• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Recording Your Bass? Read This!!

#21
sounds like a lot of work, and it doesn't explain why my Peavey Cirrus, direct into the board, sounds awesome, alone and in the mix. I'll admit, after reading the article, I increased the treble on my onboard eq to get more of the percussive sounds, but that's it.

I think what he was trying to accomplish is getting more of the clicky-clacky sounds, and with the right bass, this isn't a problem going direct. Most Fenders I've played have no treble, so maybe that's why he needs to mic the strings. And I agree that you should record bass guitar to sound way more trebly than you think it should, as highs tend to disappear somehow in the mix.

I'm sure the guy has forgotten more about recording than I'll ever know, but I'm just speaking from what I've experienced.
 
#23
I think something that is very important in all of this is the eq'ing of the other instruments. In my band, with the guitarist recording 8 (yes, eight!) layers of guitar, the only thing I can do to stand out short of hitting the strings with a hammer is to suck all the low end off of the guitar. Once that is done, you have to carve out a space with you and the kick drum.

In short, half (or more) of the bass guitar battle is what the other instruments are doing.
 
#24
Originally posted by mchildree


I wasn't advocating that position, just passing on a link. But...blanket statements like yours just don't hold water. There are lots of pro players, producers and engineers that prefer the sound of a bolt-on, passive bass...myself included. The convenience or familiarity factor doesn't always have anything to do with it. I've had many boutique, active, neck-thru basses and I still prefer a simple passive bolt-on 4-string. For certain types of music, a hi-fi tone just isn't a good fit.
Click to expand...

"Good fit" is all about perception, and perception is determined by preconditioning. The only reason we think that Fenders with flats recorded through miked-up B15s sound good is because they were used to make some the greatest pop and rock music ever, because that's all that was available then.
 
#25
Originally posted by pd_5string

The reason they say that is they are lazy and know how to get a good sound with a J or a P, b/c that is as far as their personal education has taken them, and don't want to take time with the bass player to get a good sound off THEIR instrument. Meanwhile they will try 15 mics for the vocalist, 5 different condensers for the overheads, and 5 mics for the guitar cabinets.
Click to expand...

Wow. You must have had a bad experience with a crappy engineer. Every studio I've been in works with the sound I'm familiar with and the sound my band is familiar with.

The article is a brief overview of how to get things working, not an end all answer to recording bass. Besides, most engineers understand the subjectivity of the recording process and have the professionalism to work with their clients, no matter what you're playing.

In my studio, I'm your bitch. Albeit, I throw my input if I really hate something - or the rest of the band is giving funny looks.

I appreciate a $5000 bass and would be excited if someone walked into my bassment studio with one. That doesn't mean I'd completely pack up my Fender Amer Dlx P in the process. I'm familiar with it and know how to make it sound good. Hell, it's versatility is why I bought it.

Still, you're the supreme lord of all that is your record - and you're paying. Your call.

If this is your perspective on engineers, I'd consider finding one that doesn't suck so much.
 

Latest posts

Top Bottom
Back