CLICK HERE to go to the Recording Magazine video page for this lesson.

@ikmultimedia: Ampeg SVX! bit.ly/l5eNIy
@MarcusSt0ne: Making sure the player is consistent and doesn’t peak random notes.

@jacobgemmell: record a cab and DI two seperate tracks, and when it gets to editing make sure that beast is on beat.
also doubling up with a synth bass can be cool wide

@djdanlib: Yeah, use compression on finger bass, and don’t kill the high frequencies – there is important audio up there

@bobbyjonesmusic: 700HZ is magic for bass recording.

@RecordingBlogs: My very limitted experience with bass on the cheap – bit.ly/qbYfqt – although you sound a lot more professional

@pakit0_Q: Low threshold plus a 4:1 ratio plus high output equals a pretty tight bass

@MrTonyDraper: P-bass into Ampeg! Split into two amps, one clean, one distorted. U47 and U67 both really nice, not too close.

@timgosden: make sure they only play one note at a time with tight note starts AND endings.

@seankalaras: if using DI and amp, calculate and adjust for the delay between the signals. About 1ms per foot off the speaker is usually ok.

@817audio: I once used this configuration on a 10′ speaker. Provided a super punchy sound. #D2 #SM57 yfrog.com/nuwg5fj

@lucesdaniel: you could emphasize the difference of amp versus plain DI, many people go the easy way then struggle to fit a DI in the mix.

@recordinghacks: bass guitar: steve albini uses one of these: is.gd/BFYX0M (not sure that’s useful information though!)

@sonicvalentine: I like to take a DI and smash the ever loving shit out of it… in mix just bring it in slightly.
An alesis micro limiter is surprisingly good for this. Sounds best plugged directly into it. I run it out of the tuner bypas
hire steve mackey
clean di… dirty amp… also… have a sock ready to use to mute some strings
one more. I no longer own autotune… and bass is the only thing that makes me regret selling it.

@kentsheehey: tune while playing the note your tracking. Always tune with the tone nob down

@TechOttawa: New strings and battery you cheap S.O.B.’S

@BenPeilow: using a DI and a large diaphragm dynamic up close. I’ll use a SM58a beta about 12 inches away for some added grit.

@Duane_BAMF: we used a combination of a beta52, sm57, and a direct line!
used an ampeg svt head, ampeg 8×10 & a hartke 4×10 with a Warwick 5 string

@CreateMusicPro: Don’t accidentally leave the HPF engaged on the mic. I did that today and was wondering why the sound lacked low end. #fail

@kimlajoiestudio: I love recording bass through my @moogmusicinc FreqBox! Such a lovely range of soft dulcet tones. Good for ballads.

@snapascrew: Parallel comp, using a dirty and a clean DI
and auto tune the bass track if doing hip hop

@bradadevine: avalon u5 and sansamp running two channels all you need to know

@theaudiogeek: miking the back of my bass amp is pretty cool!
@ObiWonder: Really? Don’t you lose transients clarity?
@rileyibell: for boomin’ low end.. sounds good on guitar amps as well.
@StreetMeatMsngr: Never tried that! Have you tried laying a mic on the floor and lowering the bass cab on top of it, grill cloth down?
@theaudiogeek: I have not, my downstairs neighbors might not appreciate!
@StreetMeatMsngr: Ha yeah probably not. Just try it and tell them an airplane flew very very low. Stoked to read the article though!

<<sub plot>>
Jason Miller and Ben Strano went off on their own tangent about EQ. I enjoyed it and thought it was worth saving.

@JasonMiller0607: I do. But I’m in a session now. Tweet you later.
@sonicvalentine : he’s just gonna say hire Steve Mackey.

@JasonMiller0607: Ok. Bass tracking. Hire Steve Mackey. After that, the trick is shit tons of EQ + even order harmonics
I add 8-12 dB of low end (depending on the bass) and then another 10-16dB of 1k(ish) to add clarity
Seems like a lot, but it’s really not. Use a comp with even harmonics in the mix (makes it sound deeper)

@sonicvalentine: it sounded odd to me at first until I realized I do the moves that large… only it is subtracting everything else.

