I have only done a few recordings for other people. In both cases, I went direct; it sounded thin but the producers like to be able to add EQ to make it fit their final track. But, I would say try all of the techniques that everyone has mentioned. Then, when someone asks for a bass track, you can put together several options for the person or for your own recordings.
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clueless recording question regard XLR out from amp to interface
- Thread starter pcake
- Start date
I prefer “direct in” provided the interface is designed to handle that. Monitor your sound /tone and just do it. If you don’t like it, redo it some other way. One of the joys of home recording, take 1 or take 2001 doesn’t really cost you any additional cash.
Directly connecting the bass will require a high impedance input or at least a passive DI. In that sense using the amp to provide impedance matching isn't a bad idea as long as you don't colour the sound too much with the preamp as ideally you want to have the option to tweak with amp plugins later, just in case. Or for maximum flexibility, use a DI to the interface and a parallel unbalanced high impedance out to the amp and that to the interface as well. Then you can listen to the amp with some colour and get a slightly more interesting sound but also have something totally vanilla if needed.
i didn't know there was such a thing as a passive DI. every one i've ever seen is powered... or is that not what makes a DI box passive or active?
i like the idea of going amp to DI as an option, but what do you mean by using "a parallel unbalanced high impedance out to the amp"? wouldn't it be
bass → DI → interface → computer?
It should be added that the motu M2 has mic/line/guitar inputs that would allow you to input your instrument directly into the interface, via the combo input jacks. This infers that it has or that there are plugins available for this interface to allow you to emulate amps/speakers/etc. to apply to your track. More importantly, they would allow you to change plugins after you've recorded your track to better suit the final mix. By the way this would obviously only require a standard instrument cable. It would be worth looking into this before going much further.
Edit: Manny mentioned this above.
Edit: Manny mentioned this above.
You are seeing correctly.
Notice the op amp on the right has inverting/non-inverting inputs. This is known as a differential input. Because the noise is in phase on both line, it will cancel. Because the signal is out of phase on each line, it will sum.
You get the same results with transformer balancing.
I have both passive and active DI boxes. But yes, there are a lot of passive ones out there, and they are good options as they don't need batteries
. Parallel is :
chain 1 : bass->DI then one out from the DI (the high impedance one on a jack) to the amp then the amp's DI to the computer. This one has preamp colour. If that sits well in the mix you are golden.
chain 2: bass -> DI, then the XLR out from the DI to a second input on the computer interface (XLR). That one is just the bass, no preamp. This one you can more easily process via an amp plugin in a digital audio workstation, or even out of the computer and out to the amp for favour. Note for this you have to account for latency (round trip time).
I always thought of -10 as consumer level, like HiFi gear. There used to be some music equipment that operated at -10 but it was consumer level junk IMHO. AFAIK the pro stuff has always run at +4 during my working years.
You are seeing correctly.
Notice the op amp on the right has inverting/non-inverting inputs. This is known as a differential input. Because the noise is in phase on both line, it will cancel. Because the signal is out of phase on each line, it will sum.
You get the same results with transformer balancing.
Yes. Thank you for the explanation.
Motu M2 has two inputs, both accept MIC, LINE and INST level signals, and XLR, TRS or TS cables. It says " Do not connect a +4 (line level) XLR cable to the inputs (because of the preamps). Use a quarter-inch input instead".
Manual says Fender Rumble XLR out is LINE OUT & post EQ/Gain. Use a female XLR (from the amp) to TRS (to Motu) cable, and select "LINE" on your Motu input. Any change you make on your Rumble (Gain, EQ, etc.) will affect the input of the Motu. On your Rumble, turn the Master knob all the way down, and set everything else flat. Set the input gain on your Motu at unity. Then bring the Master knob on the Rumble gadually up to get a good level on your Motu, and then use the EQ etc. on Rumble if necessary, and readjust the Master knob.
TC BQ250 XLR out is switchable (Pre/Post EQ) so you can either record clean or affected. I couldn't see if it is MIC or LINE level, but it shouldn't be hard to figure out. You can use the same cable (female XLR from amp to TRS Motu input). Do the same thing as you did with the Rumble. If the signal is too week, it could that the TC out is MIC level.
I belive both amps have Ground switches, engage them if it's noisy. You can record both channels, just make sure they are in-phase and have fun!
