this is a small portion of a song of mine,
I have spent days trying to find a good relationship between the guitars and bass but I have not achieved, I like the sound of bass, is already equalized, the guitars are without any kind of processing, as much as try equalize them I can't get to a a result satisfying guitar sound (that full guitarr sound) I need HELP
I have little money but if someone is interested in helping me I can create original arrangements of strings, piano or other type of synth for your songs.
I think the problem with the guitars could be my ears or the guitar tone
I really need Guitar guru to help me
If you are interested send me a PM
if not you can always comment on what you think is wrong in this mix
thanks all
Hello,
please forgive the repetition if it is here:
Like previously mentioned source is critical---how are you recording your guitars/what gear or chain of gear? Make sure you've got your basics covered with that first.
For example: are you getting optimal gain from the guitar itself, and also throughout the chain of your gear into your audiointerface? Getting enough gain with a balanced signal (dynamics, frequencies) from the get go helps any mixing (or amp-sims) done later. Esp, with distorted GTR and bass gtr (for any genre), if you have weak or unbalanced signal into the computer or amp you aint going nowhere fast. DBL check your recording process, read some stuff again, aint no shame friend
If changing the source isnt an option remember the
perception of audio is a freakin illusion, and this fact makes mixing/mastering a strange balancing act that takes place within specifically limited parameters (the end result being wav,mp3, itunes files etc). In normal ppl words and perhaps obviously: what specifically relates to you elec-gtr and bass balance is, the
perception of balance ("the relationship") and thats all that freakin matters, everything else either gets you there, or it drives you in the wrong bloody direction.
How you balance frequencies (eq) and dynamics (compression, expansion) is what will give you the perception that these two instruments work together independently or are the same musical expression dependent on one another.
An example: (given the rest of the mix's content) cutting 12 db at 60hz for the electric-gtr may make the bass seem hefty bc you can now hear 60 hz for the bass without the gtr in the way, while cutting 6db at 60hz for the gtr may make the entire mix feel like amount of "hefty" is completely (and ideally: not noticeably) appropriate. Conversely: boost this same freq for the gtr may make the entire mix seem cloudy/boomy. There is a middle ground with eq and dynamics---insist on finding it.
In short never make final actions for the mix in solo. Solo buttons are great for detective work and incredibly handy when you're just starting the mix (likely tracks are at their worst muddiness or obscurity), but ideally as the song is being mixed/mastered the dynamics and frequencies will slowly be brought into balance removing freq/dynamic obscurity, thus removing the need for using "solo" to understand your available painting ingredients.
ANYWAYs, other than just spanking them basics and showing who runs the show, always know that the entire song, and the existence of other instruments in it, inform your ears. It just gets weird sometimes---sometimes having 20 db boosts at 60hz on a piano will make the entire mix seem filled-out and weighty (this assuming the other instruments lack 60hz, and that the musical arrangement of the song has the piano part playing an appropriate amount of music to give the entire mix such an amount of info at 60hz). Sometimes cutting 20db at 12khz on your drum overhead mics brings your top-end sheen into focus (assuming the OH mics had an unholy surplus of sparkle-shine at 12k and was shame-crapping on your mix, while all the other tracks had an appropriate amount of top-end near 12k). Again your goal is always the unified experience of the entire mix---for a pro sound you want killer gtr and bass relationship within an entire mix that seems "just right" for the musical/emotion purpose the artist originally intended. When in doubt and when stuff gets funky, use reference mixs, take ear-breaks, bypass in/out your plugs or gear.
Mantra to chant to yourself when mixing/mastering: "everything affects everything".
Tracks in, and changes to, your mix are: eroding the perception, maintaining the perception, or enhancing the perception
best,
-MadHat