One More Time Before I Die
ArtNeuroOne More Time Before I Die

Another work in progress track. It's fresh off the press so to speak. Important to be doing new stuff. "Based on true stories, loosely based on facts." 


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6 Responses to “One More Time Before I Die”

  1. Rhythm and Blues review right here. The lyrics work as novelty fare, but you might consider a darker linear rework along the lines of **** Bill?
    The bass tone is “unique”, the high quality in the rest of the material
    makes me wonder why the choice to use “that” tone was made.


    • Well, There’s the process of elimination at the front end.
      I didn’t think the Rickenbacker 4003 prog-rock picky thing was right, and I didn’t want to go with the P-Bass because it seemed too ****** obvious and so I thought I’d go with the fretless Steinberger 5 string because I have the low, open B and I also wanted to have an upright-like feel with it, – like a ‘Canary in a Coalmine’ sort of vibe. So I went with that.
      Then when I was mixing, I thought oh “yeah Daug’s going to want the octaver down with the sub bass going” so I worked that in and voila, you hate it – which I have to say is not really what I expected.

      But overall, that was my thinking.

      • Don’t struggle with bass tone. No need to reinvent the wheel. Try this…
        Get something that works with a good eq curve. Make three copies of the track. Use a high pass on one. Use a low pass on the other and keep the original one pristeen.
        On the high pass you want to hear the finger and handling noise and the top end of the bass tone. Excite this part, maybe saturate the highs if the file is too weak. and spread it out over the stereo field, just a bit for flavor lol. This file will sound funny and tinny, We are only using it for a hint of flavor!
        On the low end pass set up the pitch shift an octave below 100% mix. Set up a vicious eq and do away with the part of the bottom you can’t hear but keep the part you can feel. Experiment with this idea until you understand the difference between things you can hear, things you can feel and things that are not felt or heard on a bass track. There are “new” harmonics so we gotta excite those as well. Eq the resultant and eliminate obvious mud.
        Now ya got three bass tracks. Using the original reference track with the stock eq we already like, add the other two sauces until ya get something that meets the needs of the tune. It is possible to automate this process to subtly change the bass tone as needed by the material, as a bass player would do during performance.
        Fretless and upright are different animals and require different approaches. The above works for electric bass and may not meet the needs of upright. The bass sound we want is contingent on drawing effective eq curves and heady mixing.


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