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Best methods for recording bass?


tubes2bits

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i just use the DI on my Carvin R600 straight to the board. the EQ on the board is pretty much flat and I have the DI output at about 4 and the master volume at about 1. By active bass's preamp's volume is almost all the way off. so thats how I record bass.
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I just posted this in another forum. (Hope nobody minds)...

 

Method 1: Ampeg B-15 miked with an RE-20 into a Great River NV and either a Tube Tech CL-1B, UA LA-2A or a General Electric BA-9B.

 

Method 2: Great River NV DI into either a Tube Tech CL-1B or a GE BA-9B.

 

Method 3 (when I'm working in other studios): Evil Twin DI into mono Manley Vari-Mu.

Dave Martin

Java Jive Studio

Nashville, TN

www.javajivestudio.com

 

Cuppa Joe Records

www.cuppajoerecords.com

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Originally posted by Dave Martin:

I just posted this in another forum. (Hope nobody minds)...

 

Method 1: Ampeg B-15 miked with an RE-20 into a Great River NV and either a Tube Tech CL-1B, UA LA-2A or a General Electric BA-9B.

 

Method 2: Great River NV DI into either a Tube Tech CL-1B or a GE BA-9B.

 

Method 3 (when I'm working in other studios): Evil Twin DI into mono Manley Vari-Mu.

Hey Dave,

 

Mind if I ask a couple of follow up questions?

 

When you use Method 1, do you also take a DI to supplement?

 

Also, newer bass speaker cabinets tend to have a crossover and either a tweeter or a mid-range and a tweeter. What would you do then if you mic the cabinet? We all kicked this around in the link I supplied above, but I don't think we ever came to a satisfactory consensus.

 

I would never ask you to be a consensus maker, but it's what you actually do for a day-gig AND your website says your opinionated! :D

 

I'd be happy to field any accounting related questions in return. :bor:

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"When you use Method 1, do you also take a DI to supplement?"

 

Nope - when I'm going for the B-15 sound, that's what I'm after. When I do that here at the studio, the amp is out in the tracking room while I'm in the control room (I use an Alan Smart DI to run the bass cable to the amp). I can sit in my engineer's chair and hear the sound that's going to tape.

 

"Also, newer bass speaker cabinets tend to have a crossover and either a tweeter or a mid-range and a tweeter. What would you do then if you mic the cabinet? We all kicked this around in the link I supplied above, but I don't think we ever came to a satisfactory consensus.

 

I would never ask you to be a consensus maker, but it's what you actually do for a day-gig AND your website says your opinionated! "

 

Well, to start with, I really dislike the sound of all the tweeters I've heard to date on bass cabinets. So I wouldn't mike the tweeter (in fact, if it were my amp, I'd disable the tweeter). But if someone brought their amp to the studio and wanted to mic it, I'd generally set the cabinet in an Iso booth and find a place to set the mic that gave me as much of the tweter as the client wanted while keeping as much low end as I can get. And I'd most likely take a DI as well. I'd also let them try playing through the B-15...

 

"I'd be happy to field any accounting related questions in return."

 

I appreciate that. The biggest one I have is "Why does more money go out on gear than comes in for work?" But I think I know the answer - I'm a Gearslut.

Dave Martin

Java Jive Studio

Nashville, TN

www.javajivestudio.com

 

Cuppa Joe Records

www.cuppajoerecords.com

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Originally posted by Dave Martin:

I appreciate that. The biggest one I have is "Why does more money go out on gear than comes in for work?" But I think I know the answer - I'm a Gearslut.

As a CPA with extensive auditing experience, I have come up with two potential answers:

 

1. you're a gearslut

 

OR

 

2. you've been brainwashed by the CIA to purchase as much gear as possible. The CIA, which secretly owns Guitar Center, Sam Ash, and every other music store in North America and on the internet (they only secretly own 95% of the pawn shops in the world), is using the cash to fund the creation of an army of genetically enhanced kittens and puppies that will spy on everyone in the US through the use of imbedded listening devices. Any money left over then gets used to buy Cheez-Whiz for crackers.

 

It's a toss up, I'm not sure which one is more likely. I'd have to do more research. :confused:

 

Seriously, thanks for the answer, that's very interesting. Just wondering; how do you feel about tweeters for live use?

 

Personally, I like a warm sound on tape, but I like to cut through live and I like that soft-dome tweeter on my Acme.

 

PS - if you want a serious answer to that question and it's actually a concern, PM me. Don't worry, I don't charge musicians for advice, I don't have that much karma to burn. :D

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Originally posted by getz76:

Originally posted by Dave Martin:

Seriously, thanks for the answer, that's very interesting. Just wondering; how do you feel about tweeters for live use?

Honestly, I don't like tweeters for bass much at all. I worked for too many ears to eliminate fret rattle and finger noise from my playing to intentionally add it back by boosting the high end. I've mentioned in other threads that I disabled the tweeter on my SWR Super Redhead (my live amp) the day that I bought it. Over the years, I've played through 10" speakers (both my current SWR and a pair of Hartke 4x10" cabinets), 12" speakers (part of a bi-amped rig using JBL components), 15" inch speakers and even 18" speakers (both an acoustic 360 and a Sunn Collosseum with 2 18" cabinets) and only felt like I lacked a bit of top end with the 360 - and once I was 12-15 feet from the amp, I could hear that. I simply haven't been convinced of the need for tweeters, though I know that a lot of guys like them.

Dave Martin

Java Jive Studio

Nashville, TN

www.javajivestudio.com

 

Cuppa Joe Records

www.cuppajoerecords.com

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I don't currently record at the moment, but I'd just use my BP200. I just pick the amp model, and cabinet model, set up some effects if needed (maybe a little compression), then record. I'd leave the mixing desk EQ flat, and EQ my sound from the BP200.

 

Unless someone lends me a decent rig for recording, this is the way I'd do it.

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