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A DI is often fine.
Or a DI into a slight warming plugin- Sound Toys Decapitator or something like that.
Tchad Blake uses a Sansamp and his records sound awesome.
Other than that, a slight amount of EQ and compression and have the bass duck the kick drums and you've got a record-ready sound.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.
So I agree. But if you're after a specific bass sound, the Helix ones are very good....
I have a resistive load box with a transformer coupled line out where I can switch to the load resistors or a speaker. So by connecting the speaker out to the reactive load and the line out to a DAW with a Celstion G12-65 IR I was able to do a pretty good A B test.
At lower amp output levels where the output valves weren't being overdriven the difference was noticable but quite small. As I turned the wick up the difference was huge. The resistive load didn't sound bad but was a little flat and compressed. The reactive load was massively more dynamic with a much wider spread of frequencies and generally far more alive and inspiring to play.
Pot, kettle etc.
http://www.thefretboard.co.uk/discussion/comment/1555496/#Comment_1555496
So from one snidey bitch to one useless tosser, I think we're equal.
I find more mics just means more phase issues to sort but no real advantage.
I've been messing around with Brainworx BX_Control lately which has some very cool MS tools for bass treatment.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.
You can get a lot of mileage with good strings and a good performance into a nice DI with EQ and compression as necessary. For grit/character I think a lot of stuff works but the DG stuff is really fantastic. The Helix B7KU is pretty good too - just not as crunchy/aggressive as my real pedal. Character is pretty recognisable though, Doug really did a great job in voicing the pedals
On another note... @gibsongretschfan and @Heartfeltdawn - how about we don't do this in a largely-constructive thread? Take it to PM if you want to have an argument, please
If I wasn't using digital that's what I'd do for home recording these days. Besides wanting to learn how to mic an amp, or a specific desire for a particular tone, I don't really see much point in mic'ing cabs for home recording anymore.
There are several IR vendors that do excellent captures of cabs, it just so happens for my tastes OwnHammer seems to mic a cab like I'd want so I use those. I'd take the convenience of being able to scroll through a selection of IRs and being able to control volume over a blaring amp and cabling everywhere any day.
I suspect that what's needed - if those people are to find modelling useful - is for cab modelling to be developed to the point where the mic can be taken out of the equation, and the "listening point" set to about 5 feet away and three or four feet off-axis. That's a pretty huge ask, though, given the number of variables affecting the resulting audio.
Its impossible because you still need to listen through something that's not the guitar cab.
It does seem a fairly common thing that people who complain it's not as good are using lower end smaller monitors. Have seen it many times over the years, a common theme is 5" monitors being compared to much bigger guitar cabs.