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Noble Rental

#25
fraggle said:
Fame; recording engineer said his favorite option is the noble and I’m trying to make as good of a first impression that I can in hopes of getting called to come back. They do have the vintage Fet B15 duo and a countryman DI available. I’m sure the sounds available are fantastic, but again, I’m hoping to impress.
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Being new to studio work and getting to track there is pretty rad! Go in there, have a great time. If you can find a Noble sure have at it, can't hurt, but it is in no way necessary in order to make a good impression. I remember one time I tracked at Sunset Sound and I came in with my REDDI thinking for sure that was gonna get used(was when REDDI's were really all the rage early on). The producer and engineer in that case preferred I use what they had there already, didn't even want to try it out. And after all, it's just a DI. And they have a great front-end there, and a B15. I wouldn't sweat it, personally(though I would never show up anywhere without some kind of decent DI of my own in my bag--for example a JDI is totally respected in major studios which is why they're usually littered with them). Just make sure your basses are in order(set up, intonation, etc), and you're bringing in several bass options appropriate to the material.
Besides, if this engineer is truly hell-bent on a Noble, then he should buy one.
EDIT: was just checking out the gear list--Studio A has the Neve, B has the SSL, plus the other nice outboard they have--you're gonna get a great sound tracking there. Enjoy!
 
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#27
mrperkolator said:
Turns out I do. I just found an ad hominem attack. This above comment is rude and condescending.

Back to the actual issue at hand.......

OP needs a good DI. Noble is preferred by the customer. Anyone have any suggestions other than above on how he can get one? or close to the same sound as one?
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What you're missing is that the OP is new to studio work, admittedly has zero experience, and others here with experience as both studio bassists and engineers are enlightening him to the fact that he, in fact, does NOT need a good DI. There is no expectation for the bassist to show up with his own DI. If he wants to anyway, fine, but they're simply making him aware that it's not expected.
 
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#30
Well I'm on the OP's side. I've owned a Noble for almost six years and cannot conceive of NOT using it, especially in an important tracking session. I've owned and used many DIs and it's without question, my favorite. It always works. So having it in the chain makes me relax and focus on playing. I already know the recording will be flawless. Like someone mentioned, I'd be reluctant to loan this to a stranger. But if OP can find one, get it and enjoy the session. I'll diverge from him on one point: don't really care about impressing an engineer with a component of gear. He or she will immediately know the tone is gold, say "check" and move on to polishing the next player's settings. Good luck with your quest!
 
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#31
matante said:
What you're missing is that the OP is new to studio work, admittedly has zero experience, and others here with experience as both studio bassists and engineers are enlightening him to the fact that he, in fact, does NOT need a good DI. There is no expectation for the bassist to show up with his own DI. If he wants to anyway, fine, but they're simply making him aware that it's not expected.
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Yep. A proper pro studio (which I'd say Fame certainly qualifies as ;)) is gonna have a DI sitting there waiting for you to plug in and hit the ground running. Always good of course have a decent DI w you, to be the "complete bassist" but by no means does it need to be some super high-end boutiquey thing, and you'll likely not even pull it out. And really, a super high-end DI like a Noble is even less important with the kind of gear a studio like Fame has. The 'ol Countryman w either the Neve or SSL console--classic tone right there. But as I say above, if you can borrow a Noble, sure of course bring it along and see if they want to use it, but it's not some kind of deal-breaker tonally.
 
#34
laklandfan07 said:
the producer in this instance specifically stated he loved that DI, get off OP's back and help him
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An important correction here is that it was the engineer who stated their preference for the Noble, not the producer. These titles come with different roles and responsibilities. An engineer might have a preference but should not be dictating choices during a session if there is a producer present. A producer would be able to state that a Noble was preferred or even required and would then be responsible for one being made available. If no producer is separately employed for a session then the person paying for the session is the de facto producer and would then be above the engineer in terms of responsibilities. You can solicit an engineer's opinion for how to proceed with a studio task but it is never their job to make those decisions.
 
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#35
silky smoove said:
An important correction here is that it was the engineer who stated their preference for the Noble, not the producer. These titles come with different roles and responsibilities. An engineer might have a preference but should not be dictating choices during a session if there is a producer present. A producer would be able to state that a Noble was preferred or even required and would then be responsible for one being made available. If no producer is separately employed for a session then the person paying for the session is the de facto producer and would then be above the engineer in terms of responsibilities. You can solicit an engineer's opinion for how to proceed with a studio task but it is never their job to make those decisions.
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Yep. For example, I've done more than a few sessions where the producer is adamant about using a B15, and if the studio doesn't have one, they rent one and have it brought in.
 
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#39
matante said:
What you're missing is that the OP is new to studio work, admittedly has zero experience, and others here with experience as both studio bassists and engineers are enlightening him to the fact that he, in fact, does NOT need a good DI. There is no expectation for the bassist to show up with his own DI. If he wants to anyway, fine, but they're simply making him aware that it's not expected.
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Check the 3rd post of this thread. OP states why OP is doing this. There is a DI there, and OP Lists them, but it seems (likley from OP's conversation with engineer) that the engineer would prefer a noble.

I'm not missing anything. OP knows there's a DI there. OP is eager to make a good first impression. Most hiring managers look for eager and trainable over stubborn. I applaud OP in his efforts to make a good first impression.

As KenD said. This is all about impressions and making sure OP gets hired for more work.
 
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#40
silky smoove said:
An important correction here is that it was the engineer who stated their preference for the Noble, not the producer. These titles come with different roles and responsibilities. An engineer might have a preference but should not be dictating choices during a session if there is a producer present. A producer would be able to state that a Noble was preferred or even required and would then be responsible for one being made available. If no producer is separately employed for a session then the person paying for the session is the de facto producer and would then be above the engineer in terms of responsibilities. You can solicit an engineer's opinion for how to proceed with a studio task but it is never their job to make those decisions.
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Doh! Read too fast

Don't really think it detracts too much from my point though. OP wants help on tracking down some gear because a studio professional stated a preference. The guy getting dogpiled and pulled in all different directions seems counter productive to his cause (a simple way of impressing the studio). A lot of the replies (to me at least) read more as either general insecurity or, I don't know, people who think it's in vogue to hate on popular products?

Can't we all just be chill and make music?!
 
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