My current bass recording chain

As postered at TOMB:

I love my The Brick.

My typical chain is amp into Peavey 520i (like SM7b) into The Brick into a 160XT, in parallel with a VC3Q run a touch hot. I split the “inst thru” out to the VC3Q, but I seldom take a DI; the signal usually comes from the mic.

I can be happy with either side of that chain, usually use both and pan them 11:45 and 12:15 to get what I call the old Bob Rock-style bass movement going on.

bandcampvlayman;
THDblog.
I mix with olive juice.
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Cans

Posted at TOMB:
I’m a shout out the Sony 7506’s for the follering reasons:

1. good isolation
2. they are something of a standard;
3. pretty sturdy, and repairable;
4. they break in nicely;
5. good isolation;
6. comfortable enough;
7. they are black;
8. simple padded middle piece;
9. good isolation;
10. once the latex wears off (messy), the cheek pads are again excellent;
11. under US$100, new, if you shop for ’em;
12. good isolation
13. the somewhat hype-d bass is actually helpful to check mixes, excite performances, etc.
14. good isolation

bandcampvlayman;
THDblog.
I mix with olive juice.

Re: EQ

Posted at TOMB:
I feel compelled to post for all the rest of us who don’t know all y’all are talkin’ about.

I have EQ on my HW channel strips (Meek VC1Q, Eureka) that I never use, preferring to changes mics and mic position.

I do use the EQ a VC3Q that I use for DI bass, set and basically left untouched.

I will use the built-in HPF’s on pre-amps, but that’s it on the HW.

ITB, I use pass filters on almost everything at mix-down. After that, I may add or cut a few dB with a narrow Q on kick, or a vocal, and that’s it. And I do that with the most basic EQ on the channels in my DAW, seeking clarity on a given track, nothing more.

It’s not a religious position, mine, and prob’ly as much outta laziness, but I find it more efficient to use compression, panning, gain-rides and FX than EQ. “Option anxiety” – that, too.

bandcampvlayman;
THDblog.
I mix with olive juice.

More lawn stuff

So I take a cab from the train station to me office, and it’s US$5.50.

I hand the guy a twenty and two singles and tell him, “gimme back $15”.

He can’t break the 20.

Now, my high-rise office building has a bank on the first floor and after whining for 3-4 minutes he asks me to accompany him into the bank so he can get change. Fine, it takes him a cuppla minutes to park (making an illegal turn and backing up on a one-way street) and we go in the bank and there’s a long line and it ain’t moving. He explains and tries to break the bill with the bank’s greeter who says he has to get in line. She asks me how is my holiday and I say, “Fine, until it went to hell just now.”

The cabbie is pissed at me for refusing to let him keep a US$14.50 tip ( I denied having a credit car – which is true – and didn’t want to use my debit card).

He says, “just be patient” and I respond, “You have now wasted 10 minutes of my time because you can’t break a $20, but that’s OK, I have your cab # and will spend a little more time calling the company.”

He gets even more pissed and says, “Here, take your money, you got a free cab ride” like I put one over on him.

I laughed at him.

Couldn’t he tell he needed to get offa my lawn!?

 99.114.245.241

carpal diem!

THD
vlayman
blog
vlayman.bandcamp.com
thehungrydrunx.bandcamp.com

New Vlayman album: *Alike*

Image

1. Story Book 03:34
2. Day for Night 03:24
3. Your Incivility w Mark C. 03:51
4. It’ll Keep 03:22
5. Competent 03:19
6. Devil’s Breath 04:05
7. 8 Tracks & Six Packs 04:39
8. Alike 04:59
9. The Show 03:20
10. Like I Care 04:18

More shite, alike to the rest of the shite …

released March 26, 2018

Drums: nettage
Rhythm Guitar on #3: Mark C.
The rest of the noize: Yo

Writ, Recorded, Derranged, Mixt, Masturded at FetaCentral DDL sorta kinda around Chi-town.

Fartwerk By Jose Jones, using a photo from Brent Smth (thanx!)

Re defective mic stands

At TOMB, I posted:

I use cheap stands.

Sometimes, for safety, I’ve been known to tie the mic and mount to the stand with a kerchief.

It won’t necessarily help if the whole thing falls over, or even if just the arm falls, but it might.

I’ve been known to gaffer-tape the arm-linkage, also. And consider adding new washers to that, if possible. Hose-gaskets can help in an emergency.

If the whole thing is tipping – you probably know this but in case you forgot – wight-lifting plates or sandbags and the like can be put on the base.

In fact, in some cases you can counter-weight the arm.

I know that doesn’t address the K&M Stands issue itself, but rather I intend that might help you make up for what you actually have to deal with at this point.

bandcampvlayman;
THDblog.
I mix with olive juice.

Talkin’ ’bout cans

At TOMB, I postered:

I’m a shout out the Sony 7506’s for the follering reasons:

1. good isolation
2. they are something of a standard;
3. pretty sturdy, and repairable;
4. they break in nicely;
5. good isolation;
6. comfortable enough;
7. they are black;
8. simple padded middle piece;
9. good isolation;
10. once the latex wears off (messy), the cheek pads are again excellent;
11. under US$100, new, if you shop for ’em;
12. good isolation
13. the somewhat hype-d bass is actually helpful to check mixes, excite performances, etc.
14. good isolation

bandcampvlayman;
THDblog.
I mix with olive juice.