Hola, soy Warren Huart. Espero que les este yendo maravillosamente bien hoy Me gustaría hablarles de grabar bajo ya hemos hecho algo con grabación con caja directa lo que es, francamente, util en 90% de las situaciones Solamente con la caja directa en estos días, pueden hacer una variedad de cosas con plugins para aumentar mas freq bajas, distorsion, un monton de cosas divertidas Pero lo que voy a hacer hoy es grabar un amplio, y una caja directa simultáneamente Para hablar de como obtener lo mejor de esa combinación de Caja directa y ampli Por favor, subscribanse Vayan a producelikeapro.com, y si se unen a la lista de emails pueden descargar files de grabacion de piano Batería, y tambien otros videos exclusivos Subiremos esto también, para que puedan ver el Bajo. No les puedo dar la pista, por que es inédita Es maravilloso, pero les dare el bajo para que puedan experimentar con la alineación de polaridad Pero, empecemos Lo que tengo aqui es un buen Peavey T40 hablemos de esto por un momento, por que pienso que este es el mejor bajo del planeta por el precio es una gran declacion, no creen? pueden comprar uno de estos por unos $300 o $400 Lo uso todo el tiempo. Es hecho en EEUU, pesa un monton las pastillas son increíbles, tiene un montón de bajos Si tienen poco presupuesto y quieren tener un buen Bajo, por el precio, no creo que haya un mejor bajo que este Recientemente, he trabajado con Mutemath, buenísima banda. Y su bajista, obviamente, toca un T40 hombre de buen gusto Pero bueno, empecemos. Tengo una caja directa, y un ampli Ambos, la caja directa y el ampli están siendo grabados a travez de BAE312s Me gustan, el 312 es un preamp de microfono clasico No es caro, pero tampoco es barato. Es una de esas cosas que si vas a armar un buen arsenal de armas Les sugiero firmemente que consigan uno de esos Lunchboxes 500. Y, poco a poco, aumenten diferentes preamps y compresores, cosas así Todo depende de su presupuesto Pero en la mayoría de los DAWs, si tienen un Mbox, Presonus o Apogee, tendrán por lo menos 2 inputs Pueden enchufar adelante como caja directa, y luego tener un mic para el ampli Algo que hecho muchas muchas veces. Lo que les sugiero es que compren una caja directa O, con suerte, su amplia tendrá alguna manera de dividir la señal. Muchos de los amplios pequeños tienen una salida independiente para caja directa Entonces puedes enchufar en frente del ampli, y tener una salida de caja directa. Hay mil maneras de hacerlo Pero, lo que yo prefiero hacer es tener una pequeña Caja Directa Radial La entrada de la derecha es para el bajo. Aquí tengo mi bajo entrando aquí Con el “thru” como ven aquí, esa señal va a mi ampli Aqui tenemos un ampli de bajo Ashdown. Lo tenemos hace ya un buen tiempo. Suena fantástico Un ampli bastante simple. No es muy fuerte Lo tenemos configurado para tener un buen bajo redondo Y el microfono que estoy usando es un Sontronics DM1B .Es relativamente barato, pero suena fantástico lo tenemos con un pad de 15db para no tener una señal distorsionada. Mantenerla muy limpia Esta basicamente en el centro, un poco afuera del eje del dentro del parlante El centro esta aqui, y el microfono aqui. Para que no sea muy brilloso. Tiene una mezcla del centro y el borde del cono Suena buenísimo, lo usamos todo el tiempo.Y honestamente, esta así listo 24hrs al día y sin importar quien es el bajista, así es como lo grabamos no siempre comprimo al grabar, todo depende del bajista Si están trabajando con una banda de rock que toca con plectro tal vez el bajista toque así… Si el bajista es así muy dinámico. Un poco de compresión al grabar puede controlar esos transients Si trabajan con un bajista que toca con dedos, no van a tener tanto problema dinámico. Dependiendo que tanto lo golpea Pero la realidad es que con dedos siempre sera mas uniforme Pueden hacer una variedad de cosas si tienen compresión al grabar Yo lo haría solo para capturar esos picos, esos transients También pueden crear un auxiliar en Pro Tools o su DAW con un poco de compresión. Tratemos eso Crearemos una nueva pista. Shift+Cmd+N. Ya esta en mono. Entrada Auxiliar. Crear Como pueden ver, yo estoy entrando en 21-22 en mi I/O. Entonces mi primer auxiliar Pongamos el input de mi caja directo en una bus, bus 1 Pongamos el input de mi auxiliar en el primero, 21. Y mi output, en bus 1 Ahora lo que tenemos, es un auxiliar mediante el cual grabaremos OK, podemos nombrar eso, siempre es bueno nombrar bien las pistas, “Bass DI Compression” o “comp” Y pongamos, un buen y simple compresor que tengan Tenemos bastantes, obviamente. Pero, que tal el Bombfactory. Bastante Standard, simulación de 1176 Me encanta. Yo pondría el Release hacia la derecha, para tener