how do i get a killer bass sound

[billy flack]

hi billy flack here
i use cubase studio
and put my bass guitar through a soundcraft mixer
then straight into comp
can anyone tell me is it better to mic
the bass up to a bass cabinet as the sound seems so boomy
when its recorded and i canot get that killer punch
the bass guitar is not an expensive one
its a vintage about 140 pounds sterling
cheers billy

[Bass_player69]

From my personal experience it's best to go direct into the computer. To get the 'killer' sound you can put it through your head first then into the computer and adjust your tone. Maybe investing in a phat stomp box could also help get you deep bass sound. I can't think of any off the top of my head currently but just search around. Also adjusting the EQ in Cubase is essential.

[billy flack]

thanks for the info on getting a good bass sound
billy

[mikecuster]

I've used the XLR out from my bass ToneBone directly into the computer and have had good results.

[bradzoot]

Straight into the PC for me.
I quite often end up using the, Dynamics/ Multiband compresser/Electric bass preset, plug in- in Cubase SX3. Sometimes it sounds great straight off and sometimes I have to tweak it a little but for me it is a good starting point.
Oh, and sometimes I have to discard it and go back to the original sound that I recorded lol.
Hope that didn't make you go, WHAT?

[Eric Scholz]

hands down, the best results i've gotten:

1 DI track through a DI box, and 1 with a bass mic (Audix D6) on the cabinet about 1 foot off

the mic track should sound bottom heavy with little attack, and the DI should sound almost clanky with a weak bottom response. Generally when i put them into a mix i start with the mic track and bring it up until i can feel it working with the kick drum, then i bring up the volume on the DI track until i can hear the notes being played. then what i usually do is output them both to a bus and eq/compress them together on 1 track.

this is also the way they do it at the the studio i used to intern at. if anyone has anything to add please let me know
hope this helps

[Reversewahwah]

We use, a semi-complex setup. The bass goes into a POD X3, with Ampeg simulations, 8x10 usually, Then it goes to a direct box, split to PA and to Bass AMPEG amp with 4x10. We also, have an old BOSS half rack compressor. I think it is called a CE-50. The bassist adjusts the bass tone to there liking on stage with out messing with the great tone going to the PA/recorder. We all run direct, guitars, bass, and V drums. We run into a USB 2.0 TASCAM interface. I forget which one. It replaced the MOTU 8 pre. Sounds great. Having new strings, a very good compressor and appropriate eq for the bass range will greatly help. Ultimately, the bassist's technique and a well set up instrument will make a huge difference. We favor the POD XT and X3 "live plug ins" over computer processed plug ins. Glade plug ins are nice too!

[mindundermatter]

Originally Posted by Eric Scholz

hands down, the best results i've gotten:

1 DI track through a DI box, and 1 with a bass mic (Audix D6) on the cabinet about 1 foot off

the mic track should sound bottom heavy with little attack, and the DI should sound almost clanky with a weak bottom response. Generally when i put them into a mix i start with the mic track and bring it up until i can feel it working with the kick drum, then i bring up the volume on the DI track until i can hear the notes being played. then what i usually do is output them both to a bus and eq/compress them together on 1 track.

this is also the way they do it at the the studio i used to intern at. if anyone has anything to add please let me know
hope this helps

I like this method. Just be sure you delay the mic track, otherwise you'll get phase cancellations and comb filtering because the DI track will arrive at your DAW earlier than the mic track will. This is due to simple physics. The DI track is just an electric signal that gets converted to 1's and 0's at the interface. However, with the mic, it goes from electric energy in the amp to acoustic energy in the air then back to electric energy at the microphone before finally becoming 1's and 0's at the interface.

[Eric Scholz]

Originally Posted by mindundermatter

I like this method. Just be sure you delay the mic track, otherwise you'll get phase cancellations and comb filtering because the DI track will arrive at your DAW earlier than the mic track will. This is due to simple physics. The DI track is just an electric signal that gets converted to 1's and 0's at the interface. However, with the mic, it goes from electric energy in the amp to acoustic energy in the air then back to electric energy at the microphone before finally becoming 1's and 0's at the interface.

i've heard people say to do this also, but i have NEVER had a phase issue this way. maybe i've just lucked out.

[C. Hanson]

Hi
As my little tag beneath reveals, I use a SansAmp for bass. Not the full rack mount, but the stomp version. About $380 Australian (about $300 US? Probably cheaper than that).
Anyway, it has transformed my live sound, used in conjuntion with a good 4x10 box (Hartke) and a 1000w Hartke amp. Occasionally a 15" added beneath it.
I realise you mean recording: the SansAmp is designed for those occasions when a bass rig is unavailable or impractical. I've run it straight into a PA desk, and also straight into a channel on my recording gear (I can't make much noise where I live!), and the sound is punchy and "full". The tone, balance and drive controls have plenty of response.
I can highly recommend it.