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SVT CLASSIC recording suggestions for modern metal

Discussion in 'Amps and Cabs [BG]' started by garmenteros, May 25, 2018.


  1. garmenteros

    garmenteros Bass Enthusiast Supporting Member

    Aug 24, 2008
    Dominican Republic
    Like the title says, Im recording soon for a death metal project and im using an svt classic with a ampeg 15 classic with eminence 4 ohm speaker. Any EQ suggestions, mic choices or placements I should go with? For distortion Im using a darkglass b7k and leaving a dry DI track to blend later. Im using an alex webster euro 5 string spector. Im a heavy fingerstyle player and the band is something along the lines of napalm death and cannibal corpse.
     
  2. callofcthulhu

    callofcthulhu

    Oct 16, 2012


    Recording chain - Rickenbacker 4003 > DI > effects > SVTCL > Marshall VBC 412 mic'd with a Neuman TLM(?). DI track reamped into SVTCL + Ampeg 810 (not sure what it was mic'd with)
     
    AdamR likes this.
  3. chaosMK

    chaosMK

    May 26, 2005
    Albuquerque, NM
    Hi-fi into an old tube amp
    Too bad you dont have more cabinetry. I'd do it like this: Run Darkglass into the FX Return (completely bypassing the onboard preamp), crank the master (this why more cabs needed) so that the power section gets involved. It would still sound good less cranked.
     
  4. I used a 70's SVT head with a B-15 Ampeg cab years ago and it sounded great in the studio. Could get just about any sound you wanted out of it.
     
  5. Korladis

    Korladis Banned Supporting Member

    Crank the gain and the mids at 800hz.

    I would suggest either an EV RE20 or a Shure SM-7B for the mic. Avoid kick drum mics except as an extra channel to reinforce the low end, as they have a very weird, uneven frequency response that's voiced for kick drum, not bass guitar.

    Also I wouldn't exactly call Cannibal Corpse or Napalm Death "modern metal," lol. :p
     
    FugaziBomb, MDBass and Kriegs like this.
  6. Jim C

    Jim C Is that what you meant to play or is this jazz? Supporting Member

    Nov 29, 2008
    Bethesda, MD
    Agree with the above.
    RE 20 about 1 foot away from the edge of the cone, DI, no effects and bump the mids at either #2 or #3 on the selector knob; gain cranked.
    (I've not liked a D-12 on bass guitar but some guys do)

    I would cut tracks like this and add distortion later.
    .02
     
    Korladis likes this.
  7. Korladis

    Korladis Banned Supporting Member

    Reamping can be really useful.

    My main tone has always just been an overdriven, mid-boosted amp.
     
    alesreaper9 likes this.
  8. Jim C

    Jim C Is that what you meant to play or is this jazz? Supporting Member

    Nov 29, 2008
    Bethesda, MD
    If a bas player really wants distorion to tape, I would prefer a 2nd amp with the distorted tone.
    IME, the amount and tone of perfect bass distortion may change as the mix delops or more instruments are added.
    Re-amping or plug-ins typically sound very good and offer the most in flexibility.
    Some producers do this with guitars although given the choice, I prefer a guitar DI along with the setting the player feels best works for the song.
     
  9. Korladis

    Korladis Banned Supporting Member

    More cranked amp than a pedal type overdrive. I actually have found that, counterintuitively, recordings of metal tend to sound better when the bass is more overdriven than you would at first expect, while the guitar is less so.
     
  10. You have all that gear and you want recommendations? Honestly, dialling in a tone is a much more personal thing in the studio than one could tell you, but in general whatever mic you'd use you'd probably want just an inch or two away from the speaker grill and right in the middle of the cone. From there I can't say much else, as everything I've done has been about as pared down as you could get with regards to recording - I always just DI'd with bass, except for one time.
     
  11. ZuluFunk

    ZuluFunk Supporting Member

    Apr 14, 2001
    Pennsylvania
    Mic slightly off center. Dead on could give nice bite, but for a bit more fullness, move it a little off center. Push it right up to the grill without touching. Just use an SM57. Don’t worry about the frequency response range.

    Some would say don’t use any distortion while tracking, but I believe it gives you more feeling, especially if you’re recording with others.

    But, as always, split your signal and run two tracks (at least). One mic’ed and one just from the DI...dry. Check your gain on both to make sure you’re getting a signal you can manage, not clipping.

