![]() You’ve heard the term “A440?” That refers to the fact that the note “A” corresponds to 440 hertz (Hz), which means 440 cycles per second. William Tell Problem Find out what frequency matches that noteĮvery musical note corresponds to certain frequency. Take a listen to a snippet of the song and you’ll notice one bass note really sticking out, first at 2.66 seconds on the word “town,” then again at 9 seconds, again at 16.2 seconds on the words “bow to him,” and a couple of times in the chorus. So let’s just say the problem note is a B-flat, as was the case with “William Tell” (written by Ken and Lisa Theriot), from my latest album Outlaws and Bystanders. These days, you could even hum it into a tuner app on a smart phone. You could do the same thing with a piano or any instrument you are familiar with. Then I hum the note to myself while holding my guitar, and play different guitar notes until I find it. I usually just listen to the recording and pause it just after the problem note plays. The first thing you need to do is find out what note is rattling your bones every time it plays. And the good news is this technique works just as well while you’re mixing as it does on the final mixed file. At least not with this particular problem. What if you’re on the road away from your studio? Disaster? Nope. But what if someone else mixed your song for you? You probably don’t even have all the individual instrument files. BASS NOTES SOFTWAREIf you have the luxury of being able to just go back to your studio, open your mixing software (I use Reaper), and edit just the bass, then yes – that is what you should do. Then everything goes back to sounding normal until the next time that note happens, etc. The boxy shape causes the sound to bounce around such that your room makes some frequencies sound louder than they are, and others sound not loud enough.Īnyway, so there you are in the car with your wife, listening to your song, and BOOM! – every time just that one note comes along, your skull shakes (and not in a good way) with how loud the bass sounds. This is one of many audio problems that can occur when you mix music in a home recording studio, which is probably a converted bedroom in your house, and therefore probably not the ideal place for perfect audio. This often happens even though you’ve applied compression on the bass track to try and prevent this very problem. But when you play the song on your iPod or in the car, you notice that the bass guitar notes are uneven – one or two particular notes always sound super loud whenever they occur in the song. I’m not saying I know anyone like that, mind you…Īnyway, your audio mix sounds pretty good in your home studio. So you’ve finally finished the audio mix for your latest song – no easy task if you tend to obsessively tweak your mixes way beyond the point where sane people would have stopped. Decades ago I'd do it with a 2-speed tape deck (since the double-speed was rarely a problem with bass lines) - now software means you can keep the tempo.Here’s a quick and easy way to fix a fairly common problem with an audio mix after you have already mixed a song down to a single audio file. (This is a natural result of octave overtones often coming out stronger than the fundamental.)īut I just use software to raise the octave, which brings bass lines out clear as day - into human vocal register (bass/baritone at least). When I hear a root note, its octave is not always clear. Usually I can get the main notes OK, but sometimes mistake the octave e.g., if I hear a root-5th alternating line, I sometimes think the 5th is below when it's above, or vice versa. The way I identify bass lines is I simply don't bother trying to hear them in their original register. Its me turning the bass line into a melody in a wayĪnd what's wrong with that? The important thing is that (a) you get the notes right, and (b) you remember it is actually a bass line! It should only need to be one or two octaves higher. Is it really as simple as I hum them a few octaves higher? ![]()
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