Recording Bass

DI with a little compression going in. I actually use the DI out of my Gallien-Krueger head for the EQ and that GK sound, then through a compressor and into the audio interface. The compression isn't much but fattens up the sound. Slow attack and release, low ratio. With my Jazz bass I'll often add slight compression between the bass and amp as well. If it sounds muddy in the mix, too much compression. The P bass gets a low mid cut and a low end boost from the amp EQ, the other way around for the Jazz. I shoot for -12dB, just like the guy in your link recommends. It doesn't need much in the mix but a high pass filter at 50Hz. Not much to it really. I wish everything in the recording process were this straightforward.
 
Interesting.
I try to blend DI & mic when I have the chance.
I don't, as a general rule, use a high pass filter on my bass because it's a bass.
I do use the Motown EQ tweak as well as a bit of a narrow boost at 3Khz if I'm after a proggy growl.
I also automate the levels if I haven't rehearsed enough to get an even level.
 
I usually either DI into my interface or record my bass played through my Marshall stack. I've been unhappy with my bass tone, so for for my latest project, a cover version of London Calling by the Clash, I tried out a bass amp sim.

I recorded my Fender P directly into my interface with about 4:1 compression and a medium attack/release on the input FX. I copied the track then put Ignite Amps' SHB-1 free bass sim on one of the tracks with the gain set fairly high for a bit of dirt. I used the Ignite Amps' NadIR free cab simulator with the Ampeg V4-B impulse loaded. The sound was too bright at this point, so I used ReaEQ to low-pass at about 1kHz. I blended the two bass tracks, with the DI much lower than the effected one. An extra dollop of compression before the amp sim completed the job. Check it out in the MP3 forum if you're interested - I'm very pleased with it.
 
I use a DI (thorugh an outboard pre) and a mic signal, favouring the DI heavily. Then EQ, compression (usually some kind of 1176 model) and maybe a low cut at 20-30hz if it's too boomy, but really it depends on the playing and the instrument as to how much of what goes on.

I've had some luck with Softube Bass Room, but mostly I go for the DI unless the pickups are terrible.

Interesting interview, thanks :)
 
Motown EQ - I can't find the formal reference to it BUT
- a few dB narrowly at 100hz + the same number and width at 200hz.
I THINK it was about 5 dB and was said to MOVE the energy up into a more audible area.
I use it often but tweak as needed and, depending on the mix, add a little peak at 3Khz to cut through a little better.
 
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I like DI bass more than amps. It's the one case where DI is great. And agree, wish everything was that easy. I like really deep and smooth bass (e.g. motown sound), so I go with flatwounds and usually only play on the lowest string. Very smooth and deep sound good for moody songs and bluesier stuff.

Depends on style, though, if it's an indie/punk/rock song I'll play on the 5th through 3rd strings for a little more edge and maybe use the tone knobs to taste.

I run the final signal through a nice amp sim.

Why do some use compression on the way in? What's the advantage over using it after? I usually use it after.
 
4tracker said:
Why do some use compression on the way in? What's the advantage over using it after? I usually use it after.
Click to expand...
In my own case I use some of both. Because a lot of the songs I do have quite aggressive basslines and are played with a pick, the performance can end up with a huge dynamic range. This is probably a bit of bad technique, but I find that two subtler hits of compression are better than one big squash. Same with vocals, especially if they're a bit "shouty". :)
 
Thanks for checking out the interview guys, and for your comments!

I like the Motown EQ tweak... We have to remember when making records that so often they'll be played back on systems with very poor ability to really reproduce low lows properly. So having the bass sitting more in the 100-200Hz range makes it more audible....

Happy New Year everyone!

Nick

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One Flight Up | Recording Studio
 
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