![]() (I previously used the POD as an interface, but I realized AudioBox or Tascam will probably be easier to use) And then an USB-cable from the Tascam/AudioBox to my computer.Īlso, I believe new strings would give a more "punching" sound as well?ĭo you agree / disagree with what I just said? If so, please post a reply! Maybe I've misunderstood something, I'm just a normal bassist asking for help!Īlso, if you have any advices on equipment, feel free to post that as well. I connect my MusicMan Stingray bass to an eventual ampflier and/or compressor, and then to an interface. Someone also said it would be possible to connect the bass straight into the interface, and not use an amp: (So, if I forexample need a wah-effect, I should probably just buy a wah-pedal? I heard it'll increase the quality of the wah-effect when having a single pedal focusing on that exact effect, instead of an inbuilt wah-effect in a larger pedal?) Therefore, my set-up should be more like this (for recording that is)īass > (compressor) > amp > interface > PC I've realized that I should drop the POD, and only use an effect-pedal when necessary. Seen from what have been said in the comments, I'll try to give an example of an eventual set-up: Unplug the pedals, use the above as a starting place and make adjustments until your ears tell you you've found what you're looking for. The set ups above have always worked for me, and other musicians I've worked with in studio and on stage are always complimentary on my tone and the punch and drive I'm able to achieve. ![]() This is very subjective for many reasons, but 10's do it for me. In the amps, I've used a variety of speaker sizes and combinations over the years. The SR is set with volume rolled a notch below full on and the tone settings are the same as I used in recording. I run the master volume at least two notches above the channel gain, with low at half past 12 'clock, low mids at 1 'oclock, high mids at 1 'oclock, and highs at 12 'oclock. I've used Ampeg for many years, but switched two years ago to Mark. In live performance, I like an amp that delivers good punch. If you need to tweak your tone more, do it from the board in the mixing stages. This gives you a strong bass signal with some punch. I've run bass tone on the SR full on, mid about 3/4 and treble about half. Takes some practice and experimenting to get the right setting on the Canceller but when you do it doesn't sound as flat as a sample with just bass boosting/high cutting with the eq or isolater.The Sting Ray is great plugged direct into the board with volume rolled full on. I tried it on a bunch of different samples from different genres of music and it seems to be a pretty solid technique. ![]() I've found that the conversion from stereo to mono on a sample that has the c.Canceller on it really brings out the bass for some reason, and it sounds super sick when you put the bassy sample under some drums. You then resample this in MONO to a new pad and chop it up however you want. Record that into the sp in STEREO with the c.canceller on it, which you set to boost the low end a little and cut the highs a little, use the left/right control to cut out as much of the high part of the sample (piano/vocals/strings or whatever) as it can. You start with a sample with a bass part that you wanna chop (doesn't matter if there's other instruments over top of the bass). I've been messing around with an sp sample bass technique I kinda stumbled upon the other night, I think it's awesome and recommend giving it a try, works on any sp with the c.canceller effect. ![]()
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