Cabinet for studio

Discussion in 'Recording Gear and Equipment [BG]' started by Sapatown, Sep 29, 2021.


  1. Sapatown

    Sapatown

    Sep 16, 2016
    Hello,

    Im recording bass this weekend in the studio, I have an Ampeg 810 and a brand new Barefaced 610 there. I will use a tube head, Matamp GT200.

    Does it really matter what cabinet I choose?

    I want to go for the Barefaced 610, since its my new cab, but does it really matter for a recording with bass?

    Will the nuances in color/uncolored sound really make a difference for bass, since the engineer will probably use plugins with the DI signal?

    But we are mic the cab aswell.

    I have heard it does not matter if you have the best gear in the world, bass will be bass anyways in a studio sesh.
    And even heard the cheapest stuff sound good too.

    Im just a bit nervous about recording, sorry about that!

    Cheers
     
  2. Ender_rpm

    Ender_rpm

    Apr 18, 2004
    St. Louis MO
    Take whatever you're comfortable with, but yeah, plan on having a DI as well as the cab mic. IMO, the point of a cab mic is dirt or FX and mid/high end, the DI is for clean lows. 200 watts is a lot to really drive in a studio setting, but great recordings have been made with all manner of gear. Its the performance and part thats really important, not how it gets to tape.
     
    AGCurry and Sapatown like this.
  3. silky smoove

    silky smoove Supporting Member

    May 19, 2004
    Seattle, WA
    Step one is to have a pleasant and friendly conversation with the studio engineer you'll be working with. They'll know their studio better than you and will have an idea of what typically works. Get their opinion and act accordingly. You don't have to follow it to the letter but it's usually a good starting point.

    Is the studio big enough to make use of an 810 or even a 610? That's a lot of cabinet with potential for significant output. You can always turn down, but part of the magic in mic'ing a cab is commonly found by pushing the cabinet pretty hard, which is why smaller cabinets have become so popular in studios.

    The other consideration is isolation from other performers if using a mic'd cab if everyone is recording live at the same time. If the studio doesn't have sufficient isolation measures they likely won't let you crank up too loudly to avoid spill and bleed into other mics in the live room. If that's the case and isolation is critical for the production you might be asked to record via DI and possibly reamp your bass rig later when isolation isn't a concern.
     
  4. Sapatown

    Sapatown

    Sep 16, 2016
    The thing is, the studio engineer that owns the place is in my band as guitarist. And he is fairly keen to the idea of pushing the cab, loud af. We have done it before.

    Its bass only, over the drummer tracks.

    But I defo could agree that those cabs can be overkill. Its a small studio, but with high pro standard.

    I think I will just go with the 610.
    But have never tried an 200w amp, and I know it needs to be pushed really hard.

    I also have an Ampeg PF800 head, that may be a better option. But if we can manage to push the tube sound, thats the dream for us to try.

    We already did push the guitar tube amps really hard with two 4x12 cabs and it works really well.

    Do you like the SM57 over a SM58 for micing such cabs?
     
  5. silky smoove

    silky smoove Supporting Member

    May 19, 2004
    Seattle, WA
    Then there should be zero issue since what they want to do is a known quantity.

    If all you're doing is overdubbing parts then it becomes an even easier situation since bleed is not a consideration.

    Of the two I would use a 57 before a 58 since the headbasket yields a slightly different sound. The capsules are identical so they'll sound very close. A 57, or a 58 isn't my first choice for a bass cab but it'll work well if you don't need a ton of bottom end from the mic and are okay with the rising midrange response. You can make the cab/mic combo sound bigger by moving the mic closer to the cabinet thereby increasing proximity effect. Alternatively you can make it sound smaller, more ambient and generally thinner by moving the mic away from the cabinet. Neither is right or wrong, just be sure and make placement decisions based on the goals of the recording. If you're also capturing a DI you'll be in good shape should you change your mind down the line and need to reamp.
     
    AGCurry and Sapatown like this.
  6. Ender_rpm

    Ender_rpm

    Apr 18, 2004
    St. Louis MO
    IMO I wouldnt bother with the solid state amp, toobz or GTFO. But I MAY suggest using one of the GUITAR amps into your bass cab, esp if they are under 100 watts. Easier to drive them hard, no danger of blowing up the speakers.

    If you use the shure mics, make sure to capture a DI for lows. If the drums arent being recorded at the same time, maybe steal the kick mic as a third source (Dry DI, Shure, kick mic) and mix to taste.
     
  7. Ukiah Bass

    Ukiah Bass

    May 10, 2006
  8. Sapatown

    Sapatown

    Sep 16, 2016
    We have started the recording. I can't remember all the mics we used, but the SM57 was great! We also used four other mics at the same time, one room mic in the roof, a sennheiser, AKG and the kick mic.

    Plus DI. I was most impressed by how the Barefaced sounded, and how loud we played. Basically cranked the Matamp GT200 to 9.
    With full drive.

    Hard to notice if it was any difference in the tubes after 5 hours of intense playing of metal/heavy riff rock. But I think I heard some difference.

    The cab was also brand new, never used. I could bot hear much of a difference if the "break in" of the speakers occured as many on TB talks about.

    I still would guess it happened.

    Thanks for the responses!
     
  9. Primary

    Primary TB Assistant

    Here are some related products that TB members are talking about. Clicking on a product will take you to TB’s partner, Primary, where you can find links to TB discussions about these products.

     
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