@JasonMiller0607: Yes… but it does VERY different things than subtraction does.
I prefer doing that with a 1081 (model). It adds some character that does amazing things to the bottom.
I used to subtract on bass… and I could never get an AMAZING sound. This method rocks every time.

@sonicvalentine: ok… ya… well… I guess I hope to get an AMAZING bass sound one day.

@JasonMiller0607: I’m sure your subtractive bass tones are amazing. Try the uber-additive thing. You might love it.

@sonicvalentine: it’s all the same unless you’re using a modeling plug…

@JasonMiller0607: You may be right… but I think it STILL affects phase differently when you subtract instead of boost.

@sonicvalentine: you know we are both running tests on this tomorrow
@JasonMiller0607: I’m doing a test tonight.
@sonicvalentine: dork
@JasonMiller0607: It will not have the same results with just “any” EQ. Needs to be one known for being “bootylicious”
@sonicvalentine: +/- sucess would all depend on the q… I’m a fan of eq’s that aren’t trying to replicate hardwr… where it’s all up to me
@JasonMiller0607: I don’t think there is any way to get the same sound with just subtracting. I think it affects the phase differently.
@sonicvalentine: we will always disagree on this one then.
@sonicvalentine: On modeling plug ins it absolutely might… on linear phase stuff and eqs that aren’t based on models… never
@JasonMiller0607: I’m not speaking of linear phase. Most EQ’s are not linear phase. Unless they say linear phase…
@sonicvalentine: ya the linear phase should have never been brought into this debate… who brought that up?!!!
@sonicvalentine: are you using the waves 1081? I’ll try it…. my money is still on motu mweq and psp vintage warmer.
@JasonMiller0607: Yes, Waves 1081 is my fav!!
@sonicvalentine: so what I’m getting at is… with a 1081 plug boosting would sound different/better… I don’t use that though… so I sub
@JasonMiller0607: I won’t do the test with the 1081. I’ll use others. I’m thinking add +5dB of something to white noise, then subtracting
If I add 5dB of something, then subtract 5dB of the same… it should result in the original sound, no?
@sonicvalentine: that’s my theory
@JasonMiller0607: Just did it using the standard Waves “Q1″. Nulled perfectly. Now going to try the 1081…
@sonicvalentine: I WIN!!! Don’t care about the 1081… ok… I’m curious. I hope it doesn’t.
@JasonMiller0607 :Results: Very different with the 1081. But those have different “Q’s” between +/-
I think it also has to do with distortion characteristics… which have also been modeled into the 1081.
@sonicvalentine: plus it says neve on it… if it’s a true repro it will never sound the same way twice
@JasonMiller0607: Ha!
@sonicvalentine: exactly!! have we been agreeing this whole time?
@JasonMiller0607: Not sure. All I’m saying is that using copious amounts of “1081″ EQ on bass will result in a fucking awesome sound.
@sonicvalentine: but your original notion of + over – is specific to a plug in that you didn’t mention.
@JasonMiller0607: Yes and no. I tested it on the Waves SSL as well. Similar concept to the 1081. Tested other plugin EQ’s. Same result as Q1
So I think it matters with analog EQ’s, or analog models. The additive effect is hard to create using normal plugin EQs
@JasonMiller0607: They seem to lack the needed “character” for that particular sound. Not saying you can’t do something else great, though.
@sonicvalentine: I get “charecter” from the player first and foremost… now if you’re talking cool distortion… I use comps or amps.
@JasonMiller0607: Sure. Players. Yada, yada. But Steve Mackey through the 1081 sounds more awesome than SM not through a 1081.
@sonicvalentine: says you.

@JasonMiller0607: More testing this morning…. breaking out the PAZ frequency analyzer. I have the funnest job.
@Sonic Valentine: Nobody is paying you for this. Consider this “hobby time”.

