SP2. Guitar and Bass Processing.
Guitar and Bass Processing.
After the Guitar and Bass tracks had been recorded, I could then start processing the audio by adding compression, high pass filtering and, in the case of my strummed guitar track, effects.
No.1 – High Pass Filtering.
As before in studio project 1, I set the HPF cutoff on the guitar tracks to around 100 -150Hz to remove all bottom end frequencies from the mix. Again as before, the high pass filter on the bass tracks was given a much lower frequency cutoff, this time to around 50Hz. Below are screenshots of the high pass filter in the 7-band EQ plugin on both the guitar tracks (top) and the bass track (bottom).
No.2 – Elastic Time Audio Processing.
Because the performance of my guitar tracks was not in time with the click track, I needed to quantize the audio after recording. This was done using the ‘Elastic Time’ adjustment whilst in the arrange window in Pro Tools. To do this I set the track to polyphonic and then went to the drop down menu on the instrument tracks I wanted to adjust, clicked, then chose the ‘Warp’ view of my audio instead of ‘Waveform’ view. I could then stretch or shrink sections of the audio allocated by recognised transient marker points. This would then allow me to adjust the audio without altering the pitch. Because the audio of my guitar part has been cropped at the end of the phrase, I needed to add a cross fade at the cut point to ensure no clipping is derived from a cut made not on a 0 plane. Below is a screen shot of the ‘Warp’ view of my plucked guitar audio showing the transient points throughout and the cross-fades at the very end.
No.3 – Effects.
As well as using elastic audio processing, I also used the Pro Tools D-verb plugin on a mono aux track, to which I bussed my strummed guitar track. (note. The aux track has the same name as a track of reversed vocal reverb because the same bus was used to process that vocal track, explained in the ‘Vocal Processing’ post). Below are screen shots of the sends on the strummed guitar tracks, as well as the aux track carrying the effects plugin and the effects plugin itself.
Here is a screen shot of the recorded audio of my strummed guitar part as well as a preview including the added reverb effects.
No.4 – Compression.
Once HPF and effects had applied, I then inserted compression plugins on the bass and guitar tracks. As with the first project, I decided again to stick to the compression guidelines as set out below in screen shots of the compression plugin’s used on my guitar track (top) and bass tracks (bottom). (note. Compression settings on the plugins themselves may differ to the guidelines stated, adjusted according to taste).
Guitar Compression Settings:
- ATTACK = Fastest Possible.
- RELEASE = Fastest Possible/Auto.
- THRESHOLD = -10/-14dB.
- RATIO = 3:1 to 8:1.
- KNEE = Hard/Soft.
Bass Guitar Compression Settings:
- ATTACK = 4/10 milliseconds.
- RELEASE = 10 milliseconds.
- THRESHOLD = -2/-10dB
- RATIO = 8:1.
- KNEE = Hard.