un release muy rápido. Veamos como viene Nada mal Estamos consiguiendo de 2db a 3db de compresion haciendolo bien parejo Buen sonido parejo Lo que deben hacer, es aquí en el output, subirle 2db o 3db para compensar y tener un volumen decente El ratio esta 4:1 lo que es suficiente Ya tenemos nuestra compresión de caja directa. Ahora preparemos nuestra compresión del ampli la manera simple de hacerlo seria duplicando el auxiliar que ya creamos ven que ya esta seleccionado. Shift+Opt+D en una Apple No se como sera en Windows, pero pueden ir track y poner duplicar aquí arriba. Bajo este menu Si están en una PC vayan a “track” y luego “Duplicate” ok. entonces, aprieten OK. y ahora Pondre el input a 22, que es mi input del bajo. Del ampli de bajo Cambiare la salida del auxiliar a bus 2. Aqui cambiar mi input de ampli de bajo a bus 2. Así, y nos alistamos para grabar Cambiemos el nombre de esto, para no confundirnos. Es Compresión de amplio de bajo ahora y voila, ahora tenemos compresión para nuestro amplio de bajo es un poco mas agresivo es masomenos 3db o mas de compresion entonces vamos a bajar el input. El 1176 tiene threshold fijo lo que significa que el threshold se mantiene a un nivel y la compresión aumenta y disminuye dependiendo dependiendo de el nivel de input. Entonces cuando el nivel es mayor al punto del threshold, ocurre compresion lo que significa que si queremos menos compresión debemos bajar el nivel de input bueno, aumentamos el nivel de output para compensar. puede bajar un poco mas. Bajemos un poco mas el input. Aumentemos el output Hasta ahi, y…. Buen nivel, listo. Ahora tenemos un buen y solido tono de bajo de caja directa y ampli Ahora, lo siguiente. Creemos un grupo. Así. Llamemos “Bass” Bueno, pongamos nuestros auxiliares en “Solo Safe”. En la mac es Cmd+Click en solo. Pueden ver que se pone plomo La razón de esto es por si tenemos que ir a Solo mode. Grabemos un poco de bajo Buenisimo Hay un poco de cola de pescados aquí. Me refiero a esto.. Veo eso mucho en muchas pistas de ingenieros que graban Lo que vamos a hacer es ajustar un poco nuestro Attack. Lo movemos para aquí poco. O mucho a ver que pasa Mucho mejor. Ahora, la razón por la cual grabe esto, si se preguntan, es por esta razón Veamos nuestra alineación de polaridad. Esta bastante bien. Como pueden ver hay un pico ahi, y un valle ahi Y no se alinean muy bien. Entonces, esto es lo que hago. Tomemos este pico aqui veamos donde termina. Aqui. Entonces, es mas o menos aquí, dentro de un par de samples Si damos un click aquí arriba en samples, dice 139. ahora Hagamos esto. Vamos a nuestra caja directa. Vamos a Delays, Time Adjuster Short Pongamos esto en 139.Ahora grabemos Pueden hacer esto después de grabar, no tienen que hacerlo al principio. Con la polaridad alineada tendrán mas bajos Veamos que tal Bastante bien. Esta probablemente… un poco adelantado. Retrasemos un poco Ven aquí faltan 17. Siempre tendrán una aproximación. Vayamos a 122. Soy un genio matematico vamos como nos va Suena bastante bien Eso es bastante acertado. Un muy buen lugar para empezar. El sonido esta solido y también tenemos buenos bajos gracias a nuestra polaridad alineada Cool, entonces grabemos un poco para el primer coro Cool, me equivoque en un pequeño “dun dun” la primera vez, cuando ese bombo entro Hagamos trampa, vamos aqui. Tomemos el que grabe bien. “copy” y “paste”. Ahi esta, miren eso! Lo que hare es, estirare este downbeat que me gusto. Lo pondre aqui. ponemos un fade aqui. Igual aquí. Otro buen fade aqui. y ahora tenemos. La segunda del coro Maravilloso, espero que lo hayan disfrutado este pequeño video de grabar bajo Esa es la caja directa que uso, el ampli que uso, el bajo que uso Y ese es uno de los métodos que utilizo para grabar bajos no lo hago de la misma manera cada vez Depende que es lo que quiero, si quiero un bajo mas heavy y distorsionado. Si todo con plectro o si el bajista con el que trabajo toca con plectro, tal vez lo grabe de diferente manera Por favor, manden comentarios. Subcribanse. Y vayan a producelikeapro.com Anotense en la lista de emails y les mandare los archivos de bajos que hicimos para que experimenten También, ahi tenemos videos exclusivos de grabación de batería, de piano Y habra muchas mas cosas en el futuro. También podrán descargar tomas de batería para mezclar y editar Muchas mas cosas. Va a crecer como loco. Asi que por favor subscríbanse a la lista de emails Déjenme comentarios abajo. Si tienen mas tips y trucos que quieren que les muestre O si quieren que explique a mas profundidad.O quieren otras ideas de como grabar bajo Simplemente pregunten, y graben todo Muchas gracias como siempre. Y pásenla maravillosamente gracias

