Rick Beato & Hanan Rubinstein | Recording Bass | Bass Magazine

Main ideas & lessons

• Bass recording starts with musical function, not “sound design” first

  • The key question: What is the bass’s role in the specific style of music?
  • Depending on the genre/arrangement, bass may need to be:
    • Rhythm-carrying/dominant (often linked to the kick/bass drum relationship)
    • Low-end supportive under guitars/synths
    • More audible and textured when instruments layer heavily

• Studio decisions depend on the frequency layout and tuning context

  • Factors affecting the bass sound include:
    • How low the bass is tuned (including extended-range instruments like 5/6 strings and down-tuned music such as progressive metal)
    • How low guitars are tuned relative to the bass
  • These determine what frequencies are usable and how the bass should sit.

• Tracking approach: clean DI first, then capture tone selectively

  • Common approach described:
    • Record a clean DI using different DIs and mic preamps
    • Use mic preamps + EQ/compression/tone tools either during tracking or later, depending on preference and flexibility needs
  • Rationale:
    • Bass is hard to get right and must translate across systems (studio monitors, small speakers, phone)

• Amplification tone & signal chain choices (examples from the guest)

  • Bass amps used (examples):
    • SVT variants (including 68 SVT, newer SVT)
    • SVT + Darkglass Alpha Omega with 210s cab
  • Mic preamps mentioned:
    • Martech mic pre (“ST10”)
    • Neve models: 1073, 1066, 1081
  • Compression favorites discussed:
    • LA-2A style compressors for “fat” tone
    • Sometimes DBX 160 (“killer on bass”)
    • If peaks/transients are an issue: add a Distressor after LA-2A (or similar peak control)
  • Principle:
    • Compression is often used as tone shaping, not only leveling
    • The goal: keep the low end from being robbed while maintaining control

• Distortion as a practical “presence” tool for mix translation

  • Distortion/upper harmonics help bass be heard through:
    • layers of synths
    • dense guitars
    • phone speakers / limited bandwidth playback
  • “Frequency listening reality” (speaker explanation):
    • Bass fundamentals may land lower and disappear on small speakers
    • Harmonics around ~2k–2.5k can preserve audibility
    • On small speakers, bass notes may only be “heard” down to roughly ~300 Hz once EQ frequency content is moved downward

• Selective EQ instead of “blanket” low-end removal

  • Stated strategy:
    • Use high-pass filtering sometimes (not always)
    • Rely on tape-like natural roll-off as a reference (tape taper below ~60 Hz)
  • Focus on the tuning of the song:
    • find the musical key/tuning
    • emphasize interesting octaves above the fundamental that will translate better
  • Reduce problematic “woof” frequencies using targeted tools:
    • frequency-dependent compression
    • or multiband EQ (dip only when specific notes hit)
  • Goal: “keep it well behaved” without creating a hole in the low end

• Stereo bass for clarity and movement

  • Stereo is described as a tool used by top mixers to keep bass lively and clear.
  • Example method:
    • Use a stereo reverb/symphonic-style patch (referencing Andy Wallace’s SPX90 “Program 15” Symphonic concept)
    • Apply via a send so the bass moves in stereo while staying readable
  • Benefits claimed:
    • bass appears in stereo and moves between speakers
    • improved clarity with moving bass lines

• Parallel processing is widely useful (especially for bass feel/naturalness)

  • Parallel compression + parallel EQ is endorsed as common practice
  • Helps:
    • keep bass natural/played-feel
    • “park” dynamics/energy in a target range
  • Note: some historic great records didn’t rely on parallel compression, but modern producers commonly use it

• Interplay between drums and bass: lock for groove, but subharmonics can fix separation

  • General goal is groove and punch:
    • bass and kick “marrying” improves punch
  • If bass parts don’t hit the kick directly (e.g., higher-register playing):
    • use subharmonic synthesis / plugins to generate sub reinforcement frequencies

• Synth layering and octave doubling

  • Guest likes synths and often doubles bass:
    • moog-like doubling
    • octave-down square-wave style
    • piano doubling (octaves and fifths), especially with heavy guitars
  • Also likes bass chords/power-chord approaches for a huge sound

• Dynamics and loudness: avoid over-compression

  • Overcompressed mixes with no dynamics are fatiguing
  • Aim for a mix that can be turned up loud without harshness or “brickwall sameness”
  • Emphasis areas mentioned:
    • clear midrange (not boxy)
    • controlled presence region (around a “3K range” issue)
    • don’t lose punch in choruses/big sections
  • Arrangement/mix balance:
    • use fader moves and master level changes so the chorus feels louder and more alive (not killed by hyper-compression)

• Use multiple monitoring paths for bass translation

  • Mix verification across playback systems:
    • car
    • very small speakers
    • laptop/phone-style playback (GarageBand used as a test path)
    • multiple studio monitors (e.g., NS10s, Neumann monitors, Atom monitors)
  • Bass translation is hardest when people mostly listen on phones

• Outboard/gear commitment vs flexibility

  • Preferred workflow:
    • record bass clean with DI
    • optionally use tasteful tone while tracking
    • keep ability to reamp or redo processing later
  • Reason:
    • bass is difficult to perfect once it’s committed, but options prevent losing the final sound

• Big-room knowledge preservation still matters

  • Even with AI and easy home recording, the speaker argues young musicians should learn:
    • recording basics
    • mic techniques and room mics
    • adapting when you don’t have large rooms
  • Creative recording choices can differentiate real musicians from AI-generated sameness

• AI view

  • AI can be useful, but:
    • it may introduce artifacts detectable by trained ears (vocal reverb artifacts were mentioned)
  • Expect AI-assisted instrument separation/generation (isolated bass/drums via prompting) to become standard soon
  • Main advice: treat AI as a tool, while learning fundamentals anyway

