Stoner/Doom Bassists Thread, Part 90: Maxed Out

[Jolagh]

Yeah, my only concern with that is they don't want to use a click and want to record everybody live in the same room. He's a good enough guitar player to do that though. When most people do that do they use the same amp/pickup settings and layer or do they use diff guitars/setups? From what I've read in interviews people have said they've done both. We are totally self taught recording/mixing so we know a lot about some stuff and next to nothing about things that are probably really obvious to someone w/ experience. Personally I'm 100% pro click and solo track recording after seeing how much easier and faster it is on my solo stuff and my few studio trips.

Im the kind of guy that prefers more raw music. So i prefer live recordings with good micing and mixing. He should be able to account for any dragging or rushing playing to the mix.

It depends on your goals. You can get a more dense sound using a different guitar and amp. Or even the same amp with a different dirt pedal. If you use the same aml and guitar it will make it thicker but may not sound as dense. You just have to try and see what works for your sound goals.

 

[Korladis]

I prefer if the drummer has a click track.

Not sure what the guitarists in Catapult did when recording. I know each used his own rig, but I wasn't there those days, so I'm not sure how the actual process went and if they changed settings when double tracking.

For Dustern, the guitarist uses two different amps and cabs, so it's already kinda like being double-tracked.

 

[Batsquatch]

We are trying something new (to us anyway) as far as recording goes. Time is just an issue as far as getting together. I'm sending the drummer a click track with my baseline (and guitar at times) and he is recording his drum tracks to that. Coming into rehearsal we are playing to his drum tracks and D.I. Into his laptop. He re-amps at the house since he has a mini studio. No clue what we're gonna do about vocals.

 

[kzr750r1]

Main thing is listening and watching for inconsistencies. Our engineer thankfully was also a spot on producer as well. We tracked drums with one guitar player recording a scratch track. Once we were all ok with the drum performance it was then time to lay over the final guitar x2, bass and vocals then sprinkled in some backing vocal tracks.

For correcting any inconsistencies most times he was able to stab in an overdub to clean it up (Magic of protools and someone who knows how to use it). For me it was a pitch (bending a fretted note) or timing issue (millisecond late or early) here and there. While we would perform he would mark the track to go back and confirm if he herd something... Most of the time it was a slight mistake on our part.

First time I'd ever used a strobe tuner. Still need to get one for setups. Bloody things are accurate.

Was really over an above effort on his part for what we paid.

 

[mpdd]

d180 started working perfectly this morning after i changed the power strip and set the fan to low, not really sure why, but i'm not gonna push my luck, hoping the popping problems were from the samsung washer and or the budget power strip

the quilter sounds surprisingly like my d180 super clean at low volumes, strong low mids, pretty warm tone, and nice harmonics
i could see me getting one if i needed more volume or if i relied on pedals more for my sound, but overall the quilter was really impressive with an active bass, a fretless, and an upright

rubber knife played two songs, i played the super clean kinda melody driven bluesy piano stuff, while thom played the psychedelic noise blasts, ringing chords, and thick feedback, korg beat boy did a nice job, but i would have preferred him to use more reverb

 

[scabpicker]

Im the kind of guy that prefers more raw music. So i prefer live recordings with good micing and mixing. He should be able to account for any dragging or rushing playing to the mix.

It depends on your goals. You can get a more dense sound using a different guitar and amp. Or even the same amp with a different dirt pedal. If you use the same aml and guitar it will make it thicker but may not sound as dense. You just have to try and see what works for your sound goals.

Yeah, I'm of the persuasion that thinks: the closer to live, the better. However, I'm also a fan of separate preamps when possible. I have a Silvertone 1484, and running it's preamp circuits in parallel is luscious. If your studio has the isolation rooms, splitting the signal into entirely separate amp setups will thicken the one guitar's sound considerably. The different amps and cabs will almost assuredly generate a thicker sound.

But, that's not the same as say, having the same part recorded with different takes repeatedly with different setups. As long as the guitarist is tight, that beats any reverb/delay tricks for a thick part, IMHO. The only time I'd pick effects to thicken a part over the guitarist laying down multiple tracks is during a solo.



Anyone have a good solution for a post power amp direct out? My Traynor YCS-100 has a combo direct/headphone out, but it sounds like a tube fuzz pedal direct into the board, not like it sounds at the cab at all. I'd rather have a solution that local sound guys are prepared for, rather than requesting they mic a bass cab all the time.

