WHUFC BASS

[quote name='brensabre79' timestamp='1325784871' post='1487696'] I have both a Badass and a Gotoh 201. Both made dramatic improvements to the sustain of the bass, can't say which is my favourite though. If I were to do a third I would probably go for a Gotoh simply because they are cheaper and easier to get! Also, I think the Gotoh design is just a quality improvement on the original Fender whereas the Badass is almost a complete rethink - plus you may have to shim your neck with the BA because they sit high up. [/quote] Yep, Gotoh gets my vote for the simple reason the Badass sits too high to get a super low action on most basses. I've used both and for me the Gotoh was just a straight replacement with no height issues whatsoever.

[quote name='silddx' timestamp='1280858150' post='914152'] I freely admit my motivation for getting them was because I thought they would look damn cool, [b]especially with some jewellery worn on top of them[/b]. [/quote]

[quote name='ahpook' timestamp='1275553995' post='855715'] wearing silk gloves worked for holger czukay... [/quote] and Joan Collins too !

Bought a DI box from Paul - superb hassle free and quick delivery. What more could you ask for ?

The good... [b]Traben Chaos Core[/b] For the money, playability and sound-wise its hard to beat one of these I reckon. Had more basses pass through my hands than I can remember in my 20-odd years of playing and I love these more than almost anything I've ever played. The Bad ... [b]Musicman Stingray[/b] They look the nuts but sound and playability-wise I just cannot get on with them. The sound always feels to me like there's a whole chunk of low end frequency removed that no amount of eq-ing can restore. The Ugly Never played one but they just look ugly to me. This example espcially. Horrible colour.... yuk.

"I think I've upset a few people in the audience so we might have to fight our way out of here later".... Happened to us on more than one occasion.

I love working with Logic. I was recently in a studio recording drums with a fella using Pro Tools. Whereas it had some nice plugins there was a lot of stuff you could do in Logic that you can't do in Pro Tools. For example, exporting all tracks as WAVs in one hit, super fast track bouncing (Pro Tools bounces in real-time) and other small things that I've taken for granted in Logic.

Here's a cover of a Vinnie Stigma song that I want to cover on a new album. Any pointers on the recording quality greatly appreciated. I know I'm a crap singer so no need to remind me ! Bass used is a Jazz Custom with Kent Armstrongs through the DI of a Trace Elliot valve combo and a mic up against the speaker Guitars are an ESP VIper and a Washburn Custom Shop Idol through a Peavey 5150 Combo mic'd up with an SM57. Vocals done through a Rode NT2 All through a Focusrite Saffire Pro 24 DSP into a Macbook.

Great band, one of my favourites of all time. Phil Lynott as mentioned was a really underrated bass player but Brian Downey for me was one of the greatest rock drummers ever. Some of their finest moments: [b]The Rocker[/b] [b]Wild One[/b] [b]The Kings Call[/b] [b]Emerald[/b]

[quote name='51m0n' timestamp='1322475105' post='1451106'] In software the easiest, cheapest solution is a free vst called phasebug. [/quote] Do you know of an equivalent for MAC systems ? I've tried looking but not seen anything that fits the bill.

DT100s are great hardwearing mics for recording. I wouldn't use them as reference or mixing headphones though as they sound very muffled compared to say the DT880s.

[quote name='51m0n' timestamp='1321967018' post='1444854'] Yes but you are recording reggae[/quote] Err... I think not ! Punk rock all the way mate ... [quote]There is nothing you have going on there that you couldnt choose to do at mix time with a different (flatter) mic, and if the sound is working for in context then thats superb, you are eqing with the mic rather than after a mic pre.[/quote] That's not a bad suggestion as it goes. I've never really tried much else on a bass cab, as the usual mantra that's trotted out is that kick drum mic = bass frequency response that other mics can't get. As you say, a flatter mic would give you more eq options and any loss of bass response is easily made up when eq'ing.

Thanks for the info 51m0n. Some useful pointers there. I usually use a combination of Audix D6 Kick Drum mic and a direct signal from my Trace Elliot's DI output. This signal is always pre-eq so I'm just getting the flat raw bass sound. I usually combine the two and as you mention, once the phase has been checked, I usually get some pretty decent results. I'm with you on the SM57 for guitar cabs. I just don't think there's a better mic that does it. Especially not for the price.

[quote name='51m0n' timestamp='1321960560' post='1444763'] Finally - dont get me started on how much I dislike using kick drum mics on bass and the kick again (and why its generally a bad idea IME & IMO) - its boring for us all, and will no doubt get everyone all upset again. But it is valid nevertheless especially in a studio.... [/quote] I'm intrigued ! Please tell me more. What mics do you normally use for mic'ing up bass amps ?

A good site mate and something that should be of use to beginners. A few pointers and suggestions if I may... I'd make more of a mention on headphones and studio monitors. These really will be the only way to determine how good the sound is that you're recording and emphasis should be made on getting the best you can afford. The flatter sound with the least colouring as possible - Berydynamic DT880 headphones and Yamaha HS80s are what I'm using at present. Also, your recording system seems geared heavily towards a Windows environment which is OK but MACs are just as popular, if not more so - certainly in professional studios. Might be worth mentioning something on them too. I'm guessing that your article is geared towards home recording - if so, you should really expand on room acoustics and what pitfalls to avoid such as bass traps etc. and also something on ambient room sound, room size, sound damping and amplifier positioning. This is really important, and can really affect the sound you recording if going down the mic'ing up route. Also, and I know this may be personal preference, but I tend to avoid using condenser mics on both guitar and bass cabs and prefer dynamic mics instead. I just tend to find you get more of a natural sound with dynamic. It may be my room acoustics but I have experimented with several mic combinations and positioning but I still don't think you can beat a direct input / dynamic bass drum mic (I use an Audix D6) for getting a great sound. The importance of recording with new, or newish strings should also be stressed. It really makes a difference to your sound IMO and can really improve a cheaper bass' sound. Remember the old recording mantra - "sh*t In - sh*t Out" which really is true as I've found out to my peril. Its also worth mentioning that mixing desks, certainly in a home environment, really aren't necessary as many audio interfaces come with their own software mixing desks. Certainly this was the case for me. Since I got a Presonus Firestudio and a Focusrite DSP24 I've used the software mixing desk, rather than my Mackie desk. Some Youtube videos would go a long way to demostrating some of your points and techniques.

[quote name='JamieBenzies' timestamp='1321375666' post='1438432'] Hornsey (near Crouch End), of course I would be prepared to travel to the other side of London to get the best deal and service though. [/quote] Mate, there's a fella in Wood Green who specialises in Valve Amps down in Mayes Road, just behind the shopping city. He fixed my 5150 amp. He's pretty reasonable too. PM me and I'll give you his number.

Pat Collier at Perryvale Studios is a superb engineer. Not cheap though. Around £300 a day but well worth it. For you area, there's one in Barnet which a mates band have used previously and the results are excellent. I'll need to find out the name of the studio though.