Studio recording with an alembic (Advice Required)

[s_wood]

I had a similar experience a few years ago. I don’t normally play my Series basses with both filters wide open, but when I asked the engineer if I should send him the time I usually use or run both filters wide open he told me that he preferred to use EQ to subtract and to run everything wide open. I’m sure as hell no Jimmy Johnson so I did what I was told. Of course, after tracking he complained that my sound was “too bright.” 

I later realized that his “tone wide open” preference was borne of the laziness of routine: he was use to the tone of a P or J wide open, and he didn’t want to work.  But the real mistake was mine. I don’t have the proficiency to be a studio chameleon. I can only be me, for good or ill. I shouldn’t have asked what he wanted - I should have given him my tone.  In the end, my tone and feel are all I can give to the track, and if it isn’t good enough... well, what Edwin said...

[jazzyvee]

I had  a session at home recording the track last night and didn't use a series bass this time I used my main reggae bass, the all maple bodied Europa with Signature electronics. I had both filters closed, no Q and only the  neck pickup. I have an analogue desk so I used my radial DI and sent the output from the bass into that, and used the thru jack to feed into my S-F2 in mono mode and sent that output signal to another track on the mixer and then into my audio interface onto two tracks on Logic. 
It sounded fine to me with both signals recorded. I had a tinker with the EQ on the DI'd track whilst keeping the S-F2 track as recorded and was able to find a good punch point at least on my home setup I can find a sound that I think represents me. I will do a couple more versions tonight and send them off to the producer.  I will try using the second channel of my DI to take the S-F2 output to the desk and see how that comes out.

Before I started I called the band leader to find out what he wants, and  what he wants is a really simple bassline and leave any extra's fills etc to the end of the track after the vocals finish the main chorus and the singing is more ad-libbed.

[jazzyvee]

I don't know about you guys but when I close the filters down on any of my alembics there is still quite a lot of the higher frequencies in the output which is usually fine by me as I like that clarity. However live for reggae I always have to eq that part of the signal out but I never take too much out as  trying to pitch properly when you have a lot of bottom end on stage can be a challenge, especially when wearing ear plugs or playing a dep gig with tracks I'm not so familiar with and need the sound of the notes I'm playing.  With my main band that isn't so much of an issue as I know the stuff well.

[adriaan]

With the filter on the bridge pickup closed about halfway, I can get pronounced brightness through a major boost to the Q. This even with flats, and with the neck filter way (way!) closed. .

[gtrguy]

I have been using a plugin on my computer for a while called Waves Vitamin Sonic enhancer that I find gives me amazing control over frequencies of the instruments I record. The built in presets almost always work for me and the plug in is pretty amazing at doing selective eq tweaks, both enhancing or removing certain frequencies.

[edwin]

Hey Edwin, thanks for contributing to the thread. Whilst I'm quite irritated by the whole thing, I see it as an opportunity to understand the best way to record bass with these instruments, so buying another bass is not an option and it wouldn't help me get to the crux of the matter. For all I know they may not like the way I played the part and talking about tone and re-recording is another way of making that point. That, I have less of an issue with especially if people are honest about it and can articulate what it is they want musically. I will try to contact the main producer who is putting the tracks together and that may clarify things.

I think you are taking the right approach! Another thing you might try doing is the foam under the strings down by the bridge trick. It damps the overtones and gives an envelope of each note that engineers seem to be more used to.

[jazzyvee]

Thanks, i tried the string damping a couple of times when on stage with Musical Youth. once with a sponge and another with a black scrunchie threaded between the strings by the bridge and whilst it did control the envelope we all felt it was cutting off the notes too quick. If i do something radically different with my sound on stage or have decided to make a noticeable change to the basslines i always let them know and play it at soundcheck as it can be offputting in music with a regular repeating bassline.
i need to call the producer today again for feedback and if i have to rerecord i will do the damping

[jazzyvee]

Well, I had a text back from the band leader today, saying the bass is all good. They were going to be mixing today so that's good news.
I'm not sure which of the two versions of the bass they chose to use but they were effectively getting from me the sound I use on stage from which is DI from the bass and since I did not use a cab, they got the direct sound from my SF-2. I hope I get to hear the track and check how they decided to mix the bass. Then at least I will know what to give if I need to record a reggae bass line at home in the future. For my own stuff I doubt if I would record with the SF-2 and would probably re-amp through that instead.

