much more solid. If you want to see whatвЂ™s going on, zoom right in on the waveform, but you must use your ears! Although the EQ brackets focus each part on aВ specific range, thereвЂ™s still some overlap, so start by checking the phase relationship of the two parts.В Phase-cancellation issues, in which the blended sound appears вЂhollowerвЂ™ than either sound on its own, can be tackled most easily by disabling snapping, and then shifting one trackвЂ™s part along the timeline.

This could be aВ traditional mic-plus-DI recording, or you could use duplicate DIs and treat one with aВ virtual amp, such as CubaseвЂ™s VST Bass Amp. To attempt this in Cubase, you need aВ bass part recorded to two audio tracks. In the final part of his Making Modern Metal in SOS March 2018 ( ), Mark Mynett describes aВ similar tactic thatвЂ™s often used in the studio: the bass is multitracked, and high- and low-pass filters are used to вЂbracketвЂ™ aВ specific range of frequencies on each track you process each range individually and blend them together to create a composite sound. When playing live, respected players such as Chris Squire, Geddy Lee, Doug Pinnock and Billy Sheehan get around this with dual amp setups aВ clean amp provides aВ well-defined bottom end, while aВ second is overdriven for more aggression in the mids. The electric bass guitar often has to provide a mix with both low-end solidity and mid-range aggression, but setting up an instrument/amp to deliver both is tricky: drive the amp for aВ more mid-range character and you can sacrifice low-end definition and solidity. When it comes to mixing bass, sometimes more is more, and Cubase has all the tools you need. Whether youвЂ™re going to EQ bracket or not, itвЂ™s aВ good idea to check and possibly correct the phase relationship of multi-tracked bass recordings.

Mixing vocals cubase ai 5