Chords for How to record bass guitar
Tempo:
110.8 bpm
Chords used:
D
E
G
B
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I will now demonstrate one way of recording a bass guitar.
Although it often changes depending on the sound I'm going for,
here I will use a Neumann U87 and this Sennheiser 421
positioned right up against the grill cloth to get the sound we're looking for.
The Sennheiser 421 is a little closer to the speaker than the Neumann U87,
but it's not terribly relevant as I will likely only use one of these microphones
for the final bass sound.
We're now in the control room getting ready to record bass.
We will be using a Countryman DI box to route the bass guitar signal
into two separate paths.
One path will go into the Ampeg bass head, which will drive the speaker cabinet
in the studio, and the other directly into an API preamp to be recorded
on a separate channel.
In this instance, the individual mics and the direct box are being fed through
separate 1176 compressors.
To set the compressors, I react to the musician's playing style,
the sound I'm trying to achieve, and the particular song being played
to adjust the compressor settings.
A good bass player who has good control of his instrument will generally not
require a great deal of compression during tracking.
Sometimes I will end up using hardly any compression at all if the player
has good dynamic control and consistency, but we'll spend more time covering
compression and EQ in the upcoming video clips.
I'm using the API preamps on the Legacy console for the microphones
and for the direct box.
Once I find the sound I like, I will sum the signal from the two mics
to one track in Pro Tools.
Also, I'll record the direct box on a separate track.
Generally, I may add some high-end EQ for presence.
All right, Jackson, let's record a take here.
[D]
[B]
[D]
[E]
[A] [E]
[G] [D] [Em]
[D] [E]
[G] [D]
[N]
Although it often changes depending on the sound I'm going for,
here I will use a Neumann U87 and this Sennheiser 421
positioned right up against the grill cloth to get the sound we're looking for.
The Sennheiser 421 is a little closer to the speaker than the Neumann U87,
but it's not terribly relevant as I will likely only use one of these microphones
for the final bass sound.
We're now in the control room getting ready to record bass.
We will be using a Countryman DI box to route the bass guitar signal
into two separate paths.
One path will go into the Ampeg bass head, which will drive the speaker cabinet
in the studio, and the other directly into an API preamp to be recorded
on a separate channel.
In this instance, the individual mics and the direct box are being fed through
separate 1176 compressors.
To set the compressors, I react to the musician's playing style,
the sound I'm trying to achieve, and the particular song being played
to adjust the compressor settings.
A good bass player who has good control of his instrument will generally not
require a great deal of compression during tracking.
Sometimes I will end up using hardly any compression at all if the player
has good dynamic control and consistency, but we'll spend more time covering
compression and EQ in the upcoming video clips.
I'm using the API preamps on the Legacy console for the microphones
and for the direct box.
Once I find the sound I like, I will sum the signal from the two mics
to one track in Pro Tools.
Also, I'll record the direct box on a separate track.
Generally, I may add some high-end EQ for presence.
All right, Jackson, let's record a take here.
[D]
[B]
[D]
[E]
[A] [E]
[G] [D] [Em]
[D] [E]
[G] [D]
[N]
Key:
D
E
G
B
A
D
E
G
_ _ _ _ _ _ _ _
_ _ _ _ I will now demonstrate one way of recording a bass guitar.
Although it often changes depending on the sound I'm going for,
here I will use a Neumann U87 and this Sennheiser 421 _ _ _ _
positioned right up against the grill cloth to get the sound we're looking for.
The Sennheiser 421 is a little closer to the speaker than the Neumann U87,
but it's not terribly relevant as I will likely only use one of these microphones
for the final bass sound.
We're now in the control room getting ready to record bass.
We will be using a Countryman DI box to route the bass guitar signal
into two separate paths.
One path will go into the Ampeg bass head, which will drive the speaker cabinet
in the studio, and the other directly into an API preamp to be recorded
on a separate channel.
In this instance, the individual mics and the direct box are being fed through
separate 1176 compressors.
To set the compressors, I react to the musician's playing style,
the sound I'm trying to achieve, and the particular song being played
to adjust the compressor settings.
A good bass player who has good control of his instrument will generally not
require a great deal of compression during tracking.
Sometimes I will end up using hardly any compression at all if the player
has good dynamic control and consistency, but we'll spend more time covering
compression and EQ in the upcoming video clips.
I'm using the API preamps on the Legacy console for the microphones
and for the direct box.
Once I find the sound I like, I will sum the signal from the two mics
to one track in Pro Tools.
Also, I'll record the direct box on a separate track.
Generally, I may add some high-end EQ for presence.
All right, Jackson, let's record a take here. _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
_ _ _ _ _ _ _ [B] _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [E] _
_ _ _ [A] _ _ [E] _ _ _
[G] _ _ _ _ _ [D] _ _ [Em] _
[D] _ _ _ _ [E] _ _ _ _
[G] _ _ _ _ [D] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ I will now demonstrate one way of recording a bass guitar.
Although it often changes depending on the sound I'm going for,
here I will use a Neumann U87 and this Sennheiser 421 _ _ _ _
positioned right up against the grill cloth to get the sound we're looking for.
The Sennheiser 421 is a little closer to the speaker than the Neumann U87,
but it's not terribly relevant as I will likely only use one of these microphones
for the final bass sound.
We're now in the control room getting ready to record bass.
We will be using a Countryman DI box to route the bass guitar signal
into two separate paths.
One path will go into the Ampeg bass head, which will drive the speaker cabinet
in the studio, and the other directly into an API preamp to be recorded
on a separate channel.
In this instance, the individual mics and the direct box are being fed through
separate 1176 compressors.
To set the compressors, I react to the musician's playing style,
the sound I'm trying to achieve, and the particular song being played
to adjust the compressor settings.
A good bass player who has good control of his instrument will generally not
require a great deal of compression during tracking.
Sometimes I will end up using hardly any compression at all if the player
has good dynamic control and consistency, but we'll spend more time covering
compression and EQ in the upcoming video clips.
I'm using the API preamps on the Legacy console for the microphones
and for the direct box.
Once I find the sound I like, I will sum the signal from the two mics
to one track in Pro Tools.
Also, I'll record the direct box on a separate track.
Generally, I may add some high-end EQ for presence.
All right, Jackson, let's record a take here. _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
_ _ _ _ _ _ _ [B] _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [E] _
_ _ _ [A] _ _ [E] _ _ _
[G] _ _ _ _ _ [D] _ _ [Em] _
[D] _ _ _ _ [E] _ _ _ _
[G] _ _ _ _ [D] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _