What are your favorite recording cabs?

[grobe]

I'm looking for a good cab to close mic with a 421. I'm thinking a single driver w/o a tweeter, possibly a 1x15 (with good full range). But I know many like to close mic a single 10" on a 4x10. So just wondering what you all like to record with.

[somegeezer]

If I were to record mic'd, I think I'd use my Laney 410. But I'd always DI at the same time, post EQ. Just in case I wanted that sound instead, or perhaps mix the two.

[Jim Carr]

AKG240.

[Count Bassie]

I just stuck a well-used JBL K-140 into an old EAW box, and the deep tones are sweet and soulful- the highs are clear but not over powering and the mids are a tad subtle but sweet and present. It's a very old speaker so it's not for loud gigs... and it's in a suitable enclosure.

If you like what you hear from it in a small-ish space, it'll probably sound good with a mic on it.

(And just for .02, for those on a budget reading this, a Shure '57 is a fine mic for bass...)

[billfitzmaurice]

I never use a cab, or amp or DI. I go direct to the board, no EQ, no compression. If you record a colored and/or compressed sound you can't un-color and un-compress it later should you want to, if you record a totally straight sound you can add anything you want to later, including re-amping.

[Count Bassie]

Originally Posted by billfitzmaurice

I never use a cab, or amp or DI. I go direct to the board, no EQ, no compression. If you record a colored and/or compressed sound you can't un-color and un-compress it later should you want to, if you record a totally straight sound you can add anything you want to later, including re-amping.

This is very sensible. It's all about what you're after though.

[grobe]

Originally Posted by billfitzmaurice

I never use a cab, or amp or DI. I go direct to the board, no EQ, no compression. If you record a colored and/or compressed sound you can't un-color and un-compress it later should you want to, if you record a totally straight sound you can add anything you want to later, including re-amping.

Hmmm...Got a nice pre-built 1x15" lying around that you can sell me?

[Ben Clarke]

My favorite recording cab is the bottom of my B-15N. Not exactly a groundbreaking choice, but man it's got the goods. It's loaded with a ceramic Weber Michigan.

If I were to homebrew something as you're considering, I would probably go with a single 12" or 15" in a sealed cab. I like the smoother LF roll off of a sealed cabinet, and you won't need the efficiency gains offered by vented designs in the studio.

[grobe]

Originally Posted by Ben Clarke

If I were to homebrew something as you're considering, I would probably go with a single 12" or 15" in a sealed cab. I like the smoother LF roll off of a sealed cabinet, and you won't need the efficiency gains offered by vented designs in the studio.

Thanks. I don't think I've ever seen a sealed 1x15 (does anybody make them?), but your theory sounds correct.

[IvanMike]

Originally Posted by billfitzmaurice

I never use a cab, or amp or DI. I go direct to the board, no EQ, no compression. If you record a colored and/or compressed sound you can't un-color and un-compress it later should you want to, if you record a totally straight sound you can add anything you want to later, including re-amping.

pretty much this. When someone has insisted - I have gone with two tracks - one direct, and one using any number of amps and a bag end S12. That cab seems to be the bad boy of the BE line when it comes to recording - especially when pushed, sometimes with a guitar amp. Even so, I'd NEVER go with just a mic track - and re-amping is very easy to do.

[JimmyM]

I hate DI's but in my home studio I use one from a VT Deluxe just to keep from disturbing everyone. My favorite cabs to mic are my Vintage Blue B-15 replica cab with an Eminence Delta 15a in it, or my SVT 210AV, which if you give it a little boost on the low end, sounds remarkably similar to a vintage 810 mic'ed.

However, unlike Bill, I am a firm believer in commitment. I just make sure it's the sound I want before I start recording. You record everything like that, and then when you get to the mixing stage you have all these decisions to make, which makes mixing not fun IMHO. Recording is fun...mixing is not, at least to me.

[Count Bassie]

Originally Posted by JimmyM

...However, unlike Bill, I am a firm believer in commitment. I just make sure it's the sound I want before I start recording. You record everything like that, and then when you get to the mixing stage you have all these decisions to make, which makes mixing not fun IMHO. Recording is fun...mixing is not, at least to me.

+1...

For my own projects, I like limiting myself to an end-result to have to work with. If it's good signal and a good track, then having a well-defined idea executed helps the process move along. I like mixing, but having a string of "What do I want this to be..." decisions after-the-fact feels like I'm recording the part all over again. That's tedious.

Tracking is always like building part of a house. I want to know what I'm building, and then I can frame what's appropriate.

[Jim Carr]

Originally Posted by billfitzmaurice

I never use a cab, or amp or DI. I go direct to the board, no EQ, no compression. If you record a colored and/or compressed sound you can't un-color and un-compress it later should you want to, if you record a totally straight sound you can add anything you want to later, including re-amping.

+1
As noted, AKG240 headphones are my favorites.

Having choices makes it less likely you will have to re-record, leaving time and options for more creative work.

[JimmyM]

Originally Posted by Jim Carr

+1
As noted, AKG240 headphones are my favorites.

Having choices makes it less likely you will have to re-record, leaving time and options for more creative work.

A valid argument. But as for me, re-recording is almost always because of some other reason besides the tone I got from to-the-track processing. And if the processing doesn't go to the track when you record it at a studio, it almost never gets on there, even if you request it.

[Robby Hoinsky]

+1 for no cab, maybe an amp. Usually direct from the bass via DI. Almost always sound as good as the bass and the player.

Robby

[grobe]

DI wasn't working well for me. My interface was picking up too much fret ping and string noise. I recently upgraded my bass (big difference) so I'll have to try it again. I think a good preamp or DI box like the REDDI will make a big difference too. I do love the miked sound with the 421. Sounds very open and natural to my ear, and the bass can get VERY deep. Either way I'm looking for a bigger more fuller sounding cab.

[grobe]

And I own a pair of D240's as can be seen in this pic.



That's my current studio setup.

[billfitzmaurice]

Originally Posted by JimmyM

Recording is fun...mixing is not

Tell that to Becker and Fagen.

[coreyfyfe]

Originally Posted by JimmyM

And if the processing doesn't go to the track when you record it at a studio, it almost never gets on there, even if you request it.

In my limited experience this has been the case as well. There is always a shortage of time or money that will come up before you really get a chance to sit down and process the DI signal to make the bass sound the way you want. I get the sound I want recorded before the final takes are done.

When I record it's almost always with my double baffle B-15N with a JBL K140 and an EV RE20 or Heil PR40.

[John C. Reilly]

Originally Posted by grobe

Thanks. I don't think I've ever seen a sealed 1x15 (does anybody make them?), but your theory sounds correct.

The bass cabinets that made up the wall of sound used by the grateful dead were sealed 15" speaker enclosures. bagend makes a larger 1x15 that has a sliding cover for the port so you can choose to make it sealed.

Fender showman cabs depending on the model, can be sealed.
Also dont be afraid to try a guitar amp at low volume even a combo with an open back. an ampeg gemini can be cool or even fender super or concert combos with 4x10.