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Post by noah shain on May 28, 2017 19:38:23 GMT -6
Hey wiz that link up above is bass through zod at tracking and again at mix as I recall Thanks noah..I checked that out...cool stuff As I own a Jazz, and a country man I would love to hear someone who had those and the ZOD... thats as close as I could get to demo'ing it.... I need to hear it, with hopefully that context to decide if its right to take the plunge.... 4 bars of root five would do me cheers Wiz Ahh...sorry Wiz. Missed the Jazz part.
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Post by mrholmes on May 28, 2017 21:15:47 GMT -6
I am fine with DI base tracking special if you have kids which need to sleep.
Most often its JB into the 1073 into DBX 160 Optional good cab IR compression again EQ and maybe some reverb.
No one died yet because of the DI base... mööp...
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Post by kilroyrock on May 28, 2017 21:25:58 GMT -6
Eleven rack ampeg model here <ducks>
I'd love to see what the zod could do before I'd buy it, but small shop = no guitar center to try it from..
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Post by Guitar on May 28, 2017 22:24:01 GMT -6
My "secret weapon" right now on bass is an upgraded Alesis 3630, which is also partially broken, only one side really works. I haven't even found anything else the 3630 works on, it's very limited, but for some reason it just sounds right on bass. Reminds me of Daft Punk basslines. Maybe no coincidence.
If you want a quick EQ fix to get a DI sounding more like an amp, just scoop out about 8 dB of 700 Hz give or take. Basically just take an SSL EQ plugin and sweep around and cut a bunch of mids. That will simulate the tone stack of a bass/guitar amp and make it sit down a lot.
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Post by wiz on May 28, 2017 23:55:21 GMT -6
Thanks noah..I checked that out...cool stuff As I own a Jazz, and a country man I would love to hear someone who had those and the ZOD... thats as close as I could get to demo'ing it.... I need to hear it, with hopefully that context to decide if its right to take the plunge.... 4 bars of root five would do me cheers Wiz Ahh...sorry Wiz. Missed the Jazz part. So, I have a bazillion DIs here.... with preamps, and stand alone... so i went through them all today....again.... 8) The addition I have to the collection since the last time I did this ...is V72 . Hmmm, I think I found my way... after a bit of testing, that might just be the ticket. I have tracked bass with it , since i got it a couple of months ago, but hadn't done a shoot out comparing it... thanks for the thread giving me a nudge to do so. cheers Wiz
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Post by levon on May 29, 2017 1:38:45 GMT -6
DI into a 512 is nice....Lanois style. DI into a BAE 1073MP with the Jensen tranny Bootsy Mod....watch out! Yes, DI into BAE 1073 DMP coupled with a 47 in front of an Ampeg rig. The DI gives me the clean low end and the amp gives me the grit and distortion. Perfect.
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Post by jcoutu1 on May 29, 2017 5:17:25 GMT -6
Ahh...sorry Wiz. Missed the Jazz part. So, I have a bazillion DIs here.... with preamps, and stand alone... so i went through them all today....again.... 8) The addition I have to the collection since the last time I did this ...is V72 . Hmmm, I think I found my way... after a bit of testing, that might just be the ticket. I have tracked bass with it , since i got it a couple of months ago, but hadn't done a shoot out comparing it... thanks for the thread giving me a nudge to do so. cheers Wiz So you're saying the 72 was the winner?
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Post by wiz on May 29, 2017 5:25:03 GMT -6
So, I have a bazillion DIs here.... with preamps, and stand alone... so i went through them all today....again.... 8) The addition I have to the collection since the last time I did this ...is V72 . Hmmm, I think I found my way... after a bit of testing, that might just be the ticket. I have tracked bass with it , since i got it a couple of months ago, but hadn't done a shoot out comparing it... thanks for the thread giving me a nudge to do so. cheers Wiz So you're saying the 72 was the winner? yes Cheers Wiz
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Post by iamasound on May 29, 2017 6:13:46 GMT -6
My old 80's Squire bass into the Daking Mic Pre One into the Warm WA-76 is alright by me.
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Post by c0rtland on May 29, 2017 8:05:43 GMT -6
REDDI -> 1073 -> 176 never been disappointed. Interested in hearing the zod.
