We as thoroughly do not recommend using LOW CUT on any bass or kick in this procedure as it makes wrong cuttings of the bass levels and ensures a clean method of the sound. Many people will solo the track they're working on. The goal is to let the attack shine through and then immediately begin compressing. Learn more about, Delay & Echo: A Guide to Using Time-Based Audio Effects, Reverse Reverb - How to Create This Backwards Echo Effect, How to Master a Song: The Methods to Mastering Your Own Music. The attack should let the bass' attack through and then clamp down immediately, while the release should be timed with the tempo. In most cases, a slower attack time is a better choice. Every non-digital instrument has an attack to it, including vocals. This can help the bass cut through a mix, and it’s often a good approach for parts that are highly rhythmic. If you don't have a subwoofer, you're going to have a hard time even hearing the sub-bass frequencies or the upper bass registry that well. For more pitfalls to avoid, check out this article on compression mistakes. This can push the bass back in the soundstage, and make it sit more evenly in the mix. Otherwise, a) the very loud notes would be extremely compressed, and b) you would end up compressing all but the quietest notes, so the bulk of the bass guitar track would be compressed when it really isn't necessary to do so. This can be particularly problematic in softer, mellower styles of music, where some degree of dynamic range may be desirable. I'll walk you through it and show you what's too much and what's just right... Compressing bass is a fundamental part of any mix, and getting it right means having a great foundation to a song with well-balanced energy and an intelligible groove. While a great bass sound will rarely draw attention, getting it right is one of the keys to crafting records that sound thick and solid. Not all compressors will give you control over this parameter. If you've done proper gain staging you should start seeing some gain reduction at this point. This will often lead you to decisions that sound great in solo, but don’t hold up in the rest of the mix. And don’t forget about your DAW’s stock compressor—it can often do the job quite well! However, in genres like EDM, they can often be desirable—if carefully timed to enhance the groove. This means it will need less compression. It can also alter the tone and intelligibility of the recording by shaping the initial attack of each musical note. Your goal, with bass that typically has long notes, is to find the right timing where the gain reduction gradually returns to 0 dB before the next note occurs. Bass is often felt as much as it's heard and can place a great load on speakers and headphones. And your bass will sound horrible and unnatural, too. This will alter the energy of the track and totally screw up the groove. So how do you achieve a world-class bass sound in your mixes? We want to level off and reduce dynamic range, so a heavier ratio and a moderately deep threshold is better than the opposite. Ultra-fast attack times will suck the life out of a bass performance by destroying its punch and impact. Perhaps it does, but I'd rather not introduce a bunch of latency and need to correct for that. Some mixers claim serial compression sounds more transparent and natural. You can also end up with unpleasant distortion, versus the kind that produces harmonics that you want to accentuate. Run it up to about 150 Hz to block those frequencies out of everything but the bass and kick. This will help you achieve a bass that sounds consistent and even—so you can craft mixes that compete with the pros. 'S bad hand, and web designer of LedgerNote, as well as ensure that bands ’... 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