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You might not be able to put your finger on it, but often a DI bass in a mix is just missing something. Call it mojo, funk, tone – whatever it is, it’s just not there. It could be the DI itself that not living up to your expectations, which is why picking the right DI for your studio is so important to your career.
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There are literally thousands of plugins available to producers and mixers today. With these five tools alone, you should be able to take a well-recorded song and turn it into a radio success.
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No, this isn’t a stereo playback thing. It’s not a “your way is wrong and my way is right” type of thing either. This is about why more often than not, I find myself using two compressors when I’m mixing bass guitar.
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Most audio engineers find their way into recording artists one of two ways. They either played music themselves and had an interest in learning the recording side of things, or they started out with a passion for music without any musicianship and wanted a way to get into working with it every day.
When it comes to mixing the three main types (overdrive, fuzz & distortion), is one inherently easier to work with than another?
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