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[Poll] How do you record your Bass ?
- Thread starter Clap Trap
- Start date
Just started bass recordings for our band's next demo, the first approach will be like this:
- "Dry" signal: Ibanez SR605 --> (tuner) --> EBS Multicomp (really mild compression) --> Darkglass Vintage Deluxe Parallel Out (before overdrive) --> Audio Interface
- Overdriven signal: same as above but from Darkglass Vintage Deluxe --> Darkglass B3K --> GK 1001RB-II Post EQ DI --> Audio Interface
And then EQing and mixing the signals in DAW. Probably adding some extra grit to the dry signal too in DAW. Going to need a chorus too.
- "Dry" signal: Ibanez SR605 --> (tuner) --> EBS Multicomp (really mild compression) --> Darkglass Vintage Deluxe Parallel Out (before overdrive) --> Audio Interface
- Overdriven signal: same as above but from Darkglass Vintage Deluxe --> Darkglass B3K --> GK 1001RB-II Post EQ DI --> Audio Interface
And then EQing and mixing the signals in DAW. Probably adding some extra grit to the dry signal too in DAW. Going to need a chorus too.
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Usually, I'll use the DI from either a B7K or VMTD - it's less stuff to turn on and I can get some drive or EQ if I want it.
I've also used the DI out from the amp.
These provide the quietest, most consistent signals for me.
I don't have a no-ambient-noise environment for miking, and I don't think I'm giving up anything in the tone department.
I've also used the DI out from the amp.
These provide the quietest, most consistent signals for me.
I don't have a no-ambient-noise environment for miking, and I don't think I'm giving up anything in the tone department.
Channel 1: Bass > REDDI > Interface
Channel 2: Bass > Miced amp
Alt Channel 2 (or 3): Bass > Tube Preamp (Verellen Meatsmoke, Ampeg SVP-CL, Jule Monique) > 2 Notes Torpedo C.A.B.
Normally run two channels, one direct and one with an amp or a simulated amp depending on the engineer and the room. If I'm lucky I get all 3 channels. The last sessions I did were Channel 1 from above and Bass > Meatsmoke > Torpedo CAB (set up to sound similar to an SVT going into an 810). The producer said it was the best bass sound he'd heard and had me retrack a whole bunch of stuff with it.
Channel 2: Bass > Miced amp
Alt Channel 2 (or 3): Bass > Tube Preamp (Verellen Meatsmoke, Ampeg SVP-CL, Jule Monique) > 2 Notes Torpedo C.A.B.
Normally run two channels, one direct and one with an amp or a simulated amp depending on the engineer and the room. If I'm lucky I get all 3 channels. The last sessions I did were Channel 1 from above and Bass > Meatsmoke > Torpedo CAB (set up to sound similar to an SVT going into an 810). The producer said it was the best bass sound he'd heard and had me retrack a whole bunch of stuff with it.
I sold my Avalon U5 because the preamp/Jensen transformer in my Demeter VTBP-800-D sounds so damn good.
Edited (4/15/15): But I'd really like to get a couple of good mics and figure out a good space in my house or garage so I can record though my full rig (Audiokinesis TC212).
Edited (4/15/15): But I'd really like to get a couple of good mics and figure out a good space in my house or garage so I can record though my full rig (Audiokinesis TC212).
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I've pretty much always plugged straight into the interface, if it has an appropriate impedance input and I'm not using any effects (otherwise I use a DI). I love my basses' natural sounds. But no matter what, I ALWAYS have a clean signal.
However, I just got a Sunn 300T and the direct out on it sounds SO good. So for my band's next album, this will be my recording chain:
Bass (Warwick Streamer Stage II) > DI > interface (recorded Track 1)
DI parallel out > pedalboard > another DI > interface (recorded Track 2)
that DI parallel out > Sunn post-EQ DI > interface (recorded Track 3).
And depending on what studio we're at, I might mic up a cab. Honestly, though, everytime I've done this, we've just ended up using the direct tracks.
Having a direct clean signal allows the freedom to "overuse" pedals, because if it sounds bad, the clean signal is always there to fall back on.
