The real volume variance will come from the string attack we allow through. If you can't get that much with a very low threshold, then you should raise the threshold back up and increase your ratio up to 8:1 or even 10:1. This is not only wrong but it's not needed due to the separation between bass and sub-bass frequencies and the mid range and high-end. If you compress too much or have too slow of a release during sidechain compression, your bass will end up having a pumping sensation, where it seems to breathe. It is basically the amount of time the compressor waits until engaging once the threshold has been exceeded. This sounds more "musical" and less processed, which is always the goal in most genres. That's rarely desirable because you typically want to preserve the attack of the notes being played. By another progressive way, we turned the levels to around -9dB. Listen closely for negative side effects of overcompression, like pumping, breathing, and distortion. If you find yourself continually adjusting the bass fader during the course of the mix, this might be a clue that you need to compress the bass. Bass compression is possibly one of the most important parts of mixing, yet one that's easy to get wrong because the process is far more aggressive than you'd consider for other instruments. We as thoroughly do not recommend using LOW CUT on any bass or kick in this procedure as it makes wrong cuttings of the bass levels and ensures a clean method of the sound. Want to learn more about bass compression? Not all compressors will give you control over this parameter. It can also make a performance sound flat and lifeless, so be careful! This can make the compression gentler and more transparent. To start off, set your ratio between 3:1 – 4:1. You'll have choices between soft and hard. This will alter the energy of the track and totally screw up the groove. You can mute the kick drum if needed for now. This means it will need less compression. But the main benefit is adding another round of slight compression to provide glue and make the two instruments behave as one (to a degree). What I'm being forced to assume in this article is that you know how to clean up your track by silencing regions that are meant to be muted, that you've applied bass guitar EQ properly, and that you understand what a compressor is and how the options work. Even if you've applied sidechain compression to make the bass duck below the kick, send it all over to the summing bus. Now load up your DAW and get to work! You can actually time it to a quarter note or half note or whatever works based on your tempo and performance. In this article we'll show you how to get punchy bass without sacrificing the low end. This can help the bass cut through a mix, and it’s often a good approach for parts that are highly rhythmic. Here’s a great video on the topic: At this point, you should have a solid grasp on how to compress the bass like a pro. In most cases, a slower attack time is a better choice. I almost always recommend setting it to a soft knee and leaving it there, even on aggressive songs. If certain notes are getting lost in the mix, while others are too loud, this is also a clue that some compression might be needed. Waves’ CLA-2A plugin—great for bass compression! Some mixers claim serial compression sounds more transparent and natural. You can also apply an additional equalizer and any effects you may use. Learn more about, Delay & Echo: A Guide to Using Time-Based Audio Effects, Reverse Reverb - How to Create This Backwards Echo Effect, How to Master a Song: The Methods to Mastering Your Own Music. There's not a lot of in-between when it comes to the low-end. Electronic dance music, rap or hip hop, heavy metal, pop, or any other dense arrangements will require deep compression.

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