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Advanced Member
Username: jack

Post Number: 263
Registered: 11-2005
Posted on Monday, January 31, 2011 - 3:36 pm:   Edit Post

I'm sure this has been discussed, but searching 'recording' brought up too many results.

So, question: how do you record your Alembics?

I'm particularly curious about the filters- I've always recorded how I like the bass to sound live. That's generally with my single filter (Essence electronics) somewhere between half and three quarters open. But I was recently thinking perhaps it'd be best to have the filter totally open, to get the full range of the instrument, and save all eq'ing/filtering for mixing. I'm generally going straight to the 'board' or whatever computer interface/pre is handy at the time (no outboard preamp, in the traditional sense).

Curious what others do and how it's worked. I'm sure you guys use your amp, preamps and mics too, so I'd be interested to hear about that, but mainly intersted in how you guys that go direct do it.

Senior Member
Username: pace

Post Number: 665
Registered: 4-2004
Posted on Monday, January 31, 2011 - 3:49 pm:   Edit Post

Recording straight to a DAW, I usually dial in my sound on the bass same as we both do live (filter rolled back a bit).... Thus far, every engineer has been impressed w/ my Alembic right off the bat!

But, if the facility has the capability to patch the SF-2 into the mixdown chain, then I leave my basses wide open, and tweak later.
Senior Member
Username: hieronymous

Post Number: 881
Registered: 1-2005
Posted on Tuesday, February 01, 2011 - 10:34 am:   Edit Post

I just try to get a good sound in the studio, set the controls on the bass the way I want, then into my F-2B, usually set with bass on about 4, mid around 5 or 6, treble on between 2 and 4 depending on the sound I am going for. Then I can always use my SF-2 later in mixing to tweak it.

In a different thread within the past couple of years someone mentioned recording with the filters all the way open as that seemed to be the "neutral" signal from the bass, then tone sculpt later.

Personally, I think that the filters add color and character and affect the way I play so I prefer to record the sound I am going for, but knowing that I can always tweak it more later! Love my SF-2!!!
Senior Member
Username: jazzyvee

Post Number: 2313
Registered: 6-2002
Posted on Tuesday, February 01, 2011 - 1:58 pm:   Edit Post

I don't use a studio much so when I was going to go into the studio with a band I was in early last year, I posted a similar question on the forum. Thankfully Jimmy Johnson responded and advised me to give the engineer the sound I want.

That's what I did and the sound came out great.
I guess there are as many right answers as there are personal tastes.
Senior Member
Username: crobbins

Post Number: 781
Registered: 6-2004
Posted on Tuesday, February 01, 2011 - 6:06 pm:   Edit Post

I use the direct out on the back of my MarkBass amp straight to my board. With everything set the same way as a live gig. Sounds great.
Senior Member
Username: serialnumber12

Post Number: 864
Registered: 12-2004
Posted on Tuesday, February 01, 2011 - 7:21 pm:   Edit Post

neck filter rolled off & bridge filter wide open with cvq's @ 75%.....1982.
Senior Member
Username: pauldo

Post Number: 559
Registered: 6-2006
Posted on Wednesday, February 02, 2011 - 11:47 am:   Edit Post

Super greasy extra groovy funkification Keavin!
Senior Member
Username: mario_farufyno

Post Number: 585
Registered: 9-2008
Posted on Thursday, February 03, 2011 - 4:03 am:   Edit Post

Since activated filter brings one resonance bump at central frequency cut off, you must let it where it sounds good.

You must trust on your reference monitors to know where it must be exactly set, because using it all open simply means that you will be pushing 6KHz hard. This is not flat or extended response, this is a choice on tone tottaly different from pumping 2.5K, 1.2K or 650Hz.

Keep in mind that Alembic's Eq sistem is nothing like Fender's at all. The "right" setting is the one you get the tone you desire. If you can trust your monitors, you can reach your tone, the question is how to make them "trustable" (since reflections at hearing position can really change monitors tonal response at mids and standing waves can lie much about lows).

In a properly designed studio you should just seat at engineer's place to decide how open you must use it. Any decision about tone in a recording facility relies on how flat are monitor's response. If you are not sure about that, keep using your regular settings. If it works at PA, it must fairly work at Studio.

I wrote something about how trust your cabinets/monitors here:

Hope helps...
Senior Member
Username: hieronymous

Post Number: 882
Registered: 1-2005
Posted on Thursday, February 03, 2011 - 7:31 am:   Edit Post

Well said Mario!
Advanced Member
Username: jack

Post Number: 265
Registered: 11-2005
Posted on Wednesday, February 09, 2011 - 11:16 am:   Edit Post

Thanks to everyone for the responses. And Kevin- awesome picture.

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