The low end of a song is the foundation, and it’s very crucial to get it right because when it’s not mixed well, the entire song will fall flat.
Getting it to sound great is not a complicated process, and this is what this post will reveal.
It’s also important to mention that your low-end instruments should work well together.
If the bass and kick are clashing, then you’re fighting a losing battle.
In order for you to get the best results, you’ll need to choose or record sounds that complement each other.
For instance, if your kick drum is already sub-heavy then record or design a bass that has fewer sub frequencies and vice versa.
Once you’ve got your low-end instruments working well together from the source, you can start mixing them with confidence.
How to EQ Bass Guitar Like a Pro
Mixing music is an art and not a science, so use the following suggestions as a guideline.
Every song will require a different approach.
The goal is to have enough bass to complement every other sound in the mix.
Too much bass can result in muddiness, and your song will lack clarity. Not enough will make the song sound too thin and uninteresting.
In a world where music consumers have subwoofers in their homes, everyone wants more bass.
So, it’s very important to get the perfect balance of bass frequencies to give the listener what they want.
OK, enough talking; let’s get into the practical stuff.
High Pass Filter for Sub Bass Roll Off
The lowest note on a bass guitar is an ”E.” So this means the lowest frequency for a bass guitar is 41.2 Hz.
But after recording a bass, you’ll see a lot of information below 40 Hz. This is usually rumble, and you don’t need any of those sub-frequencies.
Keeping those frequencies can cause a lot of mud in the low-end and because they’re not musical, they often clash with the kick.
Another benefit of cutting the rumble out is that you’ll create more headroom for your mix to become louder during mastering.
If you’ve ever wondered why your mixes can’t get loud like your favorite songs, this could be one of the reason.
The low-end takes up too much headroom; this is why you need to keep it clean whenever necessary.
All you need to do to eliminate all the unwanted rumble is create a high pass filter from 31 Hz to 40 Hz.
This should be enough to remove the rumble without making the bass sound thin.
Control Resonance Frequencies
In a situation where the bass player gets too excited or if you’re recording using a pick, you might find that some parts of the recording have resonances that are way too loud.
You’ll need to deal with those resonances so that you get a consistent level throughout the entire song.
Since resonance doesn’t occur all the time, you’ll may need to deal with it using a dynamic EQ.
You also can’t use a multiband compressor because you’ll need a very narrow cut.
The reason you may choose to use a dynamic EQ over a static one is to avoid making the bass dull in sections where the resonances don’t occur.
You can use a frequency analyzer to find these loud resonances and cut them dynamically.
Make sure that your dynamic cut is only compressing the problem frequencies without affecting the quieter parts.
Add a Low Pass Filter (High Roll Off)
The meat of a bass guitar is from 60 Hz up to 1 kHz, and then you’ll have some overtones until around 5 kHz.
The human ear will usually focus on the midrange, which is around 1.5 kHz to around 5 kHz.
Everything above that will be occupied by other instruments that are in the mix.
There isn’t much harmonic content above the 5 kHz range for a bass guitar. So, cutting some of the higher frequencies helps the bass occupy its own space.
This will also create space for other sounds such as vocals, trumpet, hi-hat, cymbals, etc. without the unnecessary noise from the bass guitar.
Cutting some of that top-end noise is really important if you’re mixing a dense mix to avoid any clutter and frequency overlapping in the high frequencies.
You can use a low pass filter, if necessary, to cut all the frequencies above 6 kHz to 7 kHz.
This normally removes the unwanted noise without affecting the attack, clarity, or necessary harmonic information.
Decreasing Muddiness and Boxiness
When you ask most top mixing engineers, such as Chris Lord-Alge about using cuts on a bass sound, they’ll tell you to avoid doing it.
I strongly agree with this approach and also recommend that you boost all the good parts of the bass guitar until the muddy stuff is reduced in loudness.
However, I understand that in some cases, you could be dealing with a really bad recording or sound design, so in that situation, you apply a cut or two.
The main reason some engineers don’t use surgical EQ is that the bass is often dynamic, so the notes keep changing.
This means the frequency response of the bass will also keep changing.
So you could fool yourself into thinking you solved the problem, only to find that you only reduced one loud note and ruined a good performance.
This is why I’ll recommend you use a wide Q-factor so that you don’t only affect one note.
I would also urge you to utilize a multiband compressor or dynamic EQ to control the muddy area dynamically instead of applying a static EQ cut.
Using a dynamic EQ will keep your bass guitar sounding natural and musical.
A static cut could make the bass sound thin in other parts of the song.
You can find and reduce the muddy and boxy frequencies of bass from around 200 Hz to 500 Hz.
Fixing a Thin-Sounding Bass
Whenever you’re mixing a bass that’s lacking body and fullness, you need to be careful because most beginner engineers will usually boost the low-end and cause a lot of muddiness.
You need to be sure if the bass is lacking body, attack, punch, or clarity. Boosting the wrong frequencies can cause a lot of clutter in a mix.
If the bass is sounding too thin, that’s when you can increase the lower frequencies between 80 Hz and 200 Hz with a wide boost.
This will increase the body and make the bass guitar sound fuller.
When you boost these frequencies and hear the kick, snare, congas, or keys start to suffer, then either you boosted too much or you increased the wrong frequencies.