 

[Jolagh]

Yeah, I'm of the persuasion that thinks: the closer to live, the better. However, I'm also a fan of separate preamps when possible. I have a Silvertone 1484, and running it's preamp circuits in parallel is luscious. If your studio has the isolation rooms, splitting the signal into entirely separate amp setups will thicken the one guitar's sound considerably. The different amps and cabs will almost assuredly generate a thicker sound.

But, that's not the same as say, having the same part recorded with different takes repeatedly with different setups. As long as the guitarist is tight, that beats any reverb/delay tricks for a thick part, IMHO. The only time I'd pick effects to thicken a part over the guitarist laying down multiple tracks is during a solo.



Anyone have a good solution for a post power amp direct out? My Traynor YCS-100 has a combo direct/headphone out, but it sounds like a tube fuzz pedal direct into the board, not like it sounds at the cab at all. I'd rather have a solution that local sound guys are prepared for, rather than requesting they mic a bass cab all the time.

I think ive heard lots of people use the countryman type 85 for this. Ive never used it but it has a speaker level pad. Countryman Countryman Type 85 Direct Box Search Results

 

[bassboysam]

Yeah, I'm of the persuasion that thinks: the closer to live, the better. However, I'm also a fan of separate preamps when possible. I have a Silvertone 1484, and running it's preamp circuits in parallel is luscious. If your studio has the isolation rooms, splitting the signal into entirely separate amp setups will thicken the one guitar's sound considerably. The different amps and cabs will almost assuredly generate a thicker sound.

But, that's not the same as say, having the same part recorded with different takes repeatedly with different setups. As long as the guitarist is tight, that beats any reverb/delay tricks for a thick part, IMHO. The only time I'd pick effects to thicken a part over the guitarist laying down multiple tracks is during a solo.



Anyone have a good solution for a post power amp direct out? My Traynor YCS-100 has a combo direct/headphone out, but it sounds like a tube fuzz pedal direct into the board, not like it sounds at the cab at all. I'd rather have a solution that local sound guys are prepared for, rather than requesting they mic a bass cab all the time.

speaker level DI sounds like garbage. unless the soundman is going to take the time to EQ it to compensate for the lack of speakers it's really not worth it. you're better off putting a DI with a speaker sim like a tone hammer or tech 21 VT at the end of your effects chain. otherwise spend your money on a mic and take it with wherever you go. i use the AKG P2 and have never had a sound man refuse to use it.

 

[scabpicker]

speaker level DI sounds like garbage. unless the soundman is going to take the time to EQ it to compensate for the lack of speakers it's really not worth it. you're better off putting a DI with a speaker sim like a tone hammer or tech 21 VT at the end of your effects chain. otherwise spend your money on a mic and take it with wherever you go. i use the AKG P2 and have never had a sound man refuse to use it.

Hmm, your comment about speaker-level DI generally holds true for all DI, IMHO, bassboysam. But your suggestion of carrying a proper mic for the duty is probably the best answer. Direct sounds bleah, but the wrong mic doesn't sound much better. DI after the pedals is standard, but since I'm using the switchable preamp of the YCS100 for distortion on most of the songs, and a Fuzz on only certain parts: it's going to miss a lot, at best.

You've never had a sound guy give you a strange look when you ask them to mic the cab? They always hem and haw when I do it.

 

[Jolagh]

Hmm, your comment about speaker-level DI generally holds true for all DI, IMHO, bassboysam. But your suggestion of carrying a proper mic for the duty is probably the best answer. Direct sounds bleah, but the wrong mic doesn't sound much better. DI after the pedals is standard, but since I'm using the switchable preamp of the YCS100 for distortion on most of the songs, and a Fuzz on only certain parts: it's going to miss a lot, at best.

You've never had a sound guy give you a strange look when you ask them to mic the cab? They always hem and haw when I do it.

I think the trick is having your own mic and stand. All they gotta do is plug a mic cable in. If they give you lip just put your boots to them medium style.

 

[bassboysam]

Hmm, your comment about speaker-level DI generally holds true for all DI, IMHO, bassboysam. But your suggestion of carrying a proper mic for the duty is probably the best answer. Direct sounds bleah, but the wrong mic doesn't sound much better. DI after the pedals is standard, but since I'm using the switchable preamp of the YCS100 for distortion on most of the songs, and a Fuzz on only certain parts: it's going to miss a lot, at best.

You've never had a sound guy give you a strange look when you ask them to mic the cab? They always hem and haw when I do it.

i just explain that i use distortion and depend on feedback and effects for our sound. never had any issues and i always offer to let him use the mic for all the bands if he wants to that eay he's not switching back and forth

 

[Korladis]

Hmm, your comment about speaker-level DI generally holds true for all DI, IMHO, bassboysam. But your suggestion of carrying a proper mic for the duty is probably the best answer. Direct sounds bleah, but the wrong mic doesn't sound much better. DI after the pedals is standard, but since I'm using the switchable preamp of the YCS100 for distortion on most of the songs, and a Fuzz on only certain parts: it's going to miss a lot, at best.

