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Hey session cats I got an amp question

#41
Spencer! said:
Most of the sessions I do are recorded direct because it's the quickest to set up, and that's important when you have 30 minutes to track bass. A good direct box like a JDI will give you a workable clean sound that can be easily sculpted to fit the track during mixing. Now that I've been using a REDDI, I have no qualms about showing up to a session ampless.

But when I'm tracking bass at my place for someone, I always record through an amp or reamp. A good tube amp does things to the bass signal that can't be emulated with a Distressor, and 9 times out of 10 only the amp track is used. One of the best bass tones I've ever recorded was an old SVT through an Epifani 112 cab.

If miking an amp isn't an option, there are some plugins out there that sound pretty good. The Amplitube stuff isn't bad, and Avid just modeled a 1969 SVT for the expansion to their Eleven plugin that I'm dying to try.
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#43
:cool:

Most of the time I'm told to go direct.
Drums, and guitars get most of the attention.
But I love to play with tube amps in the studio.
Some that I used, and really liked.
B-15, B25, Sovtek Mig B50, Fender Dual Showman, Fender Bassman. Sunn 200s, Orange AD140B.
 
#44
Spencer! said:
I agree. If the engineer can't make a B-15 sound good in a mix, the problem isn't with the B-15....
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How z'about a B15 track in a Reaggae /dub situation ? :p

I don't know about your B-15 but mine doesn't give me much love down below.


My point is : There are situations and style for different weapons.

Not because the B-15 is the flavor of the month that it could fit everywhere and that it sounds good for everything.


Signed by a B-15 owner.
 
#48
fokof said:
How z'about a B15 track in a Reaggae /dub situation ? :p

I don't know about your B-15 but mine doesn't give me much love down below.


My point is : There are situations and style for different weapons.

Not because the B-15 is the flavor of the month that it could fit everywhere and that it sounds good for everything.


Signed by a B-15 owner.
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until robbie shakespeare switched to markbass, he was using three svt's and 3 810e's. personally, other than the volume issues, i would love to use a b-15 for reggae, especially a 70's b-15, because it gives you the big 100-125hz you need for it without creating mud. but i guess that's all a matter of taste.
 
#50
I dont care what the "engineer/"producer" prefers. its MY sound. I like the way MY amp sounds through MY cabs. i dont care how much and how expensive and hi tech the studios equipment is, that stuff doesnt impress me. You guys with yer bells and whistles and little boxes and elbow patches and etc etc etc kill me. I recorded one time plugging my bass directly into the board, Neve whatever the **** the guy had, and it was the most painful **** sounding recording ever. I dont wanna play with buttons to get the sound that "matches" my sound...

This is just my opinion though.
 
#51
A clean DI and a warm sounding amp, check the phase, and blend to taste. B15's, V4B's, and GK800RBs always do just great in the studio, at least for my type of playing, and I've got great results with a Rocketbass 50 combo too, as well as a 5W fender champ plugged into a 12" bass cab. I would always choose a mic'd cab over a DI if there's only one channel for me, but if there's only a direct in like for a home studio project, A VT bass or similar always does the trick quite well. Most studios should have some kind of amp or at least cab.
 
#53
Febs said:
That's great if it's your band and your dime, but not so good if you're playing on someone else's session.
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No i guess i can understand that for session players or whatever. Im not a session player and never plan on it, i was simply talking about in a "band in studio" thing, a band that you are in. If someone wants to pay for some robotic electronic bass "sound" than thats fine, but for me, its not acceptable. It actually pisses me off when the "producer" tries to muscle you into recording through their nonsense.
 
#54
TaylorO' said:
No i guess i can understand that for session players or whatever. Im not a session player and never plan on it, i was simply talking about in a "band in studio" thing, a band that you are in. If someone wants to pay for some robotic electronic bass "sound" than thats fine, but for me, its not acceptable. It actually pisses me off when the "producer" tries to muscle you into recording through their nonsense.
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it does me, too. i'll try anything, but if i don't like it and i'm paying, that's all there is to it.
 
#55
TaylorO' said:
No i guess i can understand that for session players or whatever. Im not a session player and never plan on it, i was simply talking about in a "band in studio" thing, a band that you are in. If someone wants to pay for some robotic electronic bass "sound" than thats fine, but for me, its not acceptable. It actually pisses me off when the "producer" tries to muscle you into recording through their nonsense.
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Not exactly a "pro" attitude, but your second sentence explains it. :hiding:

I also prefer mic'ed amp...but I've cut many, many great sounding tracks through a good direct chain. I certainly wouldn't pass up the opportunity to work with a top notch producer based on how he wanted bass tracked.

Ultimately it's all about bringing music to life, and there are an infinite number of ways to accomplish that. :cool:
 
#56
JimmyM said:
... but if i don't like it and i'm paying, that's all there is to it.
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^^^^^^

What he says.

That's the nerve of the game.
Studio , Live , whatever , it's all about who's the paying client.
The guy signing the check holds the holy truth.

If the paying client says he want you to plug your bass in a DI , you do it with a big smile and thank the guy when he gives you the dough.

What , you don't like to plug in a DI ?
Well thank you sir , we'll find someone else.

If it's your band and you are paying the studio , you can ask the tech to put 21 mikes on your amp if you want.

The way I always saw it anyways.
 
#57
nysbob said:
Not exactly a "pro" attitude, but your second sentence explains it. :hiding:

I also prefer mic'ed amp...but I've cut many, many great sounding tracks through a good direct chain. I certainly wouldn't pass up the opportunity to work with a top notch producer based on how he wanted bass tracked.

Ultimately it's all about bringing music to life, and there are an infinite number of ways to accomplish that. :cool:
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Playing music isnt how i pay my bills, its how i have fun. Ive been playing since i was 14(im almost 40 now), not saying that to seem "old", just saying i didnt just go to GC and pick up a bass pack, and decide to get on here and throw my nuts around.

Not exactly sure what "pro attitude" means and if yer trying to be somewhat condescending to me but if i was "given the opportunity to work with a top notch blah blah blah" well then i would say the same thing. "Mic my cab, please". and if he was truly "top notch" he would make it work and make it sound awesome.
 
#58
TaylorO' said:
Not exactly sure what "pro attitude" means and if yer trying to be somewhat condescending to me but if i was "given the opportunity to work with a top notch blah blah blah" well then i would say the same thing. "Mic my cab, please". and if he was truly "top notch" he would make it work and make it sound awesome.
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I think he means players that get paid for session work. You can't make demands if you have 30 minutes to record bass on someone else's track.
 
#59
Personally, when it's up to me, I send:
direct,
amp di out
mic'd cab
and blend upon mixdown.

for upright, substitute mic'd for direct, but I still will often run my walkabout and still take it's DI and mic the cab.

If it's the producers/engineers call, that varies by as many people as there are on the planet.

dgravesweiner said:
I'm just curious how much an amp really gets used. As far being blended with the direct signal, used on it's own or do y'all simply go direct and process it through plugins? Thanks
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#60
The post was titled "Session Cats"
I took this to mean players who are hired to play on recording sessions.
Albeit I haven't work full time is studios for 20 years, I would think the same scenarios exist, which are:
* Contrary to popular belief only a small percentage of recording studio time is used to make CD's
* The majority of work is not that glamorous and is typicaly a bunch of pros that are paid to get through a session quickly doing jingles, crappy soundtracks, etc.
* If you want to work often you follow the bosses orders; I don't think I've ever heard a bassist asked if using just a DI was OK
* Be open to new ideas
* It doesn't matter if it sounds like crap to you so long as the man signing checks is happy; this is not about making art; it's about doing music for a living
 

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