User manual IZOTOPE TRASH RECIPES FOR BASS

[. . . ] TrashTM Recipes for Bass Recording bass directly into a computer has a lot going for it: a clean, simple, direct and punchy sound -- and no need to wake the neighbors. With a little Trash, though, you can keep all the benefits of recording direct and still add some character and realism to your bass tracks. Or, you can just make it sound downright strange. Not just the typical 4 string bass, either. [. . . ] Because if we didn't have it there, the middle band would continue trashing from 300 Hz all the way up. And since you've probably got fret noise, pick noise and maybe even electrical or RF noise up above 2 kHz, adding distortion to this range is just going to create noise. So the third Trash band is there specifically for not adding Trash in the upper band. Bonus Tip: As you work with multiband effects, you'll see horizontal lines appear on the upper mini-spectrum when you select a control. These are handles to the setting that you've selected, but for other bands. So without switching bands, you can drag these handles up and down to adjust the same parameter for other bands As an example, for the screen below, we've selected the lower band and we're adjusting the input gain. We could adjust the input gain for the middle and upper bands with the horizontal handles on the spectrum. Trash Recipes for Bass Page 18 of 40 © 2004 iZotope, Inc. Project 11: Smooth Out the Bass Preset Used: Bass Simple Dynamics Purpose: Use the Squash module to smooth out a bass part with compression Moving on to the Squash module, we're going to create a few different compression presets for bass. For an overall view on compressors, check out our mastering guide here http://www. izotope. com/products/audio/ozone/guides. html. We'll assume you understand what compressor controls do in general, therefore, and just move on to compression for bass applications. Distortion is an effect that works on level. A louder signal will generally be more distorted. If the level of your track varies, your distortion will vary. This might be what you want, but for something like bass, which sits as a sort of foundation for the mix, a consistent level and therefore consistent distortion is usually a desirable thing. The "Bass Simple Dynamics" preset rounds off the top of the bass. A relatively fast attack (10 ms) and release make sure the sharp transients get compressed. Trash Recipes for Bass Page 19 of 40 © 2004 iZotope, Inc. Project 12: Add Some Attack Preset Used: Bass Dynamic Attack Purpose: Use compression to bring out the attack in bass. Completely different goal than in Project 11. Here we're going to compress the body of the bass, but let the attacks go through unaffected. By adding some makeup gain, we can bring out the attacks while still compressing the overall level. What we've done is simply increased the attack and release time. This lets "short" peaks go through without compression, while longer "body" tones are compressed. Take a listen and you'll hear a more full body with enhanced attack, at roughly the same level as an unprocessed track. Bonus Tip: The order of the modules in Trash has an effect on the sound. [. . . ] Bass Project 23B: Used a piano as a box model. Gave it a nice harmonic ring and started to sound Beatle-ish in some way. OK, added a lot of delay for a sort of trippy trancey sound. Trash Recipes for Bass Page 35 of 40 © 2004 iZotope, Inc. Project 24: Buzz Preset: Bass Slapback Purpose: Get familiar with the Buzz delay module Go back to the Bass Roslindale Cabinet preset but turn on the Buzz module. The upper portion of the module sets the delay parameters, while the lower portion provides an EQ for specifically shaping the response of the delayed portion of the signal. This filter section in the Buzz module only affects the delayed signal - not the dry signal. [. . . ]