how do you guys record bass

mallcore pop said:
Mic the amp.
Mic the amp.
Mic the amp.
Mic the amp.
Kill Kid Klash.
Mic the amp.
Mic the amp.
Mic the amp.
Mic the amp.

j/k KK, but c'mon now. You should know better than that.

MP
(Mic the amP)
Click to expand...

Hi mallcore pop,

Look at my last post; it'll explain a little more about how to get the tightest, most focused sounding combined mic'ed/D.I. bass tracks.

Or, keep doing what you appear to be doing - just mic the amp if it sounds good to you. Take care.
 
if it's a nice bass, i put it through my dmp2 (just to get some volume), and then right into the comp.

if it's not the best bass, i run it through my amp, and take a plug out of the back of the amp (its got an OUT)...then run that to the comp. that is pretty rad as well. it's got lots of EQ on the amp, etc. that i can play with right there to get a better tone.
 
I mic bass with a Beta 52 when I'm not feeling lazy at all. When I'm feeling somewhat lazy I'll mic it with a 57. When I'm feeling really lazy, I'll just go direct into the mixer. I've never noticed any phase problems...

I'm not a go-getter I guess...

I usually add a lot of compression.
 
kid klash said:
Hi mallcore pop,

Look at my last post; it'll explain a little more about how to get the tightest, most focused sounding combined mic'ed/D.I. bass tracks.
Click to expand...

Look, I know the difference between phase and polarity.

I took issue with the fact that you automatically dismissed micing the amp (you started the post with "don't mic the cabinet", fer cryin' out loud).

It's fine if you don't like micing amps, just don't limit newbs' options with those kinds of suggestions.

Not micing an amp, because you have to align the di later, without considering what sounds best, suggests laziness.

That's why I said you should know better than that. You should.
Duh, you're gonna have to align the tracks. How hard is that? Again, duh.

Sometimes you just need the bass to move some air. I know I do. In fact, I find that leaving out the di (if I can help it) makes kick/bass mixing a lot easier. The cab can add so much. . .

However, I'm not going to begin posts by saying, "don't bother running a di. . ."

You concluded your posts to myself and fenix by saying, "hey, if you're happy with the sound, keep doing it" and "or, keep doing what you appear to be doing". I don't know what you think I'm doing to bass tracks, but I must be doing something wrong for you to give me that dismissive, "Okay bro, whatever you say" attitude. I don't mind it, but others might.

MP

p.s. KK, I wasn't gonna kill ya, I was just gonna cut ya.

Don't mind me, I'm just a bunny. A harmless, sugar-dipped, Max Martin- produced bunny.
 
Dead simple. Amplitube.

Search for it on google, or kazaa if you feel so inclined :-)

Plug in directly, let it do the hard work.
Chris.
 
Ideally, I like to take a signal at a number of places. I take a DI directly out of the bass, one out of the effects (if the player insists on using them, which has only happened to me a few times, usually distortion) one out of the amp, and a mic on the cabinet. The final sound is usually a mix of these, predominantly the DI from the bass. It is very good, however, to get the air being pushed by the speakers. It adds character.


Light

"Cowards can never be moral."
M.K. Gandhi
 
kid klash said:
Hey fenix - Take a look at a sine wave as an example; a complete cycle looks like a hill followed by a valley. When you flip the phase button on your preamp, it's literally reversing the complete cycle from the BEGINNING, so it looks like a valley followed by a hill.

When you look at a DI signal, it generally looks like the above, because there is no time delay. Now take the mic'ed signal which has several small time delays because of what I mentioned before. This means that the mic'ed signal starts later in time (which means the phase is not the same, because the "hill" of the mic'ed signal begins somewhere after the "hill" of the direct signal). When you combine these signals (which are out of phase with one another), you will get cancelations and peaks, depending on the note (frequency) being played, and the amount of time offset (difference) between the two signals. These are audible, which is why many people struggle with mic'ed/D.I. combined bass tracks sounding "mushy" and "unfocused".

But hey - if you're happy with the sound of your combined signal bass tracks, then keep doing it. If you want a tighter, more focused bass track and you still want to go the mic'ed/D.I. bass track route, try aligning the two signals. Mix to taste. Serve hot. Enjoy.
Click to expand...

No thanks, I'll mix with my ears. Check out the first track here KK:

http://harleyquinrock.com/html/site/disc.html

Just the flip of a phase switch did the job.
 
fenix said:
No thanks, I'll mix with my ears. Check out the first track here KK:

http://harleyquinrock.com/html/site/disc.html

Just the flip of a phase switch did the job.
Click to expand...

Hey fenix,

Nice track ("Without You")! It's very big and warm sounding.

Glad to hear flipping the phase switch did the trick... sounds like you had one of those pesky bass amps or cabs wired 180 degrees out of phase. :)
 
fenix said:
No thanks, I'll mix with my ears. Check out the first track here KK:

http://harleyquinrock.com/html/site/disc.html

Just the flip of a phase switch did the job.
Click to expand...

Hey fenix,

Nice track ("Without You")! It's very big and warm sounding.

Glad to hear flipping the phase switch did the trick... sounds like you had one of those pesky bass amps or cabs wired 180 degrees out of phase. :)
 
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