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roman_sub

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Posts posted by roman_sub

    Split signal recording

    in Recording

    Posted · Edited by roman_sub

    6 hours ago, Sibob said:

    I think most bass gets double-tracked, not often to layer it (although that certainly happens), but more often to simply give the producer/mix engineer options. You're not necessarily going to know what you need from the bass until everything else is in place, and so if I have the ability to quickly and easy double track (Mic/DI, clean/distorted etc), I will. I'd rather subtract at a later date, than spend time editing/processing something to make it fit because that's all I have.

    Si

    I wonder if we're talking at cross-purposes.

    Double-tracking of performances is a good idea as you can select best performance for each section, try a few different licks, etc.   This also gives an insurance option, eg if one take is suddenly affected by noise or dodgy cable. You'd select a single take per section, most of the time, though - unless you really want a less defined mono / some sort of stereo-panned bass sound...

    Recording multiple sources, during the same performance (DI + amp etc) is also a great idea as it gives options for the mix; many rock bass tones are a combination of several sources.

    What I meant is that doing several passes using two different sounds e.g. combining take 1 of clean bass with take 2 of distorted bass over the same section of music, may not be as good as capturing both clean and distorted at the same time.  Most of the time, the timing / string attack discrepancy in performances would be an unwanted artefact.

    That's not to say that some songs don't have a fretless P via DI in verse, whereas chorus is a picked Jazz through an amp... or even blend of the two.  Just trying to be realistic here...

    Split signal recording

    in Recording

    Posted

    You could also try splitting the signal into clean and dirty digitally - there are plenty of good plugins that can simulate the distortion pedal. Common practice is to keep the pure low end from the cleaner DI, and grab the mid-range grind from the 'distorted / amp channel'.

    If you want add an analog drive pedal but also record clean sound, you'd need to put a DI as the first thing the bass plugs into - then record that DI, and then mic up the amp.  The amp signal will be some milliseconds later than the clean DI, so will want to check phase alignment between the two. Check if it sounds much better with phase polarity button in / out as a start, and if you really want to get deep into it, you can play with time-alignment of the waveforms in the DAW.... alas, I digress.

    Personally I wouldn't double track bass as was suggested above - in 99% cases, bass would be panned straight down the middle, so overlaying multiple performances would likely give a less tight sound as result of timing/performance differences (however slight).

    Does anyone have experience in using Studio One software?

    in Recording

    Posted

    Yes just get him to bounce down the individual WAVs per song; just making sure they are exactly the same length (start/end at same point) - then anyone can work on them, with any software.

    may be best if these are exported without any processing.

    i would be willing to work on the mix, if I could have unprocessed WAVs - pm me for details.

    How to do promo videos?

    in Recording

    Posted

    I would agree with above, if you are looking for one-off video, you'd probably spend less time/money/hassle and achieve a better result if you hire someone to do it. 

    As a shameless plug - let me know if you want any location recording of audio. I have just finished setting a full, pro level location recording set up to record anywhere.

    Need a luthier / someone handy with drill press for a small job

    in Build Diaries

    Posted · Edited by roman_sub

    Hi - sorry, not sure if this is the right forum. Not really an 'items wanted' - and am specifically hoping one of the basschat builders may be able to help me with a small job

    Basically, I would like to make a set of Acoustic Pressure Equalisers for my omni-directional microphones.  Basically these would focus high frequencies somewhat and should help me record orchestras a bit better ;-)

    Here's a professionally made set, for a different pair of microphones:  

    neumann-sbk-130-a_178809_662038.jpg.3764b3300479d6131ee42c429c0d92c9.jpgneumann-sbk-130-mt-sound-diffraction_1_0964f1cf86ac68c00851a4ef3669ce65.thumb.jpg.4a258767fce1b858950bb439052384e4.jpg

    Unfortunately I can't order them directly for my set of mics, so what I am thinking of doing is:

    - buy 2 Delrin spheres, e.g. from here  https://www.ebay.co.uk/itm/Single-Delrin-Plastic-Ball-Metric-Sizes-1mm-to-50mm/372119091645

    - have a skilled member of basschat drill them (I expect this would require a drill press / forstner bit drill). Probably will need to be 40mm balls originally, with 21mm hole. I think this video shows a possibly simple way of doing it: https://www.youtube.com/watch?v=BH5CfA3NClc

    (optional additional steps: spray paint them black; come up with tight-fitting mechanism around edge of capsule*. something like a ring of felt seems to have been suggested on forums. But if these could be bit more fiddly so I could tackle them myself)

    * they need to be taken off / put on with relative ease, but need to sit very tightly around the microphone (21mm tube) - especially at the the edge, around the capsule.

     

    I will pay for balls and all postage costs, plus a fee to cover your time (hoping it wouldn't take much more than an hour for the drilling? - but do correct me... Obviously would be a bit more for spray painting and coming up with mechanism for them to fit tightly around 21mm tube - little more of an engineering challenge).

    Hoping this will be a small but rewarding project for someone with the right tools! Please PM me if you're interested, or just reply here for a bit of general discussion around how to do this... would be grateful for any thoughts or advice.

     

    Thanks

    Roman

     

     

    Posh DI Box- is it worth it?

    in Amps and Cabs

    Posted · Edited by roman_sub

    Neve 1073 is a really classic design - sounds warm and phat to my ears. Works great for mixes, but probably with a less crisp high end than some of the other active DI's (then again it's called bass, right?!). Luuuuvely transformer to gently tame transients too if you push it ;-)

    A number of decent clones exist, too - GAP Pre73, Warm audio etc etc... BAE is top of the pile of the new stuff probably :-)

    GK MB500 Fusion B channel tone

    in Amps and Cabs

    Posted

    OK in that case I think what you are hearing is not difference in channel A/B voicings, rather it's the difference in how the tube preamp responds when higher level of signal (Gain) is put through it.  I think it's intended by design to let you have a cleaner and a dirtier sound via the two channels :-)

    GK MB500 Fusion B channel tone

    in Amps and Cabs

    Posted

    When you are comparing, do you have gain and volume settings set exactly the same on both channels?

    I thought it was the same circuit for both channels, but you could just control the amount of tube saturation via the gain control, changing the tone (and reduce / increase output volume accordingly)? Happy to be corrected though....

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