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How? Everything you need to know is right here at Female Studio Singer Online Vocal Tracks
The first thing to know about the Waves Bass Rider Plug In is: it’s not a compressor. A compressor controls levels by squashing and coloring the sound of the instrument or vocal being compressed. It’s not usually a huge coloration but it definitely changes the tone. The rider works like an engineer riding the fader. Bass Rider reads the incoming mix signal and adjusts accordingly.
There are maximums and minimums to the fader travel to set, which you can do by ear. The more even the original bass playing was, the better, but the Rider will adjust a pretty wide range of variation in the original levels. As a matter of reference, here’s what pro bass guitar sounds like.
But what if you want some complimentary motion in your mix? What if you want the drums up slightly, bass down in the verse but reversed in the chorus? In Pro Tools simply create two duplicate tracks with the Rider Plug In on each and set one overall volume up, one down and mute the sections according to what you want.
Note that you can still use a compressor if you like. I recommend inserting the compressor, your EQ plug, Max Bass and whatever else you use, after the Bass Rider. While it’s fairly common for most engineers to compress bass guitar automatically, with the Rider you may not find it necessary on some songs.
Often while producing your projects you’ll need a vocalist that suits your song. It would be wise to bookmark this page of session quality singers available online. One may be perfect for your next project!
The Waves Bass Rider isn’t the cure for everything, once again, great tone and even-in-volume playing, as well as tightness all contribute to how the bass guitar will work in your mix. But the Bass Rider is absolutely a must-have you should have in your plug in tool box- b.e. watson
Wow! where do I start?
I received a Tracks Online Project yesterday. It was sent in by another producer who wanted us to add fiddle and steel guitar to it, probably because the area of the U.S. he worked in didn’t have any world class players on those instruments. Or on any instruments judging by the recording. But the biggest problem I noticed, and the fiddle player did too, was four bars of the root chord just prior to where a fiddle solo came in.
The bars were useless to the song. They added nothing. Worse, if we left them blank there was nothing happening which means: boring!. If we put a little fiddle in there it sounded like solo and detracted from the impact of the fiddle entering at the real solo point. The fiddle player and I looked at each other dumbfounded…knowing exactly what the other was thinking: “Why are those bars even there?”
Sometimes extra bars are indeed necessary. Maybe you end a chorus and need a tonic chord for a couple of bars so the singer ends on a note compatible with the root key or maybe to separate the verse so the chorus singing doesn’t overlap.
But songwriters have a tendency to place useless bars after verses, after choruses, in intros and other places where taking them out would benefit, not hurt. Other “too many bars” situations may include introductions that are longer than necessary and “turns” that are double the length they should be. Typically this “turnaround” would be four bars long. Eight bars is usually to long and it starts to feel more like the main solo area of the tune. Try it both ways and if the shorter solo or turn feels better, go with it. Nothing is gained from weirdness or boring your audience.
Analyze your song for unnecessary bars and eliminate them.
Excessive use of stops and diamonds is a second pitfall best avoided (a diamond is when you play a chord on the first beat of a measure then simply let it ring through the next three beats). Diamonds can sound cool in the right spot but overuse starts to give the whole song a disconnected vibe. Ditto stops where the band stops on the initial downbeat then comes back in after four or eight beats. They are great tools that can add interest, just don’t overuse them to the point your song sounds strange and disjointed.
A third sign of an amateur is over use of pushes. A push is when the band plays a chord on the upbeat before the downbeat where it would normally occur. Tap your foot as you play and see if some chord changes are happening when your foot is up instead of down. That’s a push that would be noted on a chart with a check mark above the pushed chord. Pushes can work well at times but Adele’s “Hello” aside. you don’t usually want to turn your song into a pushfest!
All that being said all these points aren’t set in stone and I could cite examples of hits that ignore these “rules”. It’s a song-by song thing. What sounds downright weird in one song and needs to be fixed might work well in another. – b.e. watson
Back in the 70s and 80s when The Pittsburgh Steelers were winning Super Bowl after Super Bowl, Steeler’s QB Terry Bradshaw tried his hand at singing country music. His piano player was a young Ron Fairchild of the Oak Ridge Boys’ band. Out on tour one day they all decided to toss around a football. Ron says, “Terry, I’ll run a deep pattern, hit me with a pass just like you hit Swan (Steelers receiverLynn Swan).”
Terry replied, “No, you don’t want me to do that,” as Ron continued to insist he was ready. Finally, Bradshaw relented. Ron went very, very deep asnd Terry let it fly hitting Ron directly in the chest, knocking him down flat to the ground and hurting. The other band members thought it was hilarious. You can about hear Ron thinking as he pulled himself up off the ground, “Ok, so let’s forget this ridiculous football stuff and get back to music…”