Here's a link to the teaser for our album recorded using the above setup (with just the DI and pedalboard, no Sunn):
Dropbox - Barry Place EP Teaser 6.mp3
However, I just got a Sunn 300T and the direct out on it sounds SO good. So for my band's next album, this will be my recording chain:
Bass (Warwick Streamer Stage II) > DI > interface (recorded Track 1)
DI parallel out > pedalboard > another DI > interface (recorded Track 2)
that DI parallel out > Sunn post-EQ DI > interface (recorded Track 3).
And depending on what studio we're at, I might mic up a cab. Honestly, though, everytime I've done this, we've just ended up using the direct tracks.
Having a direct clean signal allows the freedom to "overuse" pedals, because if it sounds bad, the clean signal is always there to fall back on.
Here's a link to the teaser for our album recorded using the above setup (with just the DI and pedalboard, no Sunn):
Dropbox - Barry Place EP Teaser 6.mp3
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70s B15 (or a GK into an Ampeg cab for a faster/heavier sound), mic to suit the song (usual suspects are a 47fet clone, MD421, SM57, Fathead ribbon), usually an API preamp. I usually take a DI too but very rarely use it in the mix, but it's there if I feel there's something missing from the mic or I want to reamp. I'm aware that I'm in the minority here, I'd encourage you to try both (and blending them) to find what works for you.
Disclaimer... I'm just a hobbyist. Real engineers could read this, locate me, take all my equipment and throw me in the street for doing it wrong. It's just me, Band in a Box, various drum virtual instruments, and loops.
I'm dong a bit of overkill on the way in, but I generally end up only using a clean and one colored signal. I'm using a Focusrite Saffire Pro 24 DSP into Sonar Platinum. I generally do very little EQ shaping having spent a fair bit of time getting my bass, pickups, on-board preamp, and strings where I want them so I don't need anything drastic.
Here is my chain:
Bass
Bass goes into an Aguilar Tone Hammer DI Pedal
Once I'm in the box, I have the full suite of IK Multimedia Plug Ins available and I've been playing with the API and Neve models to see what they add. I typically put either IK's White 2A (LA-2A) or their Fairchild 670 model on the bass buss for additional compression with the Pultec model for EQ. I've recently starting playing with IK's SSL channel strips models as well.
Welcome to my Swiss army knife recording method. The reality is, I could probably work just fine with nothing by a nice clean DI signal to get ITB and go from there.
Matt
I'm dong a bit of overkill on the way in, but I generally end up only using a clean and one colored signal. I'm using a Focusrite Saffire Pro 24 DSP into Sonar Platinum. I generally do very little EQ shaping having spent a fair bit of time getting my bass, pickups, on-board preamp, and strings where I want them so I don't need anything drastic.
Here is my chain:
Bass
- Stambaugh custom neck through 5-String
- Macassar Ebony fret board on a maple and purple heart neck
- Quilted maple top with a black walnut back
- Bartolini X45J pickups 1 in the neck position, 2 in the bridge (semi J+MM)
- Mike Pope Flex Core preamp
- DR Strings - Typically DR Hi-Beams or Fat-Beams
Bass goes into an Aguilar Tone Hammer DI Pedal
- Channel 1: Pre EQ DI feed from the TH; Phantom power enabled for the TH
- Channel 2: Post EQ line feed from the TH
- Channel 3: BBE BMax line out - I route the signal from channel 1 (Clean DI) to the input of a BBE BMax
- Channel 4: Ampeg SVP-Pro line out, post master to get all 5 tubes in the path - I route the signal from channel 1 (Clean DI) to the input of the Ampeg
- Channel 5: Clean DI signal with light compression (-2 or -3 dB) from the DSP of the Focusrite (I just started with this to see if I want to add some light compression up front).
Once I'm in the box, I have the full suite of IK Multimedia Plug Ins available and I've been playing with the API and Neve models to see what they add. I typically put either IK's White 2A (LA-2A) or their Fairchild 670 model on the bass buss for additional compression with the Pultec model for EQ. I've recently starting playing with IK's SSL channel strips models as well.
Welcome to my Swiss army knife recording method. The reality is, I could probably work just fine with nothing by a nice clean DI signal to get ITB and go from there.
Matt
I plug straight into the the front of my Joe Meek mic pre. It sounds a bit dirty when isolated, but sits in my mixes perfectly. Sometimes I mic a low wattage valve amp but only ever as an effect, not as my staple sound.
