Bass Tutorial: Get The Most Out Of Your Bass Line

We bring to you another exciting installment in our “Fundamental Series”. The fundamental frequencies of bass-lines. Understanding these fundamental frequencies can be a key factor in bettering your engineer skills. 

Bass lines are a key component in music. They give the music movement & a sense of root/chord structure. Figuring out the frequencies with this instrument can be a challenge, especially when getting the bass to agree with other instruments.

In this video, we discuss a detailed analysis of the fundamental frequencies of a bass lines; more specifically, we will discuss the natural style of bass, such as electric & acoustic style bass guitars. 

We discuss how the lower sub frequencies is what the listener will feel & how the high mid frequencies is what the listener will hear. 

We will talk about & demonstrate what specific boosted frequencies will help the bass line have that extra bump without resonance frequencies building up. 

We discuss the high-mid frequencies that can help bass cut through on most speakers. We also take a look at different frequencies that should be cut to avoid muddiness & overcrowding throughout your mix. 

As with any aspect of music, the type of bass & song vary with frequencies; however, these key elements will point you in the right direction of a great sounding bass line. Your listeners & fans will enjoy the impact these techniques bring to your bass line without creating a muddy sounding mix.

If you’re interested in the fundamental frequencies for more of a synth style of bass, tune in next week as we discuss the fundamentals of a synth bass.

Follow along as professional engineer Eric “Realistic” Michael gives you a step-by-step guide on choosing the right frequencies to boost & cut for a bass line.


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Realistic is a Music Producer and Engineer located in the Twin Cities. He started out playing guitar and piano in 2003 and has been producing and recording music since 2004. He produces Hip-Hop, R&B, Pop, & Dance music.


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