Electric bass recording '15

digitaldrummer · Post by **digitaldrummer** » Sun May 17, 2015 1:39 pm

I really like my friend's Jazz bass into a JDI and then into an A-Designs "gold" pre. it sounds perfect when I want a clean tone. But then a vintage Gibson Firebird was perfect in the PM1000. A little dirtier. Other times mic'ing the amp is preferable. I think having the "feel" of the amp can make the bass player play differently than with a DI only. At least that was my observation with a couple guys - I think the DI only made them dig in and play a little more aggressively and then you get more string sound. and while the amp may sound great, what comes out of the DI may sound totally different because the amp can change the tone so much. when possible I like ot grab both and use which ever takes less work to make it fit in the mix!

I'm Painting Again · Post by **I'm Painting Again** » Sun May 17, 2015 2:20 pm

Orange TT with the volume all the way up and the gain all the way down out of a 4x12 slant cab with an RE-20 on centered on the top right cone. API 512c cranked (no internal pad) with the output padded with a shure barrel pad at 15 or 20 dB to MAD-824

YBA-1A with Early 70's fender bassman 2x15 421 close and a U195 back a bit. 421 to Audix 35102 to Distressor to MAD-824 / U195 DW Fearn VT-2 MAD-824

Little labs RE/DI to Optimus 250 receiver to single KLH model 16 - Sennheiser e602 centered to DW Fearn VT-2 to Distressor to MAD-824

DI into DI of Audix 35102 with EQ in to MAD-824

These are most of the setups I've used in the past 10 years. Insert Space Echo in places sometimes for that kind of sound.

losthighway · Post by **losthighway** » Sun May 17, 2015 2:33 pm

I take a DI as a safety, but seldom use it.

I most often record bass through 15" speakers.

Classic rock/anything mellow: SM7- STA-level- API

For a more aggressive/prominent tone I'll usually do a D112 or an SM7 paired with an LDC, usually a 4033 or Mojave 301fet. The LDC is usually set up with the diaphragm pointed towards the edge of the cone. The large dynamic somewhere a little less attacky, both equidistant. I'll eye-ball the wave forms and nudge the mics until phase looks and sounds correct.

roscoenyc · Post by **roscoenyc** » Sun May 17, 2015 3:12 pm

Ever since we got the TAB-Funkenwerks DI that's been a go-to at our place. We also have Randal ISO cab that has the same 10" Eminence speaker that they use in the SVT. That thing is pretty handy. Recently I decided to apply what I do with our guitar ISO cab and put an attenuator between the amp and the cab which worked great. If I have a really busy session I'll skip the amp and re-amp later using a custom re-amper box that we have. Almost always re-amp into a '62 Blonde Bassman using the 2nd input trick. I have a '70's JBL 15" that sounds great and we put the Manley Ref Card on it.

joninc · Post by **joninc** » Sun May 17, 2015 4:39 pm

I find the d input on my great river 1mv. Chandler germ or tg2 or ua solo 610 are all pretty great and thick/rich for bass.

When I am not in a rush I also like the ampeg b15 wth a d12 or ampeg v4 to 1x12 cab with blue kiwi.

Sometimes I like the original sans amp for grit or the level-or.

A.David.MacKinnon · Post by **A.David.MacKinnon** » Sun May 17, 2015 5:14 pm

drumsound wrote: I also feel like (and maybe I'm wrong) that I can do more to the sound with a DI.

Ah, but maybe that's my point. I don't know if I want to do more with the sound. It takes me so long to get the DI where I want it to be sonically and then I still end up tempted to fuck with it later. If I put a mic on a bass amp that is sounding great in the room I can forget about it and move on to other decisions. DI'ing always makes me feel like I'm postponing the decision making till later.

vvv · Post by **vvv** » Sun May 17, 2015 9:06 pm

roscoenyc wrote: Almost always re-amp into a '62 Blonde Bassman using the 2nd input trick.

Is that the "y" cord trick?

roscoenyc · Post by **roscoenyc** » Mon May 18, 2015 5:24 am

vvv wrote:
roscoenyc wrote: Almost always re-amp into a '62 Blonde Bassman using the 2nd input trick.
Is that the "y" cord trick?

Nope,
all of the old Fender amps (pre-80's) have 2 inputs on each channel.
The 2nd input is padded down some. Makes the amps much more useful
for bass and for pedal steel. More range of control before breakup.

ott0bot · Post by **ott0bot** » Mon May 18, 2015 9:22 am

A.David.MacKinnon wrote:
drumsound wrote: I also feel like (and maybe I'm wrong) that I can do more to the sound with a DI.
Ah, but maybe that's my point. I don't know if I want to do more with the sound. It takes me so long to get the DI where I want it to be sonically and then I still end up tempted to fuck with it later. If I put a mic on a bass amp that is sounding great in the room I can forget about it and move on to other decisions. DI'ing always makes me feel like I'm postponing the decision making till later.

I think it depends where you are recording. In a nice sounding studio, a mic'd amp is great. Most of what in do is on location & home recording, and usually the amp starts rattling everything once the volume is adequate...then there are the room modes causing a problem. Depending on the player, a DI'd bass with a nice sounding pre and adequate compression usually leaves me with just a small amount of post and a solid sound...but it's nice to have the amp for asditional harmonic content and a bit more present midrange.

Recycled_Brains · Post by **Recycled_Brains** » Mon May 18, 2015 9:42 am

RE-20 and 414 on the cab lately. 414 in fig. 8 has been ruling for big, clean low end. I would be fine with just an RE20 though.

I almost never bother with DIs anymore. I never end up using them in the mix, unless I end up reamping it.

vvv · Post by **vvv** » Mon May 18, 2015 11:41 am

roscoenyc wrote:
vvv wrote:
roscoenyc wrote: Almost always re-amp into a '62 Blonde Bassman using the 2nd input trick.
Is that the "y" cord trick?
Nope,
all of the old Fender amps (pre-80's) have 2 inputs on each channel.
The 2nd input is padded down some. Makes the amps much more useful
for bass and for pedal steel. More range of control before breakup.

Ah, yes. I have the same set-up on one of my bass heads, the Musicman HD-130. Thanx!

roscoenyc · Post by **roscoenyc** » Mon May 18, 2015 12:16 pm

Sure thing.
It works with those too.

Using an attenuator with a bass amp is really something else.
Can really help with 'bass in the room'. Certainly helps with the ISO box technique.

vvv · Post by **vvv** » Mon May 18, 2015 1:41 pm

Mebbe I missed it, but what attenuator are you using?

I mean, I have a Power Soak somewhere I used to use when I hadda Boogie MkIIB; like that?

I typically don't like attenuators on guitar amps, but I'd love to get my Ampeg PF500 down to a usable level in the bedio.

Never thought - for some stupid reason - of trying the Soak ...

Altho' and lemme add, I recently used the ubiquitous ProJr mic'ed with a 664 along with a DI on bass, and it was cool.

I gotta try I'm Painting Again's tip on the TT, also.

roscoenyc · Post by **roscoenyc** » Mon May 18, 2015 4:25 pm

I'm using a Dr Z Airbrake but any attenuator would work.
Bass is a lot different than guitar. And people aren't usually looking
for 'speaker breakup' with bass.
Give it a try. It's amazing to be able to turn the bass down in the room and still have a tube amp pushing air in a speaker.

vvv · Post by **vvv** » Mon May 18, 2015 4:27 pm

I shall do that later this week, thanx!

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