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What gear do you use to get the best tone for your bass DI?

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Currently I'm using a POD HD PRO X and I hate it with a burning passion.

I go: bass >>> pod pro x >>> focusrite 2i2 (the DI on this sucks i know) and into computer.

I reckon with the POD i could get some decent bass tones but i'll never be able to track it with the focusrite, and in all honestly there's wayyyy too many parameters available to adjust (on a tiny screen with stinky poo knobs) for compression, noise gates etc etc, it makes finding tone so UN FUN.

I want to simplify it down without compromising sound (to focus more on creating), and here's where i require some knowledge and guidance.

I like the look and sound of the sansamp bass di (the yellow and black one), thoughts on this please. I have visions of running that before and apollo twin or an ID22 interface. I haven't yet made up my mind nor has my bank account. I want to get the most possible analogue interaction with my tones and really feel like I am in control of my sound. For that reason I ask you what DI do you use? and what pre-amp? I understand that not everyone uses a preamp, perhaps you track raw. Personally I like printing at least just a fraction of what i think the finished sound will be when i'm recording, it helps me get in the groove and thats when I create best.

I see I'm rambling now but yeah, what do you use and why!?

note: It's probably important to mention that Im looking for crunchy vintage bass tones too super clean dynamic stuff, basically im a picky git who needs versatile equipment because I am not

 

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Dave Hall VT1 DI EQ. I use it as a preamp for live (it feeds my power amp and cab), and it’s got a great DI for recording and home practice. It’s also got a line in and headphone amp built-in. It’s not a ‘squeaky clean’ hi-if sound, but it’s great for everything from gentle tube driven tones up to Lemmy-esque filth. 
 

Awesome piece of kit.

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I use the Sansamp Para Driver. It’s pretty similar to theit Bass Driver, but has sweepable adjustable mid-range, and a selectable filter that removes all the sub-bass frequencies. Also like the Bass Driver it has the blend control so it’s a very versatile pedal.

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My current projects are wholly recording ones...I record two streams, one clean, one dirty (off a dUg).

The dirty is just a reference for me alone; it helps with knowing how long to hold a note and what I can get away with when my playing is a bit sloppy.

When the stems go over to the studio, the producer always uses the clean recordings and adds everything in post.  He favours either the BOD plugin (essentially a digital Sansamp BDDI and it's free) or Amplitube SVX.

Initially I'd have preferred to record with the dirt, but to be honest clean is better.  

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On 25/10/2020 at 10:35, NancyJohnson said:

My current projects are wholly recording ones...I record two streams, one clean, one dirty (off a dUg).

The dirty is just a reference for me alone; it helps with knowing how long to hold a note and what I can get away with when my playing is a bit sloppy.

When the stems go over to the studio, the producer always uses the clean recordings and adds everything in post.  He favours either the BOD plugin (essentially a digital Sansamp BDDI and it's free) or Amplitube SVX.

Initially I'd have preferred to record with the dirt, but to be honest clean is better.  

I've done this sort of thing before - I use a DI box in front of the pedalboard, then take a DI feed with my overdrive units on it. Producer can chop and change, and as a player I can have more fun with a bit of filth.

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Bass into a sansamp bass fly rig and XLR out into Scarlett 2i2.  Simple and effective.

I mainly use built in compressor as it's good enough for most occasions, otherwise will use my mxr bass compressor. 

Only other piece of kit i may add is a parametric EQ to strip out a tight band around 1kHz.  Been looking at the Sine Effects micro para for just this purpose. 

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On 25/10/2020 at 10:35, NancyJohnson said:

to be honest clean is better.  

Aye... You can always add dirt, but can't take it away!

If I'm not looking for the sound my pedalboard makes (i.e. Future Impact, Bass whammy, various envelope filters), just either clean or overdriven, I'll plug direct into the 2i2 (or 6i8) then into my DAW. Then I'll duplicate the track and put Bias FX and/or Animate (free versions of both) on that one so it can be blended with the clean.

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I use a pod X3 and HD and use digital connection (SPdif) so it bypasses the preamps and keeps the channels free.

 

Edited by ironside1966

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I'm using the Hi-Z input from my XR18 into Reaper and generally run 3 channels of bass - one is usually Positive Grid's BIAS FX 2 simulating a mic'd up cab, the 2nd is a 'free' Tech 21 pedal emulation available here https://www.tseaudio.com/software/tseBOD and finally a clean DI signal.  I also occasionally run a 4th track on a tip from Steve Slate which is the DI channel into a Neve pre-amp sim for gain/saturation.

Edited by DaytonaRik

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For my last recording project I DI'ed a TH500 into Logic. Two seconds to set up and the sound was much better than any of the preset tones the band suggested. My Lull PJ5 with flats and foam sounded the Dog's. Sadly "personalities" killed the project half way through the rhythm section stage!

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I have been using an Avalon U5 for years for studio and recording from home. 

Engineers just take a feed out from the back.

DAW recording, a line straight into my Steinberg USB interface. Sometimes I just plug straight into the Interface Pre-amp.

If I use FX or dynamics processors, I apply them afterwards, once the recorded material is inside the DAW.

Edited by lowdown

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4 hours ago, chris_b said:

For my last recording project I DI'ed a TH500 into Logic. Two seconds to set up and the sound was much better than any of the preset tones the band suggested. My Lull PJ5 with flats and foam sounded the Dog's. Sadly "personalities" killed the project half way through the rhythm section stage!

Love my P & flats into the Tonehammer DI, the amp is even better as the drive control is equivalent to the AGS switch but more variable!

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The most important but of kit for getting a good tone with outboard gear when you're recording isn't any part of the input signal chain at all IMO. It's a reamping box so you can figure out what tone works after you've tracked. It gets mentioned so many times on here that you can't judge the tone until you hear it alongside everything else. Once you have the ability to play with the tone after stuff is tracked, either by reamping or just using virtual, that gets so much easier.

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On 27/10/2020 at 09:03, Leonard Smalls said:

Aye... You can always add dirt, but can't take it away!

If I'm not looking for the sound my pedalboard makes (i.e. Future Impact, Bass whammy, various envelope filters), just either clean or overdriven, I'll plug direct into the 2i2 (or 6i8) then into my DAW. Then I'll duplicate the track and put Bias FX and/or Animate (free versions of both) on that one so it can be blended with the clean.

But if you just record dry and reamp, or use virtual amps like you describe, then you really can take dirt away.

Edited by adamg67

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Tried a few various ones - but this was pretty fun and good, and yes in all likelihood overkill.

Bass into a radial JDI - Clean unaltered signal taken from this and run the signal on.

Into pedals which as a CaliCB compressor and Tech21 DP3X (running clean or dirty) - DI out the pedal.

The signal chain carried onto my amp (Tech21 dUg Ultrabass 1000) and i took the DI out of that.

It gives 3 simultaneous tracks - You can use the JDI at any point to give a run off of the signal at that point.

Is it any better than what is suggested?I dunno, but it was fun and you have 3 different sounds all in time etc. To then layer a sound.

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The DI from my HandBox R-400 is beautiful. That, straight into a Focurite interface works for me.

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