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Post by M57 on May 29, 2017 8:26:45 GMT -6
My old 80's Squire bass into the Daking Mic Pre One into the Warm WA-76 is alright by me. I'm not unhappy with my Fender Jazz -> Dizengoff D4 -> Warm WA-76 chain, but I'm not a real bass player AND I have no perspective of what I'm missing out on sans-amp. It just seems to me that getting a better track by recording the real thing, though preferable, requires a perfect storm of conditions, like room considerations. Not to mention, todays ITB modeled amps are so much better than what I can get out of a microphone. No doubt, that's just me and my amateur engineering skills and less than pro studio conditions talking, but DI is a no-brainer for posers like me.
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Post by EmRR on May 29, 2017 8:46:34 GMT -6
SanAmp! He said SansAmp. Wait, no he didn't. Did anyone say SansAmp? I have an original laying around. Those were the rage at one time. I stuck a JLM FET DI in a box, usually what gets tossed on the floor with a bass....when it happens.
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Post by M57 on May 29, 2017 9:05:54 GMT -6
SanAmp! He said SansAmp. Wait, no he didn't.. LOL - I thought the same thing as I was typing it.
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Post by nnajar on May 29, 2017 12:18:41 GMT -6
I love the sound of a DI fender bass. Countryman is great, my favorite is the www.fire-eye.com red eye, Avalon is cool too. Also, Daking fet ii is is fantastic for tracking bass.
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Post by EmRR on May 29, 2017 13:16:08 GMT -6
It's funny how many I like when I hear them previously recorded by someone else, and how unhappy I am usually when recording. The average bass coming through the door here doesn't sound good through a DI. Tons of extraneous/spurious spikes/thumps/rasps/buzzes, lots of rumble down to DC, which means unwanted vibration/impact is making it to the pickups. Amps hide all that.
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Post by Bob Olhsson on May 29, 2017 13:52:57 GMT -6
A DI where the bass player was listening to an amp usually doesn't sound nearly as good as miking the speaker. I never cared for Countryman or Jensen DIs. Some of the active ones or the classic reversed UTC mike transformer sound great.
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Post by jimwilliams on May 30, 2017 14:57:26 GMT -6
DI's gain reduce and then rely on the mic preamp to jack it back up 30 or 40 db. That's where I find problems, excessive gain staging at rather low levels where THD and noise can have a greater effect.
Active line amps or the "DI" input of a mic preamp are a better choice, you get proper loading (hopefully) and only take the gain you need, usually around 15~25 db. Other factors are low end rolloffs and the associated phase shift. I've never got anything close to the low end depth of a great line amp. No speaker/mic combo can do that.
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Post by jazznoise on May 31, 2017 3:48:07 GMT -6
It's funny how many I like when I hear them previously recorded by someone else, and how unhappy I am usually when recording. The average bass coming through the door here doesn't sound good through a DI. Tons of extraneous/spurious spikes/thumps/rasps/buzzes, lots of rumble down to DC, which means unwanted vibration/impact is making it to the pickups. Amps hide all that. I'm the same, I feel like other people get results and are happy with DI sounds even for bass fuzz effects but I find myself hating this clicky, bright noisy, flat signal I get coming in. Interesting that a lot of people are recommending 'Mojo' DI boxes. The Sansamp seems cool, but they're too much bean for this scene. Are people using the others in a similar way ie are they overdriving their ZOD's/1073's etc. for effect is it a more subtle thing? When recording double bass beside a loud drummer DI is mandatory and a dynamic mic or ribbon for some wood sound. Then amp modeling, convolution early reflections and dynamic eq. I do the opposite: DI bass for mid/highs fingers and definition and amp mic for lows and weight 90% of my work is also band-in-a-room and I know how dangerous spot mics can be (Sax in the room with a cymbal basher, oh dear!) but I assumed that the majority of the sound would be worked by good use of Fig. 8 nulls. Some guys say tape an omni under the bridge? That said I've only recorded Cello and Violin, never Double Bass. Interesting perspective on the mixing, I guess you're trying to get all the transient information you can!
