OK: i didn't realize that piece (fast track pro) was inferior. and if/since it is: i certainly agree with your post. the OP doesn't need any other gear but a competent interface.
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Agular seems nice, I'll check if I can find it in my city.
I don't use EQ much. I like it the way it plays
EQ is on screenshot.Well it is a Jazz Bass, obviously. Compression is on screenshot.
Well I tried to boost it a little bit more and now I get pretty much I wanted, but a little more from preamp will make it just better. I think I'll buy shift line olympic mk2.Your interface already is a DI. You need to work more on shaping your tone inside the DAW. BTW, your recorded examples sound fine to me. In the final mix, a lot of the "clank" will vanish if that's what you want.
The reason some people like specific preamps and DIs is for the tone coloration they provide. It's almost like they are using them as effects. You can spend a lot of time and money trying to find hardware boxes that give you the sound you're craving. You might never find it
Personally, I get the sound I want with plugins. Most of the time I don't even bother with amp models for bass (I do use them for electric guitar), just compression and EQ.
Thanks! That's an argument. I'll definitely try to find Radial or Countryman and listen to them. Already googlingFocusrite is probably not going to cut it honestly.
The best budget A/D's are the Audients. Really nice convertors in those.
What I would suggest is an active DI like the Radial J48. Get a used one for $250. It will make a huge difference.
I know exactly why your sound is not great right now, and can picture exactly what you are saying. One of the reasons is the signal needs a boost since it is passive, and the radial will do just that.
If you want to graduate to 3D pro tone, you will need to invest more and get a Reddi/Noble/Etc.. But you can do a lot with an active DI.
If the Radial is too much, grab a used Countryman. The main thing to look for in a DI on a passive bass (ordered by cost):
1. Output - you need a higher output. Solved with a basic active DI (start here)
2. Transformer - for the next step up you want a Jensen transformer. It does make a difference in how transients are handled. It will eliminate some of the harshness and cheap sound that you hear going straight in to inexpensive A/D's. A Radial JDI is a great option here, but it is a passive DI, and I still rank getting an active one higher as a priority.
3. Tubes - next level is tubes. When you get a DI with active output, a high quality transformer, plus the proper ability to drive tubes, you are now living the tone recording dream. It is the perfect combo of higher output (cleaner signal), higher quality transformers (better tracking of transients) and 3d tone (tubes adding upper harmonics to the sound). The bad news is that this combo is pretty expensive. Once you get serious, you will want this as your bass pre, and then your A/D will be a whole other story that I won't get into right now
Well it sounded on my previous bass but now it seems fine to me and I didn't want to change the interface for now. But I will maybe.
Will Focusrite Scarlett do the job?
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A scarlett is real entry level.I had one and used it for mobile recording.
Spend a little more and get this - Audient iD4
Spend a little more and get this - Audient iD4
i'm sorry that i have no experience with that one (i use pro tools and reaper with an avid Mbox).
I've always like using Ableton Live as the DAW. Easy for easy stuff, very powerful for everything else,
and definitely the most "composer friendly" of the bunch.
I have used a lot of DI/ADC's going into the DAW. And of course quality DAC's are important for listening to everything on the way back out.
The good news is there are a ton of great DAW input gear available these days - and most are a heck of a lot cheaper than they used to be for the # of channels presented to the DAW ( and the quality of the A>D conversion ).
GLWTADC!
and definitely the most "composer friendly" of the bunch.
I have used a lot of DI/ADC's going into the DAW. And of course quality DAC's are important for listening to everything on the way back out.
The good news is there are a ton of great DAW input gear available these days - and most are a heck of a lot cheaper than they used to be for the # of channels presented to the DAW ( and the quality of the A>D conversion ).
GLWTADC!
I use a Focusrite Scarlett 2i4. Seems to do a great job at getting my bass in the computer while sounding great. Not suggesting you buy a new interface but... Sounds good to me.
I personally will at least use a pre amp mid a clean DI line. Usually I will also mic a cab. The more the better. You don't have to use all of them but id rather have them and not use them than not have them and need them.
