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Best bass you've ever recorded with
- Thread starter Rdore2000
- Start date
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- Tags
- alembic 4 alembic epic
EdwardofHuncote
I Still Dream of Jeannie
- Aug 21, 2013
- 6,670
- 2
- 16,488
- Disclosures
- I privately own and operate a local musical instument repair shop.
Alembic basses... Series I and an older Distillate. This drummer-buddy of mine runs a small multi media company that records radio and television commercials. When he needs a bass track recorded for backing or bumper music, sometimes he will ask me to come play on it.
If you happen to be driving through my little corner of the world, and hear a southern rock flavored radio commercial for an oil change place, or a monster truck show, or possibly even an auto insurance company, chances are it was us. A few years ago, we even did up a set of generic PSA soundtracks with a kinda' funky pop beat. Every now and then, I'll hear one of them and get a laugh.
If you happen to be driving through my little corner of the world, and hear a southern rock flavored radio commercial for an oil change place, or a monster truck show, or possibly even an auto insurance company, chances are it was us. A few years ago, we even did up a set of generic PSA soundtracks with a kinda' funky pop beat. Every now and then, I'll hear one of them and get a laugh.
i'll never forget mickie most telling me that my epiphone rivoli was the best he'd heard since chas chandler's.
When I worked at a small recording studio (30- some years ago!) I used a '73 P with SD Quarter Pound pickups owned by the studio owner/producer/engineer. Always worked great.
I once used a '78 Stingray for an originals group's demo album. There were many short passages with just bass, that Stingray sounded exceptional both solo'd and in the mix (after running the direct signal thru an expensive tube preamp).
I once used a '78 Stingray for an originals group's demo album. There were many short passages with just bass, that Stingray sounded exceptional both solo'd and in the mix (after running the direct signal thru an expensive tube preamp).
A friend of mine has a cobbled together FSO built by a friend of ours (RIP).
It has a slab mahogany body, PJ pickups (probably Fender, but I don't know year etc.), and a maple/maple Telecaster bass neck. The depth and clarity are just jaw-dropping. On tape (hey, I'm an old guy) it sounded perfect.
It has a slab mahogany body, PJ pickups (probably Fender, but I don't know year etc.), and a maple/maple Telecaster bass neck. The depth and clarity are just jaw-dropping. On tape (hey, I'm an old guy) it sounded perfect.
My two Pedulla Raptures (JJ 5 and single-HB 4) almost always edge out all my other basses, they come through with just the right blend of warmth and clarity.
I had a friend with a John Suhr-era Fender Jazz Deluxe, that thing recorded fantastically! Could go from classic round '60s to more modern J tones.
I had a friend with a John Suhr-era Fender Jazz Deluxe, that thing recorded fantastically! Could go from classic round '60s to more modern J tones.
I had a Series I and used it in the studio for one vinyl single. Wasn't keen on the overall character of the sound, to be honest. Regardless of settings it had an overbearing, kind of super-defined presence that didn't sit well with the rootsy stuff we were doing. I much preferred my Ovation Magnum. YMMV.
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The last recording I did was with an old Precision bass using flatwounds in the 70's. I liked the sound but I can't say that it was the best of any bass I have ever played.
The last time I laid down bass tracks I brought three basses to the studio (two P-Basses, one with Pyramid Gold flats and one with Rotosound Swing Bass stainless steel rounds and a Jazz Bass with TI Jazz Rounds). We tried them all, I and the engineer agreed that the Jazz Bass was the best for these songs, so we used that. The bass was recorded on two tracks, one DI'd straight off the bass to board and one track was a miked Aguilar 1x12 cab powered with my Tone Hammer 500 head. I don't know what the mix of the two tracks was in the final product, but I was pleased with the tone.
Tough call!
The one that some engineers loved and others hated: Steinberger L2 with rounds.
The one that always gets a thumbs up: 62 P with flats.
The one that a band insisted I use forever in the studio: 53P with added Gibson mudbucker and P pickup both on.
The one that the engineer in the studio hated but got raves from soundmen on gigs: NS Radius CR5 with rounds.
The one that got no comments at all but ended up on more albums than any other: 80s P Elite I with rounds.
My personal choice for best bass sound on any album I've been on: Steinberger L2 (NS Radius has yet to get on to an album).
The one that some engineers loved and others hated: Steinberger L2 with rounds.
The one that always gets a thumbs up: 62 P with flats.
The one that a band insisted I use forever in the studio: 53P with added Gibson mudbucker and P pickup both on.
The one that the engineer in the studio hated but got raves from soundmen on gigs: NS Radius CR5 with rounds.
The one that got no comments at all but ended up on more albums than any other: 80s P Elite I with rounds.
My personal choice for best bass sound on any album I've been on: Steinberger L2 (NS Radius has yet to get on to an album).
Maybe thats because the producers and engineers aren't the ones populating this survey, its the players? Could be some differences in objectivity and recording experience?I saw so many posts saying that all producers and sound engineers *require* a Precision as being the only bass that "sits perfectly in the mix" - I thought I would find 90% of P-Bass in this thread, and I'm glad it's not the case.
Additionally, the P-bass as recording king is a relatively dated concept, but in many applications is precisely perfect for the application. Other times maybe not so much.
Its really not... Go look at at what the A list studio guys are using... If anything they are more popular now than they have been in years. There are a lot of P bass' to be found. Hurley, Pino etc...
Not saying it doesnt work wonderfully. I'm suggesting the concept of "only one great recording bass" is old. Still a winner, but more competition, and better recording techniques make the P-bass, IMO, one of the very good studio solutions, but not the only one.
I remember in the mid 90's.... I was able to get some damn good recording tones with an Alvarez P/J 4-string. At the time I was aiming for Rachel Bolan/Skid Row, Paul D'Amour/Tool, Doug Pinnick/King's X, etc. Got pretty close with a fresh set of Dean Markley Blue Steels and a Sansamp DI.
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Yes , stainless steel. They had the image of a tiger in the package. There's a set on eBay right now for 90 bucks. I can't say if they are worth the price though.
On paper, the best bass I recorded with was an original 62 Fender Precision. In reality, the engineer made it sound like ****!
The best sound I got was my 68 Fender Precision, which sounded OK at best, but the engineer had good ears and made me sound much better.
The best sound I got was my 68 Fender Precision, which sounded OK at best, but the engineer had good ears and made me sound much better.