You've never had a sound guy give you a strange look when you ask them to mic the cab? They always hem and haw when I do it.

Not usually. I mostly play shows with other underground metal bands, including doom and sludge bands who use a lot of drive/distortion/fuzz on bass, so usually it's assumed that the bass cab should be mic'd or that if there is a DI, it should be from the back of the head.

i just explain that i use distortion and depend on feedback and effects for our sound. never had any issues and i always offer to let him use the mic for all the bands if he wants to that eay he's not switching back and forth

Indeed. I just explain that I use a lot of overdrive and fuzz and that it'll work better mic'ing the cab.

 

[kzr750r1]

Main thing is knowing where in the rig to pickup what you want to broadcast on the PA. Making sure the DI settings are right is also key. For the SansAmp VTRM there is a pre and post switch for where the DI is picking up the signal in regards to the SansAmp circuit. I too prefer mic but some places just don't and it's up to you the player to know how your gear works.

 

[NoiseNinja]

I guess I might as well join this thread, if you find me worthy that is.

I just recently started a band called Tauon with two old friends I played together with in sort of metal/hardcore band about 20 years ago, where I played guitar, the drummer also played guitar in and our current guitarist played bass in.

While Tauon is not strictly doom or sludge, we do definitely play slow and heavy music.

What we aim for is more over in the drone genre, a la Earth, OM and Sunn O))).

It might turn out a little differently though, as we only so far had one rehearsal, and so far am only working on one track that I wrote a while ago.

I have a second one I just wrote recently though ready to be presented at next rehearsal, so guess, beside being the bass player, I could call myself main song writer, this far at least, as well (even if it is really just the bass, I let the others freely add their parts, and we sort of discuss the form and what else to add (or scrap) as a band).

Would I qualify for joining this thread in that aspect, and with the fact in mind that I am not actually especially knowledgeable or into the genre as such?

However I sure do like playing and creating slow heavy music in the darker end of the spectra.

 

[cornfarmer]

Meanwhile, in the bass world....

Straight outta Belarus, this Com Bloc special showed up. I needed an interesting body to install an EGC neck from a run they're making and took a chance on this, it was cheap and I thought it was gonna be janky enough to carve up. Goddang thing is nice, built pretty well and sounds pretty good too....so much that I'd rather keep it as is. Now I gotta figure out what I can put that EGC neck on that doesn't negate the coolness/sound of the neck itself. 1st world probs.

 

[gfen]

Would I qualify for joining this thread in that aspect, and with the fact in mind that I am not actually especially knowledgeable or into the genre as such?

I think, outside of pressing the "Post Reply" button, the only requirements to joining the thread is finding something interesting in the thread.

Then hitting the "Post Reply" button.

Why does your Soviet bass have two rear strap pins? I'm cornfused.

 

[NoiseNinja]

I think, outside of pressing the "Post Reply" button, the only requirements to joining the thread is finding something interesting in the thread.

Then hitting the "Post Reply" button.

Why does your Soviet bass have two rear strap pins? I'm cornfused.

Wouh, yubii!!!

I'm in

To answer your question on behalf of Cornfarmer, I think it might be to give you the option between neck dive or not neck dive.

Why you would ever chose neck dive over not neck dive is truly a bit of an enigma though.

Maybe something a native Russian could shed light on?

Could be an ironic political statement or a way to show your sexual preference?

Who knows?

 

[Korladis]

Meanwhile, in the bass world....

Straight outta Belarus, this Com Bloc special showed up. I needed an interesting body to install an EGC neck from a run they're making and took a chance on this, it was cheap and I thought it was gonna be janky enough to carve up. Goddang thing is nice, built pretty well and sounds pretty good too....so much that I'd rather keep it as is. Now I gotta figure out what I can put that EGC neck on that doesn't negate the coolness/sound of the neck itself. 1st world probs.

EGC is doing a run of necks?




Ugh, regular TB: this guy

 

[thombo]

Duders, I'm not as active as I use to be, but I have a quick question. I'm in San Diego for the next three nights (3/1-3/3). Does anyone know of any cool shows or venues I can check out?

 

[cornfarmer]

Duders, I'm not as active as I use to be, but I have a quick question. I'm in San Diego for the next three nights (3/1-3/3). Does anyone know of any cool shows or venues I can check out?

Casbah? That was one of the main rock clubs when I used to live there.