Author Since: Mar 11, 2019

  1. Hey Warren, hope you doing well! Let me ask you a question: How to record a great bass chorus tone with a D.I and a Miking bass amp ? I mean, both signals must have the Chorus effect or just one ? This may cause any phase problem ? I appreciate your help. Many Thanks! 🙂

  2. Hey Warren, I did enjoy that. Thanks for sharing. I'll check out the BAE too. I recently purchased a JLM Audio mic pre and am very happy with it. I have two empty slots (a small three rack), any advice on how to complete the rack? Eq, compression? Two mic pres, eq? Cheers.

  3. Tho I like to have a clean signal while recording bass, making tracks with both a amp and DI sounds fantastic blend possibilities. I'm gonna do that more often, good video. Cheers! 😀

  4. Couldn't you also achieve a closer phase alignment simply moving the cab mic closer or farther away from the speaker instead of using software for this correction? Phase alignment is critical in the lower register since the introduction of subs. Clarity in the bottom end is crucial which is why your doing this in the first place. Great video on a procedure many miss. Also, I have had a T40 hanging on the wall for decades. I'm a Fender guy but I think it's time I plug it into my DAW. Well done with thanks.

  5. Thank you very much for the tutorial. I'm just wondering why you're using 2 signals in the first place. I seem to be the only one that doesn't understand that unfortunately.

  6. interesting. i record with a pick to keep volume same from start to finish n in less takes. slap n pop volume varies wildly for me. plus slap n pop i lose a lot of treble n it dosent match rest of track.

  7. Howdy Warren. I've been addicted to your videos since I discovered your channel a couple days ago. Great to find someone with a similar eclectic musical background and with such huge experience and knowledge in production, it's so helpful! I have a question for you, sorry if it sounds too basic or dumb: how come that your main input goes to an aux with the bombfactory and then you print it to an audio track? I mean, wouldn't it be the same going straight to audio tracks and using the bombfactory as an insert plugin so that you can keep the uncompressed waveform just in case? I'm really wondering the reasons. Hope that made sense, sorry for my English. And thanks a lot for sharing your knowledge with us here, your videos are so inspiring! Cheers.

  8. Very didactic, although the audio is not in Spanish language, it is understood quite well. Many thanks for sharing. A greeting from Argentina.

  9. you need a bass, smack, i like this bass ,smack ….you smack your lips once every three seconds please stop omfg

  10. great! whats the diference between doing this with an AUX or an AUDIO track? i mean to record printing the compressor.. thanks!

  11. Wow! I'm very surprised at how much you love that Peavey. Personally, I think it sounds and looks like crap from a scrap lumber yard. But naturally I would say that being a devout Fender man. Horses for courses I guess..
    Nevertheless, the video was helpful in that you had the confidence to print through a software compressor plug-in. I was in a situation two days ago where I had to cut a Bass part in an unfamiliar studio with no available hardware on the front end. I wasn't sure about any latency issues I might have had to deal with and my talent had to catch a plane, so it was literally plug in Direct and start cutting takes. I wasn't thrilled with the sound and hope to mess with it later and re-amp the signal as well. Fortunately I did have the Radial DI box, so I guess that's one thing I had going in my favor!