@JasonMiller0607: Continued from last night. Would you guys agree these curves are similar? db.tt/Eh7i3Zw
LEFT: My typical 1081 curve for bass guitar. RIGHT: My attempt to recreate with Waves Q6
Screenshot with EQ plugins… db.tt/BZqHDEr
@sonicvalentine: similar yes
@JasonMiller0607: Great. Now I need a virgin bass track to run through both of these. Will they SOUND “similar”?
Okay, I bounced passes from both DIs through both EQ’s. They are labelled A and B. A is the 1081 on one, the Q6 on the other
See if you give a shit about the difference. http://t.co/PLCg35F
@sonicvalentine: I care as much about the difference as you care about my opinion of it.
@JasonMiller0607: It’s really the science part that I’m interested in. I got my ways, you got your ways… I don’t care if they are similar.
@SonicValentine: man… great job matching. The only one that I thought I could really tell the difference one was bass 1 b sounded like a neve to me. But from an outside ear I don’t know if the difference is noticeable much if at all.
@JasonMiller0607: 1b was Q6. So there ya go! I bet neither of us change our workflow.
@sonicvalentine: what were the others?
@JasonMiller0607: 1a: 1081, 1b: Q6, 2a: Q6, 2b: 1081

@theaudiogeek: Are you talking DI box or amp+mic?
@JasonMiller0607: DI. I almost never used an amp ever. DI (preamp) > 1176 > PT aux track with VEQ4 > PT audio track with SMACK plugin
@sonicvalentine: have mackie bring his b20 (i’m pretty sure… might be a 30)… and his Vox bass… mmm… bass chub.
@JasonMiller0607: We need to have a bass party at the studio with Mackey. Soon.

@JasonMiller0607: This is the typical EQ I track bass through… db.tt/mvIRlOp

A great recording starts with a great source. When it comes to tracking bass guitar, the source is comprised of many factors:

Musician:

• Technique and playing position – Playing with a pick or with fingers or thumb. Intensity, Playing close to the bridge, in the middle or close to the neck. Choose what is appropriate for the song
• What is played – playing bass lines that serve the song and don’t clash with the drums or guitars rhythmically or melodically.
• Tuning – Check the tuning often

Bass:

• Strings – new strings usually sound best and give you the brightest tone to start with.
• Electronics (Pickups and EQ) – The pickup selection and tone settings
• Wood and construction – The wood used in the neck and body really effect the sound. Maple and Ash are bright and punchy, mahogany is thicker and darker.

Amplification chain:

• Cable – debatable how much impact this has, how about just using one that doesn’t hum or crackle if you move it.
• Pedals – If a particular pedal helps get you the desired tone, go for it. I would hold off on spatial effects (delay, reverb) until mixing as they require their own attention.
• Amplifier and EQ settings – tube or solid state. As a starting point put all EQ knobs at 6.
• Cabinet – 1×12″, 4×10″, 1×15″
• Cabinet position – where in the room, close to walls, on the floor or elevated

Everything contributes to the sound you’ll be recording, do whatever you can to get this close to what you need from the start. It won’t be the same for every song so you may want to have a few options for basses, though a Fender Jazz bass or MusicMan is versatile enough to get you what you need 80% of the time. Rent or borrow what you don’t own before looking for magical plugins to solve all your bass problems.

In my experience getting good bass gear for recording made my life so much easier further along in my projects. For recording you don’t necessarily need a massive bass rig, I use a Sterling Ray 34 (Low-end Music Man. Swamp ash body, maple neck, humbucker pickup with active EQ) into a small Ampeg BX112 solid state combo amp with a single 12″ woofer. Greatest bass recording gear ever? Ha, far from it, but it got me so much closer to the sound I was looking for. Prior to that I was fighting with a mahogany bass that was deep but had almost no midrange when recorded making it hard to hear clearly in the mix.

A great bass tone in the room is more likely to inspire a great performance. Now you need to capture and enhance it.

The Recording Chain:

• Mic selection – Dynamic mics and large diaphragm condensers are most common for bass amps. Spend some time comparing.
• Mic position – distance and angle play a big part as always.
• Direct Box (DI) – A direct box allows you to split the signal from the bass, one side continues to the amp, the other goes to a preamp.
• Microphone Preamp – Every preamp has its own tone. A pad option may be required.
• Compressor – Optional but worth testing if you have the option. Its very common to compress the DI track while recording in pro studios.

