guys i know the usual way of avoiding the kick, bass, tribal hits fighting is to use tuned toms for the tribal hits that also work as the bassline…
so how has ian carey got away with using a proper electro bassline in a tribal track??? whats your theories on how hes got away with it? (btw this has been upsetting me for a while…)
It’s just a matter of working out where in the EQ range each sound mainly sits, if you listen you can hear each part has it’s own place in the freqency spectrum well. So for example lets take the kick which sounds like it’s sitting the bottom, for the purpose of example lets imagine it’s at 80hz, now the Tom may be sitting at 110hz, so an EQ notch of the kick around the 110hz will be taken down whilst an EQ notch up on the Tom around that space may be taken, then for the bassline, lets say that’s sitting at 130hz, EQ notches of 130hz will be taken out of the kick and again with the Tom, whilst a 130hz notch up will be made on the electro bassline. On the electro bassline, EQ notches down of 80hz (kick) (or perhaps even high pass filtered before then), and again another EQ notch down around 110hz.
So basicaly in a nutshell each part, the kick, the tom and the bassline has EQ treatment to allow the other elements space to ‘breathe’.