Bass > tube pre* > computer
* I use either my Link Removed as a DI using the XLR-to-balanced-TRS to the line-in, or my ART Pro Audio TubeMP with USB via USB.
* I use either my Link Removed as a DI using the XLR-to-balanced-TRS to the line-in, or my ART Pro Audio TubeMP with USB via USB.
Bass-> Warm Audio Tonebeast TB12 Preamp-> Warm Audio WA76 1176 clone compressor -> into my latest piece of gear: a Warm Audio Pultec-Clone (EQP-WA) Equalizer-> SPL-Crimson Interface.
Did I mention that I like transformers?
Before I used a GAP 73 DLX and the GAP 81 EQ.
The most important part of my chain (besides me and the bass) is the 1176 compressor.
Did I mention that I like transformers?
Before I used a GAP 73 DLX and the GAP 81 EQ.
The most important part of my chain (besides me and the bass) is the 1176 compressor.
Lately I've been tracking direct through a Joemeek pre (which allows me to play live with drums without worrying about bleed) and subsequently re-amping through my SB-12 fliptop. I generally just go with the amp track in mixing.
#Jealous
The more I play with various API and Neve plugins, the more I want the hardware outside of the box!
I use a mixture of things. I have an A-Designs REDDI that I use as a DI and I also have a mic sound and depending on what the project calls for I'll either use a blend of the two (most common) or one or the other. I also have a DI on my Aguilar head which I blend in sometimes for a little bit of punch and growl but this is less common. The REDDI has such great warmth and depth without losing and clarity in the low end. It's one of my favourite bits of gear!
Will be interesting to continue reading as more bassists chime in.
Myself, it's just DI for now. Radial JDI or A Designs REDDI. Yeah the JDI is collecting dust
The only thing that really improves the DI signal is a nice compressor, but I'll usually do that at post production or just run the DI through a transparent comp or two in series with gentle settings.
I am currently in the process of purchasing a cab or two for micing up and blending with the DI. I love the REDDI, but there's still something missing for some tracks where the mid punch and sizzle/air of a recorded cab is needed. Also, a DI is really brutal in terms of capturing any imperfections/flaws in your playing. A recorded cab (so long as it's not one with a tweeter on full!) will offer more forgiving, round tone that I can use to replace the crap that I EQ out of the DI track.
I'm thinking of a Bergantino NV115 and an Ampeg 210AV to give me a bit of flexibility. Different microphones and mic-pres open up even more options before anything gets modified in post production.
Myself, it's just DI for now. Radial JDI or A Designs REDDI. Yeah the JDI is collecting dust
The only thing that really improves the DI signal is a nice compressor, but I'll usually do that at post production or just run the DI through a transparent comp or two in series with gentle settings.I am currently in the process of purchasing a cab or two for micing up and blending with the DI. I love the REDDI, but there's still something missing for some tracks where the mid punch and sizzle/air of a recorded cab is needed. Also, a DI is really brutal in terms of capturing any imperfections/flaws in your playing. A recorded cab (so long as it's not one with a tweeter on full!) will offer more forgiving, round tone that I can use to replace the crap that I EQ out of the DI track.
I'm thinking of a Bergantino NV115 and an Ampeg 210AV to give me a bit of flexibility. Different microphones and mic-pres open up even more options before anything gets modified in post production.
I go direct mostly because it's easiest. As much as I'd love to Mic it, all my mics are cheap and crappy. Just not worth the trouble for bass - I have a feeling it would sound thin. Maybe for guitar because I want to hear the garbled distortion coming out the amp.
In the future though, I'd probably do Mic and Direct at the same time (I have two inputs in the ol' Tascam US-122). I only record for me anyways, and the random person that stumbled on my Soundcloud music.
In the future though, I'd probably do Mic and Direct at the same time (I have two inputs in the ol' Tascam US-122). I only record for me anyways, and the random person that stumbled on my Soundcloud music.
I recently obtained a proper DI . See pic . At home this goes into an older mBox -> Logic Express. In the studio it goes into some expensive stuff I don't quite understand ...lol
Last session, they say its never sounded better.
Last session, they say its never sounded better.