This means your bass is not thin-sounding but it’s just lacking punch and intelligibility.
Getting Bass to Cut Through the Mix
To get a bass guitar to cut through the mix, you’ll need to increase the higher midrange frequencies.
Boosting this part of the spectrum will bring up the attack and make the bass sound much clearer without being overpowered by the rest of the instrumentation.
Improving attack and clarity often helps bring up the string noise, which can make all the notes more audible throughout the entire song.
This is usually done if the bass guitar is sounding muffled and dark in the louder parts of the song.
Attack and clarity are often found between 1 kHz and 5 kHz.
Sweep around that frequency range until you find the sweet spot, and create a small boost with a wide Q-factor.
Use an clean EQ to get a transparent boost.
But in some instances, you might need to use a multiband saturation plugin to create a colored boost.
Saturation will enhance the bass tone while adding some character. This will make the bass audible on small speakers and headphones.
Make Space From Other Instruments
In some situations, all you need to do is create space for the bass guitar to pop by cutting out certain frequencies on other instruments in the mix.
Sometimes the bass is not even the problem. The piano could be masking the bass and preventing it from shining.
Start by muting sounds such as the guitar, vocal, organ, piano, pads, strings, etc., then listen to figure out which one is fighting for the same frequencies with the bass.
Don’t mute them all at the same time. Instead, mute them one at a time.
Keep muting and unmuting each sound until you’re sure that the particular instrument is not the problem.
This will help you find the root of the problem. You’ll be able to find out what’s preventing your bass guitar from sitting perfectly in the mix.
Another trick you’ll need to try is to start panning the other instruments left and right.
This will open up some space to help the kick and bass dominate the low-end and the center of the stereo image.
Once you’re sure that the bass guitar is the problem, you can start cutting unwanted frequencies and boosting to enhance the tone.
Bass Guitar EQ Cheat Sheet
EQing bass guitar can be one of the most challenging aspects of mixing. If you're having trouble crafting a bass that sounds balanced, full, and punchy, you're not alone.
The key to nailing bass guitar EQ all the time starts at the source. Always keep this in mind, you can’t polish a turd.
Here’s a cheat sheet that will help you figure out which frequencies you need to cut or boost to get the best bass sound possible.
- 80Hz - 200Hz: Body and Fullness
- 200Hz - 500Hz: Muddiness and Boxiness
- 500Hz - 1kHz: Punch and Intelligibility
- 1 kHz to 5 kHz: Attack and Clarity
Punchy Bass EQ Settings
The best frequency for punchy bass is subjective, but a common approach is to focus on the lower midrange and upper bass frequencies.
Boosting around 80 Hz to 120 Hz can add a solid foundation to the bass without overwhelming other instruments.
Experiment with narrow cuts or boosts around 500 Hz to 800 Hz to control the presence and attack of the bass, depending on the mix context.
Equalizing DI and Amp Bass Tracks
When it comes to achieving punchy bass tones, equalization plays a crucial role in shaping the sound.
For DI bass tracks, focus on the low-end frequencies first.
Use a parametric equalizer to boost around 60-80 Hz to add weight to the bass without muddiness.
To enhance the attack and presence, apply a narrow cut at around 400 Hz to reduce any boxiness.
Additionally, gently boost around 1 kHz to add clarity and definition to the midrange.
For amp bass tracks, emphasize the character of the amplifier by boosting around 100 Hz to 200 Hz.
Adjust the presence by boosting or cutting at 800 Hz to 1 kHz, depending on the desired warmth or aggression.
Clarity - Finding the Sweet Spot
Clarity is paramount in achieving a punchy bass sound.
To enhance clarity, emphasize the upper harmonics with a gentle boost around 3 kHz to 5 kHz.
This helps the bass cut through the mix without sounding harsh.
If needed, make slight adjustments to the high frequencies around 7 kHz to add air and sparkle to the bass sound.
Live Bass EQ Settings
For live bass EQ settings, simplicity and quick adjustments are key.
Start by attenuating any extreme low-end rumble below 40 Hz using a high-pass filter.
Boost around 80 Hz to add warmth and fullness to the bass.
To avoid muddiness, apply a narrow cut around 250 Hz if the bass competes with other instruments.
Enhance the presence and definition by gently boosting around 1 kHz to 2 kHz.
Lastly, apply a high shelf cut above 5 kHz to control any excessive brightness that may arise from live sound systems.
FAQ:
Do you need to EQ the bass?
Yes, EQing the bass is essential. EQ helps shape the bass sound by adjusting frequencies.
Boosting certain frequencies adds depth and punch, while cutting unwanted frequencies reduces muddiness and interference with other instruments.
Proper EQing enhances clarity by defining the bass in the mix and making it stand out.
Whether for recorded tracks or live performances, using EQ on bass ensures a balanced and professional sound.
What is the best EQ for worship bass?
The best EQ for worship bass depends on the specific bass tone desired and the overall worship environment.
Focus on boosting the lower midrange for warmth and fullness. Emphasize the upper midrange to enhance the bass's presence and definition.
Gentle boosts in the high frequencies can add clarity. Tailor the EQ to complement the worship band and venue acoustics.
You can use the cheat sheet above as guide.
Remember to keep the bass sounding balanced and supportive of the worship atmosphere, allowing it to blend harmoniously with other instruments and vocals.
