Hardware plates such as the EMT 140 (expensive and found only in used marketplaces), the CVPA CVPlate and the TC Electronic M-ONE XL, as well as numerous EMT 140 plugin variations from Waves, UAD and others can give your recordings the unique tone this type of reverb imparts.

"When the Beatles were creating, Sgt. Pepper’s Lonely Hearts Club Band, they relied heavily on EMI Recording Studios’ four EMT 140 plate reverbs to enrich the new sounds they were imagining. Consider plates when you aren’t concerned with creating a space that sounds ‘real’.".

" Mixing music isn’t always about realism. Depending on the material, sometimes the most outlandish and unusual sounds are the perfect fit for the track.".

"Think about it on drums. If they were recorded in a live space, you’ll have natural reverb already printed. Rather than adding a ‘drum room’ reverb emulation to a real drum room, you can mix in some plate instead.".

"Plates are great to blend with other reverbs because they have a totally different quality from others. On a dry track, pick a space, like a room or hall, and then augment that with plate instead of another room. This ensures you won’t be creating a ‘room within a room’ vibe.".

"Plate Reverb adds perceived brightness to an instrument. We hear higher frequencies before we hear lower ones. If you add a plate to a vocal, your ear will perceive the reverberated highs first. This makes the vocal appear brighter than it actually is.".

As usual, use both your eyes and (more importantly) your ears to determine the ideal alignment of multiple waveforms.".

"Phase Issues. Correct phase issues before you do anything else, paying special attention to the close and distant mics. It’s rare that the signals are completely out of phase, but even some degree of misalignment can cause comb filtering to occur.

Hardware examples. Pro mixers love 1176-style compressors for bass, though it’s advisable to keep away from fast attacks, which can produce unwanted distortion artifacts in the sound. Optical compressors such as the LA-2A and LA-3A are also popular choices when it comes to bass.".

Note, this approach may not be advisable in some bass contexts: jazz, classical genres, etc.".

"“Controlled” Dynamics. Which means more aggressive compression ratios of around 5:1 and above. As with guitars, the initial transients of notes are fundamental, so adjusting attack times is very important in maintaining the character of the performance.

"Inverse EQ the 1) bass and 2) kick. Your specific EQ moves will likely depend on which instrument you’ve chosen to dominate the low-end groove, but the two should work together and not overshadow one another.".

Because of this, filtering the high end further places the instrument in its own space and out of competition with upper midrange–dominant mix elements.".

"When EQing w/ LowPass:. A bass guitar’s fundamental frequencies lie somewhere between 60 Hz and 1 kHz, with additional overtones extending as high as 5 kHz. Beyond that, there isn’t much useful harmonic information in the signal.

Many consumer speakers are not designed to reproduce the sub-bass way down at 20 Hz and up to 60 Hz. Engaging a HPF on a bass guitar somewhere between 40 and 50 Hz can make a world of difference.".

"When EQing w/ HighPass:. A common mistake is neglecting the high-pass filter (HPF). Using a HPF to gently roll off the sub-bass content can drastically clean up a mix’s bottom end. A buildup of sub-bass content is often undesirable.

"Mixing Bass. Mixing both electric and acoustic bass is similar in many regards. In the content to follow, we’ll note where the variations occur and circumstances you need to consider that are particular to one or the other.".

"Hi-hat and cymbals. • 200 Hz: Clang.• 6 – 10 kHz: Sparkle/sizzle". Learn everything you need to know about music production at home from

"Floor toms. • 80 Hz: Fullness/Boom.• 5 kHz: Attack".

"Rack toms. • 240 – 500 Hz: Fullness/Body.• 5 – 7 kHz: Attack".