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Deleted
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Post by Deleted on May 31, 2017 6:03:01 GMT -6
It's funny how many I like when I hear them previously recorded by someone else, and how unhappy I am usually when recording. The average bass coming through the door here doesn't sound good through a DI. Tons of extraneous/spurious spikes/thumps/rasps/buzzes, lots of rumble down to DC, which means unwanted vibration/impact is making it to the pickups. Amps hide all that. I'm the same, I feel like other people get results and are happy with DI sounds even for bass fuzz effects but I find myself hating this clicky, bright noisy, flat signal I get coming in. Interesting that a lot of people are recommending 'Mojo' DI boxes. The Sansamp seems cool, but they're too much bean for this scene. Are people using the others in a similar way ie are they overdriving their ZOD's/1073's etc. for effect is it a more subtle thing? When recording double bass beside a loud drummer DI is mandatory and a dynamic mic or ribbon for some wood sound. Then amp modeling, convolution early reflections and dynamic eq. I do the opposite: DI bass for mid/highs fingers and definition and amp mic for lows and weight 90% of my work is also band-in-a-room and I know how dangerous spot mics can be (Sax in the room with a cymbal basher, oh dear!) but I assumed that the majority of the sound would be worked by good use of Fig. 8 nulls. Some guys say tape an omni under the bridge? That said I've only recorded Cello and Violin, never Double Bass. Interesting perspective on the mixing, I guess you're trying to get all the transient information you can! Well it really depends on every situation. When I record jazz live double bass player is beside floor tom so there's heavy leakage on not only from cymbals (it's easy to attenuate them with dynamic EQ and MB compression). The real struggle comes from snare and tom mids and kick and floor tom lows. They are on the way of double bass line. Fig.8 nulls often works, often not. Sometimes there's nothing one can do except DI bass and a dynamic/ribbon mic and push it up on solos and ballads
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ericn
Temp
Balance Engineer
Posts: 14,934
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Post by ericn on May 31, 2017 6:44:39 GMT -6
Like anything else it works when it works!
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Post by adamjbrass on May 31, 2017 7:08:54 GMT -6
I definitely don't hate DI bass, but my vintage SVT 8x10 with a transformer-less mic into a clean/accurate preamp, usually wins out. However, when I pull out the Tube DI boxes, like the InnerTube and DW Fearn, or use a nice passive DI into an expensive Tube pre, I get "sorta" close, but its usually no cigar. But honestly it just depends on the bass setup, the track, etc. I have like 4,5 different passive/active DI's for different pickup types. They all load the pickups differently and you get different tones you can further manipulate using mic preamp hardware.
And then, there is having isolation...but my SVT is in a iso - booth. I usually record both DI/Amp with Bass players. Much easier to fix their performance that way.
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Post by Ward on May 31, 2017 8:39:09 GMT -6
I like my 251 in supercardioid on the bass cabinet, that's a really nice sound. 251 in supercardioid? I need to hear more about this, please. I use a U47fet If anyone has a country man DI ...Wiz My preferred set-up for bass is a Neumann U47fet on an ampeg 1x15 or SVT cabinet into one channel of a drawer 1960, using mild compression from the built in compressor. Then, a countryman type 85 DI into the other channel of the Drawmer, same thing. And if I need more compression, still rely on an LA4 per channel for some crush. In the mix, it's always 75% amp and 25% DI
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Post by Guitar on May 31, 2017 10:51:29 GMT -6
I like my 251 in supercardioid on the bass cabinet, that's a really nice sound. 251 in supercardioid? I need to hear more about this, please. I use a U47fet Sure thing. I have four tube LDC mics that each have a 9-way pattern selector on the power supply. I put the 251 down there, in cardioid, and noticed a very smooth bass tone. The mic was picking up a lot of room, even up close, so I narrowed the pickup to supercardioid and got a tighter sound. I'm going to need to build another one, because this mic is living on vocals for me right now. Or maybe I could just put the Peluso 2247 SE back down there since it lost the vocal shootout.
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Post by jeremygillespie on May 31, 2017 13:23:45 GMT -6
I rely mostly on the DI, Sansamp (where applicable), and the amp signal in that order.
The Hairball Lola di input is REALLY good.
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Post by joseph on May 31, 2017 21:43:45 GMT -6
Non-DI'd bass takes me one minute to mix.
Whereas the opposite takes me 2 hours.
I do like the sound of both.
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