Getting Great Results in the Recording Studio
This is a guest article from our former employee Christopher Davis-Shannon
So you've hashed out your parts and you're ready to record. How do you get the best results when it's time to go into the studio?
Recording the upright bass seems to be a mythical art form, based on many experiences I've had at studios. It happens to me a lot: I walk in, and with wide eyes, the engineer tells me it's their first time recording an upright. I recently had a discussion with a customer who had just completed a record at a fairly prestigious studio (where I've also done tracks,) and we had a long discussion about our mutual distaste with the mic'ing techniques used. So, I thought it would be a good idea to throw out a few general ideas for those just getting started recording upright bass. We spend so much time, and money, getting that perfect sound out of your bass... wouldn't it be nice to hear that replicated "on tape?"
As with any recording, we're aiming to faithfully mimic the sound that our instrument makes; so if you're not happy with the sound of your bass, it's better to address that issue at the source rather than try to "fix" it through EQ. If you're recording outside of a controlled studio environment, remember that the sound of the room is paramount. You must be sure that it is properly dampened, and don't play into a corner -- it will only serve to build up bass frequencies and make a mushy sounding recording. When I track for people at home, I find that laying a nice thick blanket over a bi-fold door makes a great sound baffle, but anything that you can do to tame excess sound reflections will help.
Microphone selection can vary widely for bass. I prefer a ribbon mic but I know many that are happier with a condenser. While dynamic mics can work well at rejecting other sounds (such as drums if you're tracking the whole band live), they also pick up much less of the "nuance" and "air" of the instrument. Remember that the bass is a full-range instrument, and we need to pick up the upper frequencies (not just the lows) to capture the string articulation and fingerboard interaction.
Speaking of pickups (how's that for a segue?), while I would never use my pickup as my main source in the studio, I do like to take a DI from my pickup output; mixing this with my mic signal in small amounts can really help tighten up the low end in a recording and give the bass a bit more punch in the mix. But be careful how much you use, as too much of this "direct" sound can leave your doghouse sounding like a big old P-bass.
Once you've chosen a microphone, the more important question is raised... "where should you put it?" Mic placement can easily make or break a recording. I see a lot of engineers simply stick a mic six inches directly in front of the f hole. Hey, if what you want is a tubby, indistinct bass sound, then this is a great spot! First off, the sound of the inside of the bass body is all "BOOM" and no detail. Also, the frequencies that make up the sound of a bass take a little bit of time to mature, since they are quite long wavelengths -- so you won't capture the true timbre of the instrument by mic'ing that close.
I prefer to start with the mic 18" or so away from the bass and pointed dead at the bridge. I then do some tests for tone, and adjust from there. You'll always have to experiment to find the best sound from each particular bass; it helps to have someone out front of the bass listening for where the sweet spot is -- so you can point the mic there. For my bass it likes to be close to center, shifted up about a foot above the bridge, and angled down towards the fingerboard. The big key with mic placement is to take your time and really listen. Hear with your ears, not your eyes -- and as with so many things on double basses: there are no rules.
Like most things, it all comes down to experimentation and experience. But walking into a session with some ideas of how to get the most accurate representation of your bass can save a lot of time and aggravation. Engineers usually know best, but for those times that they are "out of their comfort zone," some preparation and a little homework can help you point them in the right direction.
Mark's note:
Christopher -- who worked at Gollihur Music for quite a few years -- is a gifted bassist and an oft-recorded performer, appearing on recordings by Bill Haley Jr. and the Comets, Lovers League, Hotsy Totsy, The Kelly Campbell Trio, and countless other artists. He's a talented multi-instrumentalist, and has become a renowned player, transcriber, and evangelist (his word) for the ukulele. Check out his bio on his website here.