Record at a conservative level, if you’re really digging in for a grindy tone keep the peaks no higher than -6dBFS (DAW metering). An average of anywhere from -18dB to -12dB is all you need. Dynamics will likely be reduced and additional processing is inevitable by the final mix. A clipped signal is useless.

Can you get a great bass recording with just a DI (or plugging right into the interface)? Yes. Can you get a great bass recording with just an amp? Yes. Splitting the signal with a DI before the amp and recording to two tracks gives you more flexibility when it comes to mixing. You may prefer the sound of one over the other, or a blend of the two.

When you do blend the DI and miked amp signals in your DAW it is very likely that you will hear some phase issues. The problem is caused by the DI signal gets to the interface before the mic signal does causing a slight delay. Try inverting the polarity of one of the tracks. This will usually be a dramatic improvement in the low frequencies. This can further be improved by delaying the DI track, often just by a few milliseconds or even samples. You might find it easiest to start with the tracks ‘out of phase’ then adjust the delay until you have the most cancelation, and invert the polarity again (now in phase). You may not get it to be absolutely perfect but do try to find the best compromise.

By now you should have a good, very usable, better than average bass track recorded into your DAW. We won’t get into processing and mixing bass in this article, if you really need info on that right now, check out the Sept 2011 issue of Sound On Sound, great tips on mixing bass in there.

Have a listen to the audio examples I’ve prepared. Compare the different playing styles, mic position, mic type. In the delay compensation file, notice how the tone changes quite dramatically just by delaying the DI in increments of 10 samples.

I guess I can define excitement in a bass guitar as plenty of punch, growly mids and highs, a controlled low end and dynamically responsive. When I’m recording I want as much excitement as possible.

One of the characteristics of Mahogany and Rosewood (read all about guitar tonewood here) is a compressed midrange and reduced highs. That was really working against me in the worst way. So Mahogany was out, and possibly Rosewood fingerboards as well.

Time for a change. That bass went up on Craigslist and was quickly sold. I went down to my local independent guitar shop, The Guitar Shop and started playing everything. I was open to anything not made from Mahogany. I tried several Fender & Squire Jazz basses, a Squire Classic Vibe P-Bass, a Yamaha BB414 (Actually quite good for the price too), almost all of which would be an improvement tonally, but perhaps not in quality. Then I noticed a couple Sterling basses. Sterling is the new, more affordable line of basses and guitars from Music Man. Music Man makes some seriously badass basses, but they can be pricey. The Sterling line is assembled in Indonesia and inspected in America, this allows them to use quality parts for half the cost.

In the shop there were two very similar basses, they were both Ray 34 models (MM Stingray design), one was black with Rosewood fingerboard, and the other was a natural clear gloss finish with Maple fingerboard. Same price. The Ray 34 model has a single massive humbucker, Volume, 3 band active EQ (High, Mid, Low with center detents). Tonally they fairly were similar, but the natural finish one was a couple pounds lighter and had a touch more excitement. With Swamp Ash I think it’s better to go with lighter (lower on the tree). After going back and forth between those two and the Yamaha I made my decision, made a deal and walked away with the Ray 34 Natural.

It looks just like that, but the color is just a shade lighter, less yellow. Because this is an import model you’re probably guessing that there are some quality or quality control concerns. Well there are, but in this case there are only two very small issues with this particular bass.

As with many brand new guitars the fret edges (especially in the winter) stick out a bit and had to be filed down. They did this at the store for me free and most shops will do this for you if you ask.

The second minor issue was a couple of the screws for the tuners are not in fully and the screw heads are stripped. I don’t think this will affect anything as nothing is loose.

Very minor things IMO. You will want to try these out because the density, weight and tone of Swamp Ash can vary quite a bit.

Included with the bass is a soft gig bag, padded and faux fur lined and 3 hex keys.

Alright, to bring this long post to an end. This bass is SWEET/SICK/AWESOME/ADJECTIVE/CAPSLOCK really it is. A massive improvement.

I highly recommend this bass for recording. Most people will say Fender P bass or Jazz bass…NO, get this one. LOL

Note – This review is after just 1 day owning the bass. I’ll update if I run into any problems or change my mind about it. I’m having a ton of fun with it so far.

Check out the Sterling Ray 34

Any questions?