I'm heading to the studio on Dec. 28 to lay down drum and bass tracks for a recording project I'm in the midst of. I want to mic an amp instead of having the engineer run a direct line to the board. I can take my Ampeg B25b or my Guild Thunderbass (the one I bought from a fellow LTGer). I know the B25 is a heavily recorded amp in recording studios, and I love both of mine, but I have to say my Thunderbass is my favorite home studio amp. Anyone ever used a Thunderbass for recording?
Ampeg B-25 vs. Guild Thunderbass
- Thread starter Vermonter
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We have a few that have. mgod has more music cred than all but a handful of members, and he has used them extensively, although he prefers versatones, iirc.
Happy Face
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Bring them both and let the engineer pick between them.
I'd guess they they will want to use both a mic and a DI.
I'd guess they they will want to use both a mic and a DI.
jp
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I think this is a smart idea, since each recording situation is different. Depending on the room, mic complement, and engineer's or producer's ear and bag of tricks, great sounds can come from unique combinations of these elements.
edwin
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You may run into an engineer that has a preconceived notion of how a bass should sound and the Ampeg would likely win a shootout. I've been in that situation where the engineer didn't really know how to mix a bass other than a Fender, and I found that discretion was the better part of valor in this situation. But, you may get lucky and have an engineer who is willing to listen to what you are going for and go with it. Recently, I've been playing with a Showman/Sunn 200S rig mic'ed with an EV RE11 and the FOH guys are loving it.
I guess I'm not being that helpful, but TL/DR, what Happy Face said!
I guess I'm not being that helpful, but TL/DR, what Happy Face said!
mavuser
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Well, as the previous owner of the very Thunderbass in question, I have to say...bring the head for sure if u can, as that is some serious holy grail bass tone. You don't need to drag that cabinet out though. maybe plug it into the ampeg cab! or something. man let us know how it goes!
of course if u just use an Ampeg bass head, the risk will be low and reward high. But see if the Thunderbass can work out!
of course if u just use an Ampeg bass head, the risk will be low and reward high. But see if the Thunderbass can work out!
I had a B-25 cab. Had. I have 4 or 5 Thunderbasses. The bass on my songs on Rosanne Cash’s “Black Cadillac“ is either Versatone/V-72 or Thunderbass/EAR.
I think the idea of relying on the engineer is a terrible thought. I haven’t done that since 1980. You know how you sound.
I think the idea of relying on the engineer is a terrible thought. I haven’t done that since 1980. You know how you sound.
jp
Senior Member
I don't think you should rely on the engineer or producer to sculpt your sound. That's definitely your choice, however, I think it's good to have a palette of sounds open for you to choose from. One tone might work better with the song situation than the other.
Happy Face
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For the rest of us with little cache, skill and reputation, a stubborn approach may spoil your name around local studios.
Thankfully, when I started the first of three projects at Acadia Recording Studio, I played an 80s Fender Performer bass (a modified Jazz Bass) and then my M-85 and asked him to chose between them. Thankfully he immediately replied "That's the classic Fender sound, but I really like the Guild much better. It's so fat and gives me so much more to work with." Same response when I offered to play through the house B-15 rather than the Versatone I brought in. He LOVES that amp, which should not surprise any of us (Thanks again, Mgod!)
Then there are the nightmares. Four years ago a buddy brought in a Jazz Bass and the Gibby EB-3 modified with Darkstars some of you may remember from the DudePit. Wonderful sound. The somewhat well known and very full of himself NYC engineer told my friend to put the Gibson away. "For bass, I'll only record a P-bass through an Ampeg." End of story.
edwin
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I've experienced that mind set before. Years ago, though, I decided that when people get me to play on their material, they are going to get me as I am and sold my Fender style basses. I have no problem if they want to get someone else.
Nuuska
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As ex-recording engineer + still FOH engineer - I've come to situations where some musicians come with quite "interesting" sounds - and then I have to walkt to stage and ask them, if that sound is what they want or is there something wrong with it.
Many have said it is not the sound that they want but do not know how to get there. Then we try together to get there. Often w success - while w gentle steering it often is just a case of showing them how to adjust the gear without intimidating them.
One particular case - this guy had such odd sound on his bass - thin & distorted & what not - I thought there was something broken - I walked to stage to listen - that eery sound emitted from his amp - I asked if that was what he wanted - he said "Yes - is there something wrong with it?" - I said "No, just different" - When they started playing - in no time someone came to FOH telling me "to do something about that bass" - I said I agree about the sound - but that's the way it is on the stage - and that's how he likes it - so the guy stopped - listened for a while and said - "Yeah - quite interesting."
Therefore - unless the engineer is not the producer, or paid for judging - leave it to musician.
Whoever pays the bill may cut in and tell what he/she wants - to the musician & engineer.
Many have said it is not the sound that they want but do not know how to get there. Then we try together to get there. Often w success - while w gentle steering it often is just a case of showing them how to adjust the gear without intimidating them.
One particular case - this guy had such odd sound on his bass - thin & distorted & what not - I thought there was something broken - I walked to stage to listen - that eery sound emitted from his amp - I asked if that was what he wanted - he said "Yes - is there something wrong with it?" - I said "No, just different" - When they started playing - in no time someone came to FOH telling me "to do something about that bass" - I said I agree about the sound - but that's the way it is on the stage - and that's how he likes it - so the guy stopped - listened for a while and said - "Yeah - quite interesting."
Therefore - unless the engineer is not the producer, or paid for judging - leave it to musician.
Whoever pays the bill may cut in and tell what he/she wants - to the musician & engineer.
edwin
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I have been there. About 14 months ago, I did a location recording at a theater for the Save Our Venues fund drive for an extremely well known band, that I will not reveal, that typically played huge venues and their instruments sounded atrocious. Of course, the final product did not sound very good. I was pretty astounded, but their producer acted as if it was all as it should be and I was not about to pipe up and tell them how to make their instruments sound. It was all up to him.
"For bass, I'll only record a P-bass through an Ampeg." End of story.
Yes, and end of career. Bill Bottrell would fire that asshole so fast he wouldn't know what hit him. I'm hired for my approach, which includes my sound. MY sound. Not some anonymous tech.
Bill used to tell the story of two approaches. A was the 50s and 60's, when musicians were in charge and it was the engineer's job to record it. B was in the 70s, when engineers became in charge and musicians were relegated to fulfilling a basic sonic function. You get to decided which approach you'll support.
Yes, and end of career. Bill Bottrell would fire that asshole so fast he wouldn't know what hit him. I'm hired for my approach, which includes my sound. MY sound. Not some anonymous tech.
Bill used to tell the story of two approaches. A was the 50s and 60's, when musicians were in charge and it was the engineer's job to record it. B was in the 70s, when engineers became in charge and musicians were relegated to fulfilling a basic sonic function. You get to decided which approach you'll support.
mellowgerman
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Luckily these days I couldn't care less about "making it" as a musician, nor do I depend on music for any portion of my income. It's purely a labor of love, source of great fun during free-time, and a creative outlet. That gives me the freedom to write, play, and sound exactly how I want. I truly appreciate engineers with legitimate constructive criticism when it comes to minor tweaks to clean up a mix and things like that, as long as I get the impression they understand and appreciate the sound I'm going for. The authoritarian, self-righteous Fender/Ampeg nut can get bent or go lay an egg 100% of the time, as far as I'm concerned.
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Looking forward to learning the egg/bent ratio...
mellowgerman
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fronobulax
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Isn't that being measured in https://letstalkguild.com/ltg/index...ind-acoustic-string-test.210478/#post-1995971 ?