I'm also a focusrite user. I have a 2i2. Just watch the gain. My active pickups will clip the pres real fast.
I'm also a focusrite user. I have a 2i2. Just watch the gain. My active pickups will clip the pres real fast.
I had both and I disagree. Its not something you will tell from a youtube recording, but if you are really picky about getting your bass tone right there is a difference. The model Scarlett I had may be older and since modified in newer versions, but the Audient had better components and I prefer the convertors.
Not a huge difference, but since you made the thread and I have experience with both, I am sharing my experience and preference.
The Active DI will make a bigger difference so if you are good with your interface, then you can ignore the interface suggestions by me. I just thought you were buying both things.
If you crack them both open, they almost certainly use the same converter chips.
I got a lot of mileage out of this free limiter.
yohng.com · W1 Limiter
I suggest not getting too caught up in converters unless you are building a world class studio facility. Think about how much great music was made on tape machines in the past. Nearly all entry level gear nowadays is better than older high end tape gear. More important than a perfect sounding bass track is how your un-soloed track fits into the mix. The science is in the recording process and use of gear more than the specs of the gear.
yohng.com · W1 Limiter
I suggest not getting too caught up in converters unless you are building a world class studio facility. Think about how much great music was made on tape machines in the past. Nearly all entry level gear nowadays is better than older high end tape gear. More important than a perfect sounding bass track is how your un-soloed track fits into the mix. The science is in the recording process and use of gear more than the specs of the gear.
Crap, sorry. I confused the ID4 with the ID14. One number off. This is the one I meant to suggest
Audient iD14 |
A quick Google search shows both the Scarlett and the Audient (and virtually every other prosumer interface) uses BB chips.
I don't see it. Last time I checked, they used a proprietary convertor. From their web page on the 2i2:
"Focusrite has been making digital audio converters almost as long as we've been making mic preamps - since the launch of our Blue Range mastering converters in the mid-90s. The converters in the next-generation Scarlett range operate up to 192 kHz sampling at 24-bit - making it possible to use the full range of standard sample rates from 44.1/48 (CD/DVD) to high-resolution audio at 88.2 and 96 kHz and beyond. With increased interest in quality hi-res downloads and streaming, mixing your tracks to 24-bit at 88.2 or 96kHz sampling makes sense: the extra load is well within the capabilities of most music computers. And if you want to go all the way up to 192kHz, the facility is there."
A main reason the Id14 was quite popular with engineers needing a compact rig was the preamps and the convertors at such a low price point.
That may have changed in the past year with Focusrite, but I have not seen it.
I find this modestly priced DI very useful (I dislike it's distortion)
-It's prudent to remember that the end product will most likely be experienced by others in the form of an mp3.
-It's prudent to remember that the end product will most likely be experienced by others in the form of an mp3.
If money is tight ... I am blown away with how well the inexpensive Behringer clone of the sansamp works for recording. It's about $20 (looks like $29 these days, I got mine on sale).
This isn't me:
This isn't me:
I can't find that info anywhere via Google. Maybe I'm not looking for the right thing? Most Prosumer gear I see uses AKM and Cirrus Logic. Only the high end Focusrite AD card and Audient claim to use Burr-Brown, that I can find. I haven't found a published spec on the Scarlett confirming BB, though the 6i6 supposedly uses Cirrus Logic.
That said, there's a lot more to designing circuits than using the same chip. Not all circuits are created equal, even if they have the same model opamp or converter, or other active components. Electronics engineering is as much (or more so) in the physical implementation as it is the paper design - and it's not just about the local circuit, but all the peripherals, as well.
You won't because it doesn't exist. Which is cool, he was wrong, and people are wrong sometimes.
Back to the main point though, if the OP is just looking for a dramatic change from what he has now, a good active DI of some sort would be best.
Audio recording is truly all about the sum of the parts. If you are really into making records, slowly upgrading over time to a completely pro chain will always have great benefits. But you can start with the pieces that make the biggest difference and it will definitely help.