• Tuning “not perfectly locked” can feel bigger

  • Slight timing/tuning discrepancies can add size:
    • perfectly grid-aligned tuning can sound “puny”
  • Example claim:
    • if bass is slightly behind the kick, the kick/bass interaction can feel fatter

• Gear essentials at home (practical direction)

  • Suggested “home building blocks”:
    • a good mic preamp (clean signal into bass amp/sim plugins)
    • compression (doesn’t need to be extremely expensive)
    • plugins for amp emulation (e.g., Darkglass/Neural DSP style bass tones)
  • Instrument recommendations:
    • have core “color” instruments like Jazz bass and Precision bass
    • optionally one extended-range option (5-string with appropriate setup; possibly fan frets for low tuning)
  • Core principles:
    • buy what’s workable and versatile
    • prioritize tuning/playability reliability for real recording sessions

• Learning recording: school and apprenticeship both matter

  • School is valuable, but not sufficient by itself—what you put into learning matters
  • Apprenticeship is highlighted via engineer stories:
    • learning by copying successful studio setups (mics, mic pres, phases)
  • Warning:
    • watching videos isn’t enough because real-world setups have variables (phase relationships, room differences, drummer variability)

• Session/production philosophy: let people get comfortable, then steer

  • Collaborative approach:
    • let the artist do takes to get comfortable
    • then introduce changes once people are settled
  • Anecdote:
    • even a “wrong assumption” (strings vs guitar “strings”) can lead to a better musical result

• Tools vs musicianship: don’t outsource decisions

  • Even with infinite plugins and AI, the speaker returns to:
    • ears
    • experimentation
    • making mistakes and iterating
    • committing to music that holds up across listening environments

Methodology / step-by-step approaches explicitly stated

Approach to getting bass to translate (audible on phones/small speakers)

1. Find the song’s tuning/key context
   • Determine how the track is tuned and what frequencies are fundamentals vs useful harmonics.
2. Emphasize harmonics instead of relying only on the fundamental
   • Use distortion/saturation to add upper harmonics that survive low-bandwidth playback.
3. Use EQ thoughtfully
   • Consider high-pass filtering sometimes (referencing natural tape roll-off)
   • Avoid “EQ out everything” that creates a low-end hole.
4. Address specific resonance/“woof” spots
   • Identify the note-dependent woof frequency.
   • Use:
     • frequency-dependent compression (duck/respect dynamics), or
     • multiband EQ with note-synchronized dips.
5. Control the bass
   • Ensure it’s present without disappearing or becoming unstable.
   • Keep it “well behaved” through compression/EQ restraint.

Tracking workflow (flexibility-first)

1. Track a clean DI as the baseline.
2. Use mic preamps and/or amp simulations either:
   • during tracking for closer-to-final tone, or
   • later via reamp/processing options.
3. Use compression as tone shaping
   • Start with LA-2A / similar for fatness.
   • Add a faster/peak-focused compressor (e.g., Distressor style) when transients are an issue.

Mix verification loop for low end

• Listen on multiple systems:
  • car
  • tiny speakers
  • laptop + small speaker paths (e.g., GarageBand monitoring)
  • multiple studio monitors (NS10s, other reference monitors)
• Focus especially on whether the bass:
  • stays clear/fat on small playback
  • doesn’t become muddy/woofy
  • remains audible on phone-like speakers

Speakers / sources featured (named or clearly referenced)

• Rick Beato (host/interviewer)
• Hanan Rubinstein (guest)
• Chad Blake (mixer referenced)
• Doug Castro (NeuroDSP; referenced in relation to Darkglass)
• John from Carnival (referenced as inspiration for Darkglass Alpha Omega sound)
• Andy Wallace (mixer referenced; SPX90 “Program 15” referenced)
• Jeff Buckley (“Vancouver” referenced)
• Perfect Circle (“We Powerless” referenced)
• Sound Awake / related discussion (referred to as Sound Awake album; specific song referenced as “Goliath”)
• Sleep Token (song analyzed)
• G. Richardson (producer referenced)
• Brendan O’Brien (producer referenced; Aerosmith material referenced)
• Ken Scott (engineer referenced; Beatles/Mahavishnu mentioned)
• Glenn Johns (engineer referenced)
• Brendan O’Brien’s studio/record history: Southern Tracks
• Ben Gross (producer/engineer referenced)
• Ben Gross / Orbit (studio/era referenced)
• Josh Freese (drummer referenced)
• Steve Gad (drummer referenced)
• Vinnie (likely Vinnie Colaiuta; referenced in shorthand)
• Neural DSP
• Darkglass (Alpha Omega pedal and plugins referenced)
• Universal Audio (UA) (Ocean Wave plugin referenced)
• Waves (Abbey Road Echo Chamber referenced)
• Soundtoys (plugins referenced)
• SPX90 / Yamaha SPX90
• FabFilter EQ
• B&K 4011 (B&K mic referenced)
• Microphones referenced in mic setup stories (as named in subtitles):
  • AKG 451
  • AKG 414
  • AKG D30
  • Sennheiser 421
  • (Other model names appear in subtitles, including variants of Beyerdynamic—exact list is partial in the provided text)
• Neumann (monitors referenced)
• NS10
• Atom Audio monitors
• Neve (1073/1066/1081 referenced)
• Martech (mic pre referenced)
• Warm Audio (compressor/gear clones referenced)
• IK Multimedia (amp plugin references referenced)
• Dylan Beato (referenced for ear training/memory examples)
• Judy Corkran (quoted about “turn a horse around…”)
• NAM (referenced as a meeting place; acronym only)