jensenmann

Congrats, mate. It´s one of the best sounding bassamps ever.

Not really. Working or recording in a good studio sets the bar for a beginner to know what is considered to be a good or bad sounding track/performance. Of course you can get there with a DIY approach, but this includes a lot of effort, time and fails. Using the expierience of great studio engineers lets you move on much faster. E.g. the singer of my current band was interested in audio and booked online classes here in Germany. That took him money, time and effort. When he later joined the band we went straight into my studio and started recording. That was something else for him. He later on admitted that most of the stuff he´d learned in these classes were meaningless because in the end it always comes down to judging sounds and performance. Obviously something he hadn´t been taught in his classes. I´m with BigRedX, get your hands dirty, use whatever you have and make it sound good. That will bring you further. (Though I still think that listening in a good designed room with hi-resolution monitoring will get you further a lot faster and gives your judgment a more reliable basis).

Why don´t people just go to a studio with a seriously good engineer, good mics and rooms? Everybody thinks he can DIY what others learn in decades of a professional life as recording engineer. I don´t get that. You don´t repair the brakes of your car by looking at youtube videos, do you?

If the cab has new speakers then the problem is in there. We have a pretty new Ampeg 8x10" cab in our rehearsal space from the other band using the room. It sounds like arse. Compared to my 1970 cab it has not even the slightest sonic relation with what you think of an Ampeg should sound like.

At some point I sold my Trace SMX600 + 2x Boogie 2x10" rig for money reason, but it´s back here now. Hopefully I don´t have to part with it again. Last week I bought a Peavey Alpha Tube Bass Preamp. Around 1990 it was part of my first serious bass rig, together with a Peavey CS800 poweramp. I have a different poweramp now (KMT DC5), but I still like the preamp a lot. I can clearly understand why I bought it back then. The one thing that bugs me the most amongst all the gear I sold is my ´64 Gibson Thunderbird IV in metallic green which was a custom colour. Damned, I miss that bass so much.

[url="http://www.rattles.de"]http://www.rattles.de[/url] [url="https://de.wikipedia.org/wiki/The_Rattles"]https://de.wikipedia...iki/The_Rattles[/url] They had a few hits in the 70s and since then changed musicians a lot. They still seem to exist. I mixed one of their shows back in the 90s. I thought their musicianship was quite ok, with a tight rythm section. One could hear their many gigs and experience

My Wal 5 string is 28 years with me. I bought it new back then. With a few exceptions it´s my main bass ever since.

[quote name='frankzelf' timestamp='1507715606' post='3387369'] too much.. [attachment=255373:_D3C8919.JPG] [/quote] Did you ever play all of them at once? Full power?

The history part of this video has quite a few wrong informations. EMT plates have a steel plate inside, not aluminium. They weight 180kg, depending on the version ( I have two of them and had to carry them several times, ouch). The first digital reverb came from EMT in 1976, four years before the AMS RMX16 (which was released in 1980, not ´82). It was called EMT250. Their next model was released in 1980 (EMT 251). It also had a nonlinear program, more or less at the same time as the AMS.

I used to play a SM400 which has been replaced by a SM400S for some years in the 90s. On top of that I had a baby blue head as practicing amp at home and for small gigs. I never like the SWR cabs, though.

I never cared much for TE amps until the series 6 SMX heads appeared. They were a game changer for me. I still play the SMX600 head I bought in 2000, though I´d never use it for recording. But for giging they are the weapon.

[quote name='blue' timestamp='1488023396' post='3245095'] No, IMO, I think it's more like, " they don't make them like they use to." Blue [/quote] Same experience here. Nothing comes close to the old 70s versions, be it amp or cab. We have a new SVT 8x10 in our rehearsal room which I tried once. I felt very sorry for the poor bloke who bought that pile of crap. It´s nothing like the 70s 8x10.

SSDs all day long, better use two (1x system, 1x audio) like mentioned above. Don´t look back...

http://www.motu.com/products/motuaudio/8pre

Check out Bach´s Weihnachtsoratorium. The bass voice of the choir is a perfect example of how to play walkingbass. If you analyze it it tells you everything of how to create interesting lines.

New CD arrived: the Winery Dogs (Sheehan, Portnoy and Kotzen). Good songwriting and kickass musicianship.

Currently I´ve "Hold on, Liberty" by The Intersphere in my car CD-player. Those guys are incredible musicians: https://www.youtube.com/watch?v=dZK2sG6DdCQ

Thanks, mate!

Honestly it´s not difficult to mic a bassamp but you need a properly designed recording space and a good idea how to do it. I usually place my basscabs with their rear directly at the basstraps of the room. These will absorb the lowend radiated to the back. That way it will prevent reflections from that wall interfering with the cab´s signal. It´s necessary because the mic not only points to the amp but to the wall behind it, too. It would pick up reflections from there as well as the wanted signal. Without basstrap there´d be combfiltering going on leading to a very uneven lowend response. Then I place two boxes of absorptive foam around the cab. They will eat up a lot of the energy radiated from the cab into the room, reducing spill into other mics (drums, roommics, etc..). And they prevent spill from other signals into the bassmic. The third measure is to place the cab as far away from other room-boundaries which in my room is easy because it´s huge (>200sqm, 6m heighth). In small rooms you need to have a lot of lowfrequency absorption going on to control roommodes.

I always record DI + amp and blend them. As JapanAxe said whatever bass the track requires will be used. In my case these are Wal 5strings (fretted or fretless) or Fender Jazz and Precisions. My recording amps all are vintage tube amps and cabs which I don´t carry with me for gigs. They are too heavy and expensive for gigs and have low wattage. Some of them being unreliable due to age as a bonus :-( That´s not exactly what I want to gig with. That means that my settings for recording are always different from gigs.

[quote name='Merton' timestamp='1484917127' post='3219664'] Yes. With his technical ability as well. And not just on bass, but singing too. [/quote] And your keyboardplaying will improve, too.

Here´s another Wal, obviously mine: https://www.youtube.com/watch?v=P3y2IRHgtxs I bought her new in 1989 for 3500 DM (german Mark). In the meantime I had >30 other basses but this one is my big love. Most of the others had to go at some point, even if I played them for quite some time. Whenever I grab this one it feels like home. Somehow everything at this bass is exactly how I like it. That surely isn´t elitism.

I used to play my Stingray with an old SVT + SVT cab.

Have a look at the Yamaha MG12xu desk. It has easy to use compressors on board, a Multi-effect and two group outs which is great for recording. Besides that it´s got all the features you mentioned. Soundquality is much better than Behringer.

These amps reside in the studio: Ampeg SVT (1970) + SVT cab Ampeg B15 Hiwatt Custom 100 (DR103 1976) Fender Bassman 135 + Bassman 4x12" cab + several Boogie, Marshall, Kitty Hawk, JBL and some other strange cabs That´s for gigs: Trace Elliot SMX600 selfmade preamp + KMT poweramp