In the past, all that studio bass
players had to do, was simply
carry their bass. Nowadays, it’s
common for session bassists
to bring multiple basses to the
studio along with the entire
signal chain they prefer to
use. That signal chain can
be as basic as bringing their
own direct box or it can go
all the way up to a high end
studio bass rack that includes
preamps, EQ, and compression,
along with a pedalboard for
effects. Too much? Only if
you really want control over
your recorded sound and if
you do enough studio work to
make the effort worthwhile.
There are pros and
cons to building a high-
quality bass rack.
Cons: The cost of high-end
gear; a rack filled with great
signal processing can cost
thousands of dollars. Another
is the burden of carrying that
rack around; even in recording
centers, cartage companies
(and recording projects that
will pay for cartage) are
disappearing, so you’re most
likely going to be moving the
rack around solo. For that
reason, a strong back and a
roller cart, such as the Rock
N Roller R8RT, is of big help.
Pros: in addition to having the
bass sound of your dreams,
you’ll also gain a measure of
protection from engineers who
might not be as sympathetic
to the nuances you’re trying
to capture. Once the engineer
sees that you can run directly
into his recording device, he’s
less likely to use his possibly
inferior compressors and EQs.
Get a DI
If you’re thinking about
upgrading your recorded
bass sound, A Designs REDDI
works great for those who
prefer the sound of tubes, and
if you like Class A solid-state
electronics, then the Avalon U5
is marvelous. The maximum
output of both the REDDI and
the U5 is line level, which
means that you plug directly
into the recorder, without going
through a microphone preamp.
But more pertinent to today’s
topic, you can plug the output
of either of these DIs directly
into a high-end compressor.
Tone
The DIs mentioned earlier
have massive amounts of
output gain, so you don’t have
to use a microphone preamp
to get the levels you need.
However, a great mic preamp
can make a great-sounding
track even better. For e.g.
Vintech’s X73 is based on the
classic 1073 module, while the
Great River MEQ-1NV starts
with the classic design but
adds modern updates to the
circuit. It’s certainly feasible
to record with the REDDI or
the Avalon U5 plugged directly
into a compressor, but add
the subtle great old-school
preamp and EQ, and you’ll
have a winning combination.
Compressors —
Beyond Pedals
There are great-sounding
compressor pedals available
these days, but when you move
to high-end, single-channel,
rack mounted optical tube
compressors, the difference
can be amazing. Some great
compressors are Tube-
Tech’s CL 1B; or the vintage
Universal Audio LA-2A, or
the Retro Instruments Sta-
Level, patterned on the classic
1956 Gates Limiter. Also, the
Sta-Level’s gain reduction
circuitry sounds different
than the optical circuit used
in the CL 1B or the LA-2A,
but that might be exactly
the sound that suits you.
Lastly, a power strip/power
conditioner is for great studio
bass. Furman makes one to
suit your needs: the M-8Lx. If
you’re not a pedalboard user,
then you might want a rack
mounted tuner, such as the
Peterson VS-R StroboRack. And
finally, you’ll want to choose
the right rack. A lightweight
rack case from Gator or SKB
may be perfect. If you have
the option to move your gear
then go for a heavy-duty road
case. If you’re a bassist who
wants the best sound possible,
then these tips will set you
in the right direction.
AKARSH SHEKHAR
HOW
TO
BUILD
A
GREAT
STUDIO
BASS
RACK
The
Score Magazine
highonscore.com
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