[JimmyJ]

That's good news Jazzyvee.  You certainly went out of your way to accommodate them so I hope they appreciate your efforts and keep the bass LOUD in the mix.  Perhaps it will lead to more projects for the band, the producers, and/or the engineers.  "Call that guy with the massive tone!"

Jimmy J

[jazzyvee]

Thanks Jimmy, I really appreciate you taking the time to share you experience.  Studio  work has been a  significantly small part of my musical life, so whenever i do it, it always takes me out of my comfort Zone, especially when a client  can’t communicate what they want and then doesn’t  like your interpretation of what they asked for. But I guess that is just how it is sometimes. It’s another lesson learnt that will be added to my experience. Hopefully it gets easier.

Take  care and i hope we are all back in the saddle of normality  making live and recorded music as soon as it is safe to to do so.
One last thing if i may. 😂😎
Without naming names can you recall any uncomfortable sessions that took you out of your comfort zone and as a rough guide, what percentage of your studio sessions do you  ever get to hear the finished product?

[JimmyJ]

odd, I thought I'd posted this already - if it shows up twice I'm sorry...

Jazzyvee,

I think all recording situations are uncomfortable simply because of the nature of what it is.  Although I was never a "mainstream" studio guy I did do a fair amount of that work back in the day.  And when that was happening it helped me gain confidence and lowered the stress level.  I always enjoyed the camaraderie and amazing skills of the musicians I got to work with, and even the reading gigs didn't worry me too much when I was doing more of that...  But that first session after being on the road or not recording for a while was tricky for me and tripped me up a couple times. 

There's an interesting psychology involved in recording work.  I am NOT a good salesman, particularly when trying to sell myself.  Some guys are amazing at self-promotion but that was never one of my skills.  But in a recording situation you need to be confident in what you're doing so that the Artist and Producer know they've hired the right person.  You are NOT the only one at the session who is nervous!  In fact, the Artist should be having the time of their lives so it's very important to support that feeling and exude confidence in the music and everybody's part in it - including yours.  That's no place for you to voice doubtfulness or otherwise dampen the mood, you gotta be positive and supportive. 

Obviously you have to PLAY great and do everything you can to make the music great, but the psychological support and good vibes role is nearly as important.

Not sure if I've explained that very well, but it's the reason that I encouraged you in this thread to confidently deliver your track and let them know that "THIS IS THE ONE".

As to your other question, depending on how involved I am with the project I'll most often end up buying the album from iTunes.  Even if the Artist offers to send one I'll do that to support the team (and they love that response).

Anyway, glad that all worked out for you.  I hope the band, producers, and engineers all call you for more.  "Get that guy with the HUGE tone!"

Jimmy J

[gtrguy]

I have found that in long recording sessions I have three zones. The first one is where I am somewhat excited in a new environment and therefore my timing is sloppy and I don't play my best. Then that shifts into the zone where I am comfortable in the environment and with the people around me, and maybe even start to get a little bored. That is where I do my best work. Finally there comes that 3rd time zone where I lose the edge, get tired, etc. That is where it is often so tempting to think I'll nail it on the next try if I just focus a little more, etc. That is where I really need to stop, if at all possible. Usually what takes a long time to get right at that point can be accomplished in a short time the next day. And even if I do suck it up and put something down that's OK, as often as not I can come up with something way better the next day anyway.

Of course in my home studio I am always comfortable!

[JimmyJ]

Yes David, I am also comfortable working at home and quite enjoy the process.  I'll spend many more hours assembling a track here than I would have in a studio, but that's ok with me.  And as you say, the best results are when you give it a listen the following day.   

My stories above mostly refer to live studio dates with other players, a rare occurrence these days.  (Well, a non-occurrence at this very point in time.)  I love working on tracks for people at home and these file-exchange style projects have been keeping me sane through the Big Pause.

Where the psychology comes in here is - what to charge??  Ha!  Somewhere between nothing and a whole lot I guess.

Jimmy J

[gtrguy]

Jimmy, your wisdom is always so much appreciated on here!