You want the cleanest sound possible, and if you’re in a sub-par room you need to isolate your amp. It’s a little trickier to record a bass amp. It’s definitely an easy way to do things, and something home studio engineers find very attractive. A DI’d sound can sometimes sound too “stringy,” so an amp modeler can really help you round out your tone. You can often fix that with an amp modeler to round the tone out. The DI sound, however, is a sound of its own, and if you don’t like the sound of a DI’d bass you’re out of luck. Sometimes you want a tight DI’d bass sound to keep that low-end tight. Instead of the signal going into a cabinet and out of the speakers, you can just route the bass part directly into your audio software. A pre-amp can add that much-needed warmth to your bass sound. You can also record through a pre-amplifier. This takes all the acoustic problems out of the equations, which is great. They’ll just plug the bass into a DI box and plug it straight into the interface. Some producers won’t even think about miking up the amplifier. Just plug your bass straight into your interface, or use a DI box. Recording directly via a DI box is great if you’re left without an amp. If you have the option of recording both, then take the opportunity and record both. But others like the combination of the DI’d signal with the miked-up cab. Some engineers rely only on DI to get their sound, dismissing the cabinet entirely. We want a tight bass sound that’s thick and deep but still has definition and punchiness. You can either record bass directly, via a DI box, or you can mic up the bass cabinet. Even a bunch of sofas, rolled up blankets and thick mattresses can help reduce wandering bass frequencies from muddying up your signal. The more bass traps a room has, the tighter the bass will sound in the room, and the cleaner a bass will be recorded. Try to avoid placing a bass amp in a very reflective room you want to minimize all the reflections you can.Īdditionally, the more bass trapping you can do, the better. Be Aware of Your Acousticsīass is a very powerful frequency, and the room around the bass amplifier can easily muddy up really quickly. Just like you don’t want a bass part that can’t lock with the groove of the drums, you also don’t want a bass part that clashes with the harmonic content of the guitars or other instruments. If you notice weird notes that clash with the rest of the production, make sure to notify the artist. Sometimes a band has been playing together for a while in a rehearsal space where everything kind of blends into one. If the bass player can’t play his part correctly, you’re never going to end up with a good foundation or a groovy song.Īlso, make sure the bass lines fit the song. Life’s too short to waste hours of your time editing. If he can’t play his part he needs to learn how. If the bass player can’t seem to get into the groove, send him home. All you’ll end up with is a wishy-washy foundation that just never feels right. Therefore, choosing the right bass line, or right bass player is of the essence when you’re recording the all-important foundational instrument. If you have the wrong bass line or an unsteady groove, things can fall apart pretty easily. The right bass line can really make a song or a groove come together. Bass Guitar PerformanceĪn engineer friend of mine thinks the bass performance is the most important aspect of a song. Let’s start with making sure you have the right performance. Bad analogies aside, low-end is pretty tricky to deal with, and during recording there are some things you should consider when you’re dealing with bass instruments in general. It gets everywhere when you only want it to stay on the ground. With tha PODxt I get very good tones at any time of the day without the need to crank my Fender Twin to ungodly levels.Getting a juicy bass sound is something we all want right?ĭealing with the low-end is tricky. I'm personally not interested in "re-amping" which is what the first option basically is (record dry untreated guitar signal and apply amp modeling later). What I mostly do now though is plug my guitar into my Line 6 PodXT amp modeler and plug that into my sound card. You need a good (but pretty inexpensive) microphine like a Sure SM57 to do it but if you're careful about mic placement you can get great results. The easiest choice to get your current guitar sound to disk would be to place a microphone in front of your amp and plug that into the sound card and record that signal.
#How to record on guitar pro 7.5 with a guitar software#
Plugging your guitar directly into your sound card will not sound very good, not like an amp at all unless you use some amp emulation software to alter it on play back like Line 6's GearBox VST plugin or something like GuitarRig or Amplitube.
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