  12. I know I'm late to this, but what is the benefit of compressing the bass through a bus? Unless you want to compress multiple instruments with the same compressor I don't understand the purpose. Why not just have the compression straight on the track?

  13. I'm a keyboard player who "plays" some bass and drums. When I sit at the drum set I don't play a groove & expect the bass to follow, I listen to the bass line and adjust my bass drum pattern to match what the bass is doing. For me, my take away from this video is to not forget to "sync" up your bass guitar line & bass drum pattern. I'd rather create a cool base line first, then adjust the drums. I like your channel. Thanks.

  14. Holy crap, a Peavey T-40! I used to play one of those about 10 million years ago. You're hard pressed to find a heavier bass, but it's sounded pretty damn meaty.

  15. I'd like to learn how to get a wall of mud sound that has enough definition to distinguish the notes but also get an almost non-musical, earth-moving power, but not necessarily loud, just rather frightening.

  16. Hey Warren, trying to apply this to Logic Pro, I'm comparing timing between 2 tracks, one with a DiBox, one with a mic, I've noticed that Logic Pro only records the "dry signal" and apply the processing to what is sent to outputs. So in a nutshell, I can't see the effect on a graph. Can you confirm this ? Is that a way with Logic to visualize the effect of the delay ? Thanks !

  17. Hi Warren. Thank you for the very informative video. The only thing that puzzles me is where do I put my pedalboard in the chain? Bass>Pedalboard>DI>Amp or Bass>DI>Pedalboard>Amp? Thank you very much.

  18. Put some fresh strings on your Bass or Guitar before recording and use quality instrument cables. New strings will just give you much richer tone, dynamics and texture.

  19. Great video Warren! It's nice to hear someone extol the virtues of the t-40 I got my first one in1979, I wore it out. I'm on my second one now.

  20. I had that same bass when I was 21 years old back in 1979 , my very first bass.
    I can't figure out where it's at in my parents attic most likely.

  21. I know I'm a little late for this video but. I gotta say. I couldn't agree with you more on the Peavey T-40 bass statement. I have one and that bass has a tone no other bass on the planet has. That bass dies with me.

  22. Bass recordings.. When I listen to Pink Floyd's Another brick in the wall I wonder what made that so magical? Bass is prominent and typical but obviously unique cause everyone likes it and the bass sold that recording in millions. It still works

  23. Hey Warren thanks for the great video:) what are your thoughts on recording bass through Neve 1084’s/73? I usually go through my Chandler mkii as overall it’s not as “phat,” as the Neves I have but is more consistent and has better clarity in my opinion. I always find the Neves too lumpy for bass and murky for bass.

  24. Great video, love that you demonstrate everything using affordable gear. Videos that show great results with 10k+ in gear might as well be in Latin for the majority of musicians.

  25. Help me please… I have am 58' Pbass re-issue. I Love vintage tones and I need an DI. What do you prefer, a EBS Valve drive or the Two notes le bass? Thanks and sorry about my tragical english.

  26. Hello Mr. Huart, This was great! It was exactly what I was looking for! I have one question though. After recording this way, how do you go about mixing the two bass tracks?

  27. Boy, I only intended to tune in for a bit and suddenly 3 hours have gone! 3 hours very well spent, I might add. Lovely stuff. Thank you for sharing your awesome knowledge and Billy Sheehan? – Awesome. I've got to check that one out again. Thanks Bill. You're the man.

  28. Warren, as usual I benefit vastly by watching your tutorial videos. Living in a remote non-metro area as I do there is no one but myself working with ProTools these past 4 years, so your instructions have helped me grow in leaps and bounds. Can't wait to record my next Bass track now! Bruce

  29. Warren. I don't use the auxiliary in/out or grouping tactic. I just treat each bass channel as an individual track (as per the direct in and amp cab mic set up) and apply the compression to each as required. Is there any advantage in using aux/grouping?

  30. Curious, why set up auxiliary channels for plugin compression vs. just inserting compression on those channels? Hopefully this isn't a stupid question, sometimes simple things allude me. Thx, and love what you do.

  31. As always there's another valuable tip. Previously I'd wither record a DI or record just the amp or if I was feeling adventurous I'd record both and pick the one that suits the track. Blending the DI and Amp sound is something I hadn't really tried before watching your channel and your trick for putting a low cut on one and high cut on the other, well, if I was wearing a hat I would take it off to you

  32. Man thanks a lot for you sharing your information! Can you explain a bit about the fade you were doing in there and why did you?