    It may be as easy as just blending the two tracks to get a good balance between a biting distorted sound (mic) and a full bottom end (DI).

    Some will record both tracks dry, and then re-amp with effects. I know many engineers love that, but, my opinion, it’s not just about how the signal sounds. My playing dynamics respond to what I’m hearing and translates to what I’m feeling.

    Also, don’t be afraid to develop “your” recorded tone. Almost like a signature. Sure, do your job as a bassist and hold up the bottom end. But recording, mixing, mastering is about making a whole sound. Your bass should sound right in the context of the song and in the mix.

    Check lots of videos and read articles to get ideas.
     
  12. JSandbloom

    JSandbloom Supporting Member

    Feb 2, 2004
    Redding, Ca
    Grace Guitars USA
    I wish you had some 10’s in that cab to get a true classic SVT sound. However, since you have a pre EQ DI going as well, scoop your mids and boost your high and low. That’s your chunk. I use the Shure kick mic on the speaker and condenser away from the cab a few feet. If you need definition from mids use some and pass and low pass filters and blend in your DI signal. I suggest using a pick for that setup.
     
  13. JimmyM

    JimmyM

    Apr 11, 2005
    Apopka, FL
    Endorsing: Ampeg Amps, EMG Pickups
    That's crazy talk with an SVT preamp!!!
     
  14. JimmyM

    JimmyM

    Apr 11, 2005
    Apopka, FL
    Endorsing: Ampeg Amps, EMG Pickups
    My only advice is to use a good mic that isn't made specifically for bass drum, unless you like a really scooped sound. Otherwise, just use your best judgment and have fun.
     
    Korladis and MDBass like this.
  15. mpdd

    mpdd neoconceptualist

    Mar 24, 2010
    LA
    One thing I would usually do was also bring my grabber or p bass too because sometimes my more aggro basses were just too much in a studio situation. That's the only thing I could think of after reading the op's post.
     
    Korladis likes this.
  16. MDBass

    MDBass Supporting Member

    Nov 7, 2012
    Los Angeles, CA
    Endorsing Artist: Dingwall-Fender-Jule-Dunlop-Tech 21-Darkglass-Nordstrand
    Definitely not the cab I'd prefer to use, but try a few different mics and placements and I'm sure you'll find something useable.

    RE20, SM7b, or SM57 as primary mics, avoid using a kick drum mic unless it's specifically for blending.

    Remember also that dynamics have a heavy proximity effect: keeping the mic aimed at the same section of the cone but moving it a matter of inches forward or back can have a dramatic effect on the low end response.

    Use your ears, don't be afraid to experiment and have fun: if it sounds good, it is good :)
     
    Korladis likes this.
  17. These are the settings I use w/ my 76 pretty much every time I've recorded... Not sure how they translate to the Classic:

    Plug into Channel 1 Normal
    Ultra High off
    Mid at 800
    Ultra Low off
    Bass at 12:00
    Mid at 2:00
    Treble at 12:00

    However, I've almost always recorded with a passive P bass or variation of it. Never with an active bass and never with humbuckers. YMMV.
     
    Korladis likes this.
  18. FugaziBomb

    FugaziBomb

    Jun 5, 2017
    It really depends on what you're looking to achieve.

    If you want to cut through the mix, keep the drive light to moderate and boost 700-2khz (pretty much every bass has a "voice" somewhere in that range, you've just got to find it.

    If you don't want to cut through, and instead are looking to keep things big and low to fill out the mix, crank the drive and push 200-600hz. Just watch out for that proximity effect in that range or it'll start to sound like you mic'd up a cardboard box that just happened to be in front of a bass amp.

    Edit: Keep in mind that these settings assume you also have a clean DI running in parallel to the desk
     
  19. beans-on-toast

    beans-on-toast Supporting Member

    Aug 7, 2008
    Don’t be afraid to experiment.

    Use a mic’ed SVT to provide some air in the sound between the speaker and the mic. It provides a solid low end. Mix that with a high end distorted through the preamp, set the EQ like a guitar amp. This channel will sound like a guitar but with depth. It should be used support and compliment the guitar’s high end.
     
    Last edited: May 27, 2018
    Korladis likes this.
  20. garmenteros

    garmenteros Bass Enthusiast Supporting Member

    Aug 24, 2008
    Dominican Republic
    Great suggestions, Ill post a soundclip when Im done and let you know what ends up working.
     

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