IMPORTANT: Be very careful with your gain settings, put the gains all the way down before switching to MIC level on your Motu. Always mute the main speakers to be on the safe side.
Manual says Fender Rumble XLR out is LINE OUT & post EQ/Gain. Use a female XLR (from the amp) to TRS (to Motu) cable, and select "LINE" on your Motu input. Any change you make on your Rumble (Gain, EQ, etc.) will affect the input of the Motu. On your Rumble, turn the Master knob all the way down, and set everything else flat. Set the input gain on your Motu at unity. Then bring the Master knob on the Rumble gadually up to get a good level on your Motu, and then use the EQ etc. on Rumble if necessary, and readjust the Master knob.
TC BQ250 XLR out is switchable (Pre/Post EQ) so you can either record clean or affected. I couldn't see if it is MIC or LINE level, but it shouldn't be hard to figure out. You can use the same cable (female XLR from amp to TRS Motu input). Do the same thing as you did with the Rumble. If the signal is too week, it could that the TC out is MIC level.
I belive both amps have Ground switches, engage them if it's noisy. You can record both channels, just make sure they are in-phase and have fun!
IMPORTANT: Be very careful with your gain settings, put the gains all the way down before switching to MIC level on your Motu. Always mute the main speakers to be on the safe side.
This sounds like the simple, direct, correct answer to me. I don't know nothing about none of this, bit I used line outs in Fender amps for years, and every engineer used XLR to XLR when available for recording and FoH applications. But I also still have a bunch of 1/4 adapters, and I remember using those when necessary and it not causing too much of a problem.
And that all makes some dumb country sense to me, because if its one connector going out, why wouldn't I assume it should ideally be the same connector on the other end. And further, if the issue is impedence, you can always fix that with gain.
Motu says the inputs are all three ready - Mic, Line, and Instrument level. So a standard XLR mic cable will do. You could also use an XLR to TRS cable if that's what you have already. If you don't have any, I would get a standard XLR mice cable if I was in your shoes.
I don't think you'll hurt any of the two devices. Probably should check whether your output from the Rumble and TC are mic level or line level. The XLR connecter doesn't necessarily mean it's mic level.
I use my Markbass LM250 d.i. into my Scarlett's XLR input, rather than going direct from my bass into the Scarlett. I'm familiar with all the Markbass controls already and what I want out of it. Going directly in the Scarlett, I'd have to figure out a plugin in Reaper to do the same.
I've been doing this through the entire lockdown. Just finishing project #6 for my fellow musicians in the band.
ETA: Your Rumble 40 seems to be line level DI per the owners manual, the BQ250 owners manual didn't seem to mention it, but it's probably line level as well. My Markbass is mic level.
I don't think you'll hurt any of the two devices. Probably should check whether your output from the Rumble and TC are mic level or line level. The XLR connecter doesn't necessarily mean it's mic level.
I use my Markbass LM250 d.i. into my Scarlett's XLR input, rather than going direct from my bass into the Scarlett. I'm familiar with all the Markbass controls already and what I want out of it. Going directly in the Scarlett, I'd have to figure out a plugin in Reaper to do the same.
I've been doing this through the entire lockdown. Just finishing project #6 for my fellow musicians in the band.
ETA: Your Rumble 40 seems to be line level DI per the owners manual, the BQ250 owners manual didn't seem to mention it, but it's probably line level as well. My Markbass is mic level.
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i'll be honest - i'm going to have to look some things up as i read the posts here in order to understand them, but after talking to a motu rep, i changed my order to the M4.
Actually, technically, I was wrong.
Mylowfreq checked the rumble specs and the DI is “line level”.
The thing that is throwing everyone off (including the OP) is a note in the MOTU manual that says to use a TRS instead of XLR for line level signals, but doesn’t say why.
Usually an XLR/quarter inch combo jack would be exactly the same using a TRS or XLR, that’s usually the whole point! But they did something tricky to make the unit as small as possible and it somehow recognizes which is being used and pads the TRS signal or doesn’t route it through the onboard mic preamp.
I would bet the XLR to XLR would probably work just fine with the gain or master rolled back a bit on the rumble.
Either way, the bass directly into the MOTU is almost certainly going to be the best option.