  33. Hi Warren, I’d like to add a bass amp channel to my takes.
    What would be your bass amp choice for Disco-Boogie projects ?
    I don’t want a “too clean” modern sound.
    Here is my actual set up (DI take only).
    – Countryman 85
    – AVEDIS MA5 (or API 512c)
    – API 550 b
    – DBX 165 (or API 527)

    Thanks for your help.

  34. Hey Warren… thanks very much for our videos. I just realize that you use aux tracks to track instruments and then you send them to an input track. Where is the benefit of it? You could also set the compresor straight into the input track, or do i miss something?
    Thanks!

  35. Any reason you'd COMP while tracking (In the DAW) as it's not compressing the signal prior to the pre amp's as opposed to actually comping upstream of the pre's? Or just showing us that it can be done..

  36. Hey Warren, great video! If I don't have a DI, only a plain Scarlett 2i2 interface… would it be alright not to record simultaneously? Or would that give me big phase issues? Thanks!

  37. Could you tell me how may watts that bass amp is? I’m looking to buy a bass amp that size for home recording but not sure how many watts is enough. Thanks.

  38. Hi Warren, I recently did some research : I am lucky, I was not wrong in a former post, as Ross Valory of Journey did indeed play this Peavey bass from the Departure album on up to about 1981, when the Ovation Magnum II became his go to bass. Perhaps because of the immense weight of the Peavey.
    You see, our generation was not only listening to complete albums, but also eating up every information we could get about the players, their equipment… something our today's youngsters unfortunately lack "a litle bit"… Cheers ! Tom

  39. Hey Warren, If you're tracking DI and Amp, how do you feel about recording a bass cab that only has one 8" speaker? Wondering if it matters much if you're relying on the DI for the low end. Cheers!

  40. I recently bought a Sennheiser e602 for bass cab miking. No one can tell me from now on a Shure sm58 does the job as good as any other mic.

  41. I'm guessing you get this a lot but… you remind me of the Doctor!! (Doctor Who) Anyways, I am totally dependent on your videos for getting my album recorded!! Thank you for what you do!!

  42. My first bass was a Peavey T-40. I sold it years ago to a friend of mine. Your comments make me regret that now haha. I was a skinny teenager when I had this thing and it weighed a ton.

  43. Hi,

    I land here from the Scott's Bass lessons channel/web-site/videos. I start trying to record my bass with a second hand steinberg ur22 mk2.

    To avoid clipping I have to engade HiZ (normal I think) and set the input gain a bit bellow 12o'clock. In the DAW everything is OK no clipping. But in the audio interface phone ouput the level is very low, berally audible.

    Is it normal ? Do I have to buy a phone amplifier ? I'm not using the monitor output with speakers yet, I wait to confirm my needs before buying monitoring speakers..

    Thank's and great channel, great job !

    Cheers,

    Constant

  44. Warren, goofy for some but important to me question: I am quite old school when it comes to recording. I have a hybrid set up. DAW with analog summing, and gear. I like to mix with minimum tracks i.e. make decisions while recording. With about 3.5 ram on my imac, minimal use of plug- ins, how many tracks should I be able to have before incurring problems?

  45. Where does the microphone hook up to that you have in front of the amp, The DI or the audio interface? Do you use two inputs on your audio interface or something to record the bass?

  46. Can you explain why you used the delay. I understand to sort the phase but I don't understand why you used the 139 sample rate in the delay? but I've never thought of doing something like that seems pretty genius haha! I use logic.

  47. A great video Warren. I always learn something really useful… now to go back through my bass tracks and fix some phase mud now I know what to look for 🙂

  48. Hello Warren, nice video 🙂 I see you are a big fan of Protools, did you use cubase version 9.5 or 10? just curiosity.Thanks

  49. Hi P.L.A.P. ive been recording bass through a di. But I'm not satisfied with the sound. Im looking for a small bass amp that is good for recording to pair with a di. Can you please suggest some options?

  50. Excellent video as always but I think you left out one of the most important things when playing live into a Daw which is playing through latency I personally cannot do it

  51. I have a Peavey T-40 I got from a pawn shop and I love it. It has such a cool circuit, able to do single-coil and humbucking, and it can mimick many famous basses. That's why they call it the "swiss